How did you become involved in artist’s books?
I first started making
artist’s books as I was using sketchbooks in an unusual manner – cutting
through pages to make complex images that relied on the pages before and after
them to complete them. From this, I began to see the artist’s book as an avenue
to explore paper as a three-dimensional medium and, traditional bookbinding
techniques provided a core structure for making paper sculptures. As my work
has progressed, I have integrated more traditional bookbinding skills and
pursued training so that I can incorporate further techniques into my one off
and low edition pieces such as leather work and hand tooling. In conjunction
with this, I have developed my work using a variety of printmaking methods such
as etching, linocut, woodcut, wood engravings and screen printing. The
combination of hand book binding and printmaking seem to complement one another
and support concept in many of my works which often address ideas of memory and
knowledge and how this is transferred across generations: they both use skills
that rely on methods that have remained unchanged for centuries.
What is the focus of your practice?
Most of my work centres around the idea of place and the connection we have as individuals to both our environment and those that surround us. Symbols of nature, mapping and representations of both our terrestrial and celestial environment feature frequently in my pieces; imagery, often abstract in nature, that attempts to define the relationship we have with home.
What are you working on at the moment?
Recently I have been working with a series of regular geometric forms – The Platonic Solids – Plato suggested that these shapes represented the five elements -Water, Air, Fire, Earth and Aether. These shapes allow me to refer to the intrinsic connection we have as individuals to our natural surroundings. This body of work incorporates artist’s books, prints and unique paper sculptures.