Tag: artist books

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 

Less Than 500 Press

Less Than 500 Press

Mark Callard/ Foxhole Magazine How did you become involved in artist’s books? About ten years ago, I started writing poetry as a way of staying sane during a long period of mental ill health and rubbish jobs. My friend’s sister is a graphic designer, and 

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, and combine these with a love of the handmade.

What are you working on at the moment?

My current project, Bitmap Bees, looks at the properties of objects in code and digital images.

Social Media

Instagram @simstallation

 http://janhopkins.xyz

http://simstallation.xyz

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 

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 encouraged us to come along to the Book Fair.  I was so inspired by everything that I saw that I started to experiment with books in my own work.

  • What is the main focus of your practice?

My practice is focused on the unnoticed or unseen details in the world around me, working with different folding techniques, printmaking and paper cutting .  I have created work looking at chewing gum on a pavement, overheard conversations and lichen on the park fence.

  • What are you working on at the moment?

I am currently working on a piece about mastitis, I have been on maternity leave for a year and have had a lot of trouble with blocked ducts and mastitis so am trying to make a piece to show this unseen pain that some mothers have to go through.

Instagram accounts:

@kim_bevan @paperbasedworkshops

Facebook Pages:

https://www.facebook.com/kimbevanart/,

https://www.facebook.com/paperbasedworkshops/

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 

Exhibition up in Sheffield

Exhibition up in Sheffield

This week we installed an exhibition in Sheffield Central Library to get people interested in Artists books and the Fair on 5th October (just in case you had forgotten!) The selection was made from the Sheffield International Artist’s Book Prize collection which is over 800 strong. We were very pleased with the results. It will be up until 28th September but then all of those books and many more will be on display on the day of the fair. We would love you to come and join us!

Anne Rook

Anne Rook

How did you become involved in artist’s books? Some 20 years ago I met Bristol artist Annabel Other who had started a portable, fully functional public library. I made a small  ‘Pocket Dictionary of Greediness’ for her library and was fascinated by the concept of