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Introducing the team

Introducing the team

We thought it was about time to introduce the team who established this project just incase you were wondering! Our little group was started by four of us: John Clark – Writer and formally founder and Director of Bank Street Arts Sarah Grace Dye –…

Sarah Grace Dye

Sarah Grace Dye

How did you become involved with artist’s books? Years ago when I was teaching at the Arts University Bournemouth we taught a unit about artist’s books. During the unit the students learnt how to make paper and had sessions to introduce them to a number…

David Barton

David Barton

How did you become involved in artist’s books?


From 1964 until his death in December 1966 I was a student of the late Anton Ehrenzweig and began a series of what he called “Tease & Worry” books. In these notebooks, drawings, paintings and written texts were accumulated in order to explore and test ideas. Moving freely between different media became a tense, complex and rewarding way of searching for hints and clues around emerging thoughts and sensing and recognising meaningful imagery. I soon realised that images surfacing in my notebooks were primarily concerned with my own need to work and that the most meaningful imagery was not mine but, as if by accident, happened within the working process.The image as a discovery, a gift from the work, to be gratefully received, analysed, probed and tested in order to precipitate further transformation. My purpose as an artist, to continue from day to day in pursuit of the continually evolving image; keeping the contact alive.The pursuit continues – work is never still.


What is the focus of your practice?

Work is a dialogue between myself and the unconscious, in which the
unconscious must take precedence.


What are you working on at the moment?

At the moment I am working on the layout of an A4 book which will be
between 50 and 60 pages of full-page line drawings. I am also working on an A4 book of drawings and paintings which relates to
two other books already published.

Holly Serjeant

Holly Serjeant

How did you become involved in artists’ books? I did my degree in Bookbinding and Calligraphy which gave me a good grounding in techniques employed to create a range of different bindings. I’ve exhibited my work at Manchester and Liverpool Artists Book Fairs where a…

Girasol Press

Girasol Press

How did you become involved in artist’s books? Haphazardly, really. We – that’s Leire Barrera Medrano and Dan Eltringham – did a letterpress workshop in London with the marvellous Pixel Press, and caught the slow-speed bug there. We bought our letterpress, trays of type, rollers,…

Jacqui Dodds

Jacqui Dodds

How did you become involved in artist’s books?

After graduating with a Fine Art Degree, I was invited to take part in funded projects where I explored place and objects within them.  I found artist’s books an accessible way to show my printmaking work without it being in frames. Several prints can be shown at the same time with interesting juxtapositions.  For example I made a concertina book inspired by pattern at Powis Castle, near Welshpool. I gathered images relating to the diverse range of pattern in objects, textiles and the fabric of the building. Using images and memories that spoke to me the most I went on to create screen prints and blind embossings that were then incorporated into this concertina book. The book was exhibited in Powis Castle and as part of a group touring exhibition.  I made further books for projects and have also become a member of the Society of Bookbinders in order to learn more about making books and bookbinding.

What is the focus of your practice?

My practice revolves around memories of places visited and the objects within them. Images and feelings of these spaces are retraced to create an essence in print and painting. Colour is important and I juxtapose resonating colours to alter the mood of the work. I also create blind embossings, devoid of colour, requiring closer inspection and leaving subtle, visual contrasts in the paper.

What are you working on at the moment?

I’ve been researching parts of the North East coastline looking at the geology, (rocks, erosion, etc) to make some artist’s books and prints. Recently, I also visited the Cumbrian coastline and am fascinated by the patterns that the sea makes and how it erodes and leaves traces of moments in time. Research from this will also be made into artist’s books and prints, incorporating screen prints and blind embossings.

www.instagram.com/jacquidodds_printmaker

A. Rosemary Watson

A. Rosemary Watson

How did you become involved in artist’s books? I became interested in artist’s books almost 20 years ago through a friend who created artist’s books. Over the years I visited, artists’ book fairs and attended workshops and gradually the media formed part of my practice…

Best Books by Bernard and Anwyl

Best Books by Bernard and Anwyl

How did you become involved in artist’s books? Both of us got involved through an art tutor who introduced us to the vast breadth of creative possibilities and options within the field of book arts when we were studying for Fine Art MAs.  What is…

Peter Knight – The Common Press – Crich

Peter Knight – The Common Press – Crich

How did you become involved with artist’s books? 

I’d always been interested in books and illustrated books in particular. I was developing my work with a strong printmaking approach and discovering historical work by George Cruickshank-( see The Tooth-Ache, 1849) and other historical graphic artists. I was struck by how ‘current’, applicable and entertaining their work was. Artists’ books were a well-established form of practice in my student time, and I collected Xerox work by Andre and Kosuth, and did my own Xerox/photocopying projects. My favourite practitioner was Ed Ruscha who expressed the same recording and listing concepts that I favoured. I enjoyed the combination of printmaking and book structures and crucially in the late ‘80’s I had discovered letterpress.

What is the focus of your practice? 

My work is varied in concept and starting point: exploring and recording the existential threat to life in ‘Four Horsemen Approaching’, exploring history and carved archetypes in ‘An Unreliable Derbyshire Bestiary’ and collecting and classifying flotsam and jetsam in ‘a Scottish Rainbow’. The work stems from a love of printing in many forms. My work is at its most basic, essentially focussing on recording and listing. It sometimes involves classification, e.g.’Twigs that say Y’, but my locality and the history, geology and received narratives of ‘place’ are normally the starting point. 

What are you working on at the moment? 

For public consumption I continue, amongst other things, with my interest in the effects of lead mining in my locality in Derbyshire; mining landscape, mining place names, mining vein names, even the names of wildflowers that thrive on spoil tips are fascinating, see ‘Scrins, Flats and Pipes’.

For my own consumption, I continue with what I call ‘My Mnemosyne Atlas’ project. Started in earnest six years ago, it is a series of ‘perfect bound’ annual volumes that collect all the bits of reference material, drawing, photocopying , ripped out magazine pages, text and found material; essentially, the detritus that accumulates in sketchbooks and falls out when you give them a shake. It is literally the material that falls through the gaps. It is the marginalised supporting material that has no other existence – mainly for copyright reasons. 

It has an audience of one. 

Theresa Easton

Theresa Easton

How did you become involved in artist’s books? During an MA in Glass at Sunderland University in 2008.  I struggled to find a context for the screen-printed enamelled glass I wanted to make so I approached Newcastle’s Literary and Philosophical Library to which I belonged. …

Kiss and Tell Press/Michael Wynne

Kiss and Tell Press/Michael Wynne

How did you become involved in artist’s books? I’d been a writer for about twenty years when I began to feel I wanted more than words. Photography is an old love of mine that I’d kind of forgotten for thirty years. I started taking pictures…