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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…

Bethan Maddocks & Remi Bec

Bethan Maddocks & Remi Bec

How did you become involved in artist’s books? 
It’s all thanks to who we grew up with! Both of us individually have always been drawn to paper and how you can shape and manipulate it, and books are a very direct way of exploring and displaying that kind of work. (Bethan)After my Grandparents died, I came across an old accordion folded book that my Grandma had had tucked in a drawer. It’s a tourist souvenir of the Thames Tunnel and uses the folds of the book to give this incredible long perspective that places you right inside with the illustrated characters. Finding that book showed me the possibility of creating interactive, playful artwork in a really familiar format. (Remi) Books transforming into sculptures  (i.e. pop-up books) have always fascinated me from the youngest age: I have blurred memories of my finger being the caterpillar and going through the holes in the book – Plus my grandma also organised a book festival in her home town in France – ‘Continued reading’ –   during which an entire book is read out loud by the main public.


What is the focus of your practice? 
Light, paper, pop ups and creating tactile work that the audience can explore are key focuses when we create work together. Creating paper-based prototypes is an enjoyable and accessible way to get a point across too! 


What are you working on at the moment?

We’ve just returned from a residency in France at the amazing Studio Garonne that was our first official collaboration. We spent two weeks exploring the architecture and history of this amazing semi-abandoned building and created papercut books and pop ups that played with the bright natural sunlight and nooks and crannies of the space. Right now, we are reflecting on that, thinking about where we will go next, and using Sheffield Artist’s Book fair as a space to reflect and share some of the work!

https://www.instagram.com/bethan_maddocks/

https://www.instagram.com/robzone6/

https://www.instagram.com/studiogaronne/

Sue Lancaster

Sue Lancaster

How did you become involved with artist’s books? I became involved in artist’s books as a response to developing a project to teach creativity to my adult students. The design of covers developed as a way of using interesting textile surfaces for a functional product…

Rachel Smith/Art Smith

Rachel Smith/Art Smith

How did you become involved in artist’s books?As an artist I started making books during my time on the Sheffield Hallam Fine Art MA course, and this interest has continued through my current PhD research. What is the focus of your practice? I am interested…

Robert Good

Robert Good

How did you become involved in artist’s books?

I use books as a format if it is the best medium for the subject that I’m working on. Having collected over 3000 definitions of art from the internet, turning them into ‘A New Dictionary of Art’ seemed like a good way to present them back and see what they amounted to. Likewise, for BREAKING, I collected a year’s worth of Google News headlines and the book format worked well for them, although they have also featured on billboards and short animations. 

What is the focus of your practice?

I’m interested in words, text and meaning. I want to get to the bottom of things – though answers always seem just out of reach. So my practice could be seen as a series of enquiries into things that interest me about the world we live in. 

What are you working on at the moment?

I’m developing a new podcast based around interviews with artists, to find out more about their creative endeavours. I hope to record a pilot episode later this month.

www.robertgood.co.uk
www.robertgood.co.uk/dictionary
www.robertgood.co.uk/breaking
Twitter: @RobertGood_Art

Louisa Boyd

Louisa Boyd

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,…

Marches Book Arts Group

Marches Book Arts Group

Marches Book Arts Group comprises makers at every level, from those just discovering the joys of book arts to professional artists renowned for their artist’s books. We come from, and share our skills, in a variety of disciplines from textiles and paper sculpture, to calligraphy,…

Christine Nicholls Inkpot and Pen

Christine Nicholls Inkpot and Pen

How did you become involved in artist’s books?

I first came across artist’s books at the exhibition Certain Trees: The Constructed Book, Poem and Object 1964-2008, tucked away in a room at the top of the V&A Museum in 2008. Locked away in a case was a small book called ‘Adjectives for Grasses’ by Moschantel Press with Laurie Clarke’s illustration on the cover. I couldn’t tear my eyes away from this book, desperate to see inside, which I have never managed to do! 
After returning about four times before the exhibition closed I kept the thought of this book hidden away, in a secret drawer in my mind.
Roll on a few years later when I was started working full time on my own illustration and lettering work having deciding to leave paid employment and the memory of the book returned. At that point I started researching the world of artist’s books as a way of bringing together my drawings and ideas in a form that could be ‘discovered’ rather than just seen on a flat surface in a frame.

What is the focus of your practice?

I’m interested in using the book format to tell a story through the use of illustration and words/lettering; whether it is street furniture or over looked everyday items, to explore the world of a flower, from bud to folklore, to explore the world around us through illustrated maps that use a particular fold that allows you to fall into the world of the map when you open it. 

What are you working on at the moment?

I’m currently working on expanding my series maps and I’m also exploring ways to bring lettering and illustration together within my books, where they feature as one image rather than supporting each other. This journey is in its infancy and is currently following its own path…

instagram @inkpotandpen

Lynne Barker

Lynne Barker

How did you become involved in artist’s books? I see the artist’s book as the ideal form to act as an archive for my drawings. The book form makes them easily available to others.  What is the focus of your practice? I am interested in…