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Jan Hopkins

Jan Hopkins

What is the focus of your practice? For me the artist’s book moves in and out of the digital realm. I work with machine generated text printed on demand by mini printers driven by Raspberry Pi computers, images drawn by robot and text on screens,…

Nise McCulloch

Nise McCulloch

How did you become involved in artist’s books? By accident really. Books and literature have always been central to my career & voluntary work. I was working on a writing project exploring destruction in literature which turned into a wider, interdisciplinary artistic venture producing a…

Grania Hayes

Grania Hayes

How did you get involved in artist’s books?

I became involved in making artists books whilst printmaking with Michelle Avison at Morley College. One day she suggested we should make books.  At first, I was reluctant, but I had a go and I cut vinyl shapes and printed a pamphlet book. That was a good ten years ago and since then I cannot stop. It is intriguing and exciting to experiment.

What is the focus of your practice?

The focus of my practice is telling a story even if it might appear to be abstract.

What are you working on at the moment?

I am currently working on cut, paste and photocopy. The resulting images are then made into pamphlet books.

My current project is using the above technique to tell the story of the people and animals on Primrose Hill in London which is where I live.

Kim Bevan

Kim Bevan

How did you become involved in artists books ? I first found out about artists books whilst I was doing my Master’s in Fine Art at Leeds. My lecturer, Chris Taylor, showed us a range of books as part of a group session and then…

Hilke Kurzke

Hilke Kurzke

How did you become involved in artist’s books? After my PhD, while looking for a job, I rekindled my older hobby of binding books. When I first started out with binding, in the 90s, I learned from books that I borrowed (and photocopied) at my…

Joanna Robson

Joanna Robson

How did you become involved in artist’s books?

I became involved with artists’ books during studying for my MA in Authorial Illustration at University College Falmouth.  I was interested in the idea of telling stories within a single picture, and as the pictures I made grew increasingly wide to accommodate a narrative, so they evolved in to panoramic leporello books.  I began to combine this with etching and other printmaking techniques and soon I was making concertina books made from hand-cut etchings.  I found it a versatile medium in which to express stories and have been working with it ever since.

What is the focus of your practice?

The main focus of my practice is always wordless storytelling.  The stories are usually a little bit gothic in theme and rely on laser cut silhouettes to illustrate the narrative.

What are you working on at the moment?

Two new artist’s books are being worked on at the moment, one of which is a wordless re-telling of one of Robert Burns’ poems.  The other is a lesser-known folk tale, but is one that I’m really looking forward to working on in the months ahead.

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@Joannakrobson

www.joannarobson.com

Carla Moss

Carla Moss

How did you become involved in artist’s books? I started making artist’s books because of my concern for the planet. I wanted to create things that were smaller and more portable whilst still maintaining my artist practice. This included making one-off books of drawings, books…

Islam Aly

Islam Aly

How did you become involved in artist’s books? In the spring of 2000, at the exhibition titled One of a Kind Artists’ Books in Cairo, I saw books unlike any I had ever seen before. They were different in their concepts, structures, techniques, and materials;…

David Armes                         Red Plate Press

David Armes Red Plate Press

How did you become involved in artist’s books?

I first started making books to mark the process and progress of residencies. (See: the ‘Locational’ series.) The act of turning the page to reveal a different aspect appeared to be an ideal way to present the durational nature of a residency.

What is the focus of your practice?

Type as image. Repetition and small increments of change/modification. The book as a container for experience. 

What are you working on at the moment?

A proof of a new series of books charting the elemental nature of the landscape around my studio: oil, coal, water etc. It seems to be about danger and risk, not about beauty or serenity. 

www.redplatepress.com

@redplatepress (Instagram/Twitter/FB)

BBB Books Collective

BBB Books Collective

How did you become involved in artist’s books? BBB Books are a three person collective, comprising of Holly Birtles, Tim Burrough & Rita Byon, who are connected by an interest in surface, process and the photographic image represented in book form. Through collaborative projects and…