Month: November 2019

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…

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 shared love of book art has been an inspiration to me.

What is the focus of your practice?

I restore treasured old books on a daily basis. I love the thought that these books provide a window to the past while often going on to outlive their author or owner. In contrast I use decorative and marbled papers, leathers and bookcloth to create new bindings of varying shapes and structures.

What are you working on at the moment?

I’m in the process of designing some little instructional books & kits to encourage others to experience the joys of book arts.

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…

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 as a means of expression 

What is the focus of your practice?

The majority of the bookworks form part of a larger body of work concerned with notions of memory, exploring a personal response to and a forming a record of the constantly shifting and multi-layered nature of memory of a particular place, in which wishful beliefs, imagination, hard facts and dreams blend and blur over time into a personalised version of history. It is a process that is continually explored developed and refined as the memories themselves constantly reshape and reform assuming greater or lesser significance, in which the memory has been reduced over time to an abstraction of line and space, the memory-image formed by light falling across blind embossed paper.

What are you working on at the moment? 

The current bookworks form an aspect of an ongoing, open-ended, print-based project researching the inter-relationship between the 2-dimensional printed image / the book format and the sculptural form by means of hand-cutting and folding 2-dimensional prints to create artists books and book objects.

www.arosemarywatson.co.uk

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.…

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.  I asked the librarian if I could do a self-commissioned residency and explore the history of the library,  speak to members and interview staff.  I made a series of enamelled glass books and a chap Book.

What is the focus of your practice?

My work is always rooted in printmaking and the multiple.  I am interested in using the process to engage directly with the public either through collaborative work, focus groups, community art making and digital connections. My work aims to be informative, have a message and sit in the tradition of printmaking.

What are you working on at the moment?

I am making a series of Turkish map fold books to create an installation for an exhibition. It is part of a long term project I have delivered with settled Syrian families commissioned by BAIT, South East Northumberland.   The work contains repeated images of some of the designs created by participants during art making sessions.  It draws on conversations we had about colour, blends and hues. 

www.instagram.com/Theresameaston

twitter@theresaeaston

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…