Thank You!
I am delighted to share with you a sneaky peak at the wonderful selection of Artist’s Books that have been gifted to us since the fair in October. As we were funded by the arts council for the event and so were able to offer …
Tag: artists book fair
Sarah Grace Dye
How did you become involved with artist’s books? Years ago when I was teaching at the Arts University Bournemouth we taught a unit about artist’s books. During the unit the students learnt how to make paper and had sessions to introduce them to a number …
David Barton
How did you become involved in artist’s books?
From 1964 until his death in December 1966 I was a student of the late Anton Ehrenzweig and began a series of what he called “Tease & Worry” books. In these notebooks, drawings, paintings and written texts were accumulated in order to explore and test ideas. Moving freely between different media became a tense, complex and rewarding way of searching for hints and clues around emerging thoughts and sensing and recognising meaningful imagery. I soon realised that images surfacing in my notebooks were primarily concerned with my own need to work and that the most meaningful imagery was not mine but, as if by accident, happened within the working process.The image as a discovery, a gift from the work, to be gratefully received, analysed, probed and tested in order to precipitate further transformation. My purpose as an artist, to continue from day to day in pursuit of the continually evolving image; keeping the contact alive.The pursuit continues – work is never still.
What is the focus of your practice?
Work is a dialogue between myself and the unconscious, in which the
unconscious must take precedence.
What are you working on at the moment?
At the moment I am working on the layout of an A4 book which will be
between 50 and 60 pages of full-page line drawings. I am also working on an A4 book of drawings and paintings which relates to
two other books already published.
Holly Serjeant
How did you become involved in artists’ books? I did my degree in Bookbinding and Calligraphy which gave me a good grounding in techniques employed to create a range of different bindings. I’ve exhibited my work at Manchester and Liverpool Artists Book Fairs where a …
Girasol Press
How did you become involved in artist’s books? Haphazardly, really. We – that’s Leire Barrera Medrano and Dan Eltringham – did a letterpress workshop in London with the marvellous Pixel Press, and caught the slow-speed bug there. We bought our letterpress, trays of type, rollers, …
Jacqui Dodds
How did you become involved in artist’s books?
After graduating with a Fine Art Degree, I was invited to take part in funded projects where I explored place and objects within them. I found artist’s books an accessible way to show my printmaking work without it being in frames. Several prints can be shown at the same time with interesting juxtapositions. For example I made a concertina book inspired by pattern at Powis Castle, near Welshpool. I gathered images relating to the diverse range of pattern in objects, textiles and the fabric of the building. Using images and memories that spoke to me the most I went on to create screen prints and blind embossings that were then incorporated into this concertina book. The book was exhibited in Powis Castle and as part of a group touring exhibition. I made further books for projects and have also become a member of the Society of Bookbinders in order to learn more about making books and bookbinding.
What is the focus of your practice?
My practice revolves around memories of places visited and the objects within them. Images and feelings of these spaces are retraced to create an essence in print and painting. Colour is important and I juxtapose resonating colours to alter the mood of the work. I also create blind embossings, devoid of colour, requiring closer inspection and leaving subtle, visual contrasts in the paper.
What are you working on at the moment?
I’ve been researching parts of the North East coastline looking at the geology, (rocks, erosion, etc) to make some artist’s books and prints. Recently, I also visited the Cumbrian coastline and am fascinated by the patterns that the sea makes and how it erodes and leaves traces of moments in time. Research from this will also be made into artist’s books and prints, incorporating screen prints and blind embossings.
www.instagram.com/jacquidodds_printmaker
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 …
Best Books by Bernard and Anwyl
How did you become involved in artist’s books? Both of us got involved through an art tutor who introduced us to the vast breadth of creative possibilities and options within the field of book arts when we were studying for Fine Art MAs. What is …
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. I asked the librarian if I could
do a self-commissioned residency and explore the history of the library, speak to members and interview staff. I made a series of enamelled glass books and
a chap Book.
What is the focus of your practice?
My work is always rooted
in printmaking and the multiple. I am
interested in using the process to engage directly with the public either
through collaborative work, focus groups, community art making and digital
connections. My work aims to be informative, have a message and sit in the
tradition of printmaking.
What are you working on at the moment?
I am making a series of Turkish map fold books to create an installation for an exhibition. It is part of a long term project I have delivered with settled Syrian families commissioned by BAIT, South East Northumberland. The work contains repeated images of some of the designs created by participants during art making sessions. It draws on conversations we had about colour, blends and hues.
www.instagram.com/Theresameaston
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 …