Home to the Sheffield International Artist's Book Prize Collection
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 …
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 …
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 in both the conceptual system and material object of the book, and how these might be used to explore how sense is sought in language. I use drawing, photography, and writing to materialise error, distraction, and association as part of my disruptive devotion to reading. Fragmentary techniques are employed to reject immediate coherence, opening spaces to reflect on minor processes of meaning-making.
What are you working on currently?
Currently I am working on a set of three books for the practice submission of my PhD. Their status is ambiguous as to whether they are art works, remain as practice research artefacts, or function between these possibilities. Each book object accompanies a particular chapter of my thesis but has also existed in a previous form, definitively as an art work, exhibited or shown as such, but additional material has now been added, the original reformulated, as part of the on-going process of cutting together-apart. One of my interests is how art practice might offer ways of visualising and materialising the thinking or sense-making process in relation to the transmission of physical language. I am using art practice to draw attention to thinking, materialise acts around the construction of sense, as well as celebrating interruption and error as tools for breaking a seemingly never ending flow of information.
social media: twitter @rachelartsmith
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’ …
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 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, graphic design and printmaking.
Based in the English/Welsh border “Marches” region of the United Kingdom, the group formed in 2009. We meet every month to share knowledge, skills and information. We exhibit individually and together at numerous local and national events during the year, aiming to bring book arts and artist’s books to a wider audience”.
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 …
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 …
How did you become involved in artist’s books?
I’ve always been fascinated by sequential art and books are the perfect medium to deliver a variety of messages and stories which to me is the most natural way to express my creativity.
What is the focus of your practice?
My main focus are narratives. I love to capture the stories written by life – be they funny or serious, joyful or thought-provoking.
What are you working on at the moment?
Right now, I am working on an updated version of my ‘Portrait of Sheffield’ concertina book which is the project that first brought me to the city 3 years ago.
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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 …