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.