Home to the Sheffield International Artist's Book Prize Collection
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 …
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 …
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 as a means of expression
What is the focus of your practice?
The majority of the bookworks form part of a larger body of work concerned with notions of memory, exploring a personal response to and a forming a record of the constantly shifting and multi-layered nature of memory of a particular place, in which wishful beliefs, imagination, hard facts and dreams blend and blur over time into a personalised version of history. It is a process that is continually explored developed and refined as the memories themselves constantly reshape and reform assuming greater or lesser significance, in which the memory has been reduced over time to an abstraction of line and space, the memory-image formed by light falling across blind embossed paper.
What are you working on at the moment?
The current bookworks form an aspect of an ongoing, open-ended, print-based project researching the inter-relationship between the 2-dimensional printed image / the book format and the sculptural form by means of hand-cutting and folding 2-dimensional prints to create artists books and book objects.
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 …
How did you become involved with artist’s books? I’d always been interested in books and illustrated books in particular. I was developing my work with a strong printmaking approach and discovering historical work by George Cruickshank-( see The Tooth-Ache, 1849) and other historical graphic artists. …
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
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, …
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 …
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 individual works they explore human memory, bodily engagement, landscape and the natural environment. They use a combination of digital capture, risograph, letterpress and hand printed B&W prints in their finished works. Comprising of graduates from Slade School of Fine Art and Camberwell College of Art, BBB Books members live and work in London, UK and Seoul, Korea.
What is the focus of your practice?
BBB Books Collective brings together photography, text and printmaking in small run artists books.
What are you working on at the moment?
Independent photographic projects, including: found belongings, music collaborations and video, performance, prop production, walking/archiving and subsequent publications of revised concepts.
Social media links
How did you become involved in artist’s books? I consider publishing as my artistic practice, with publications crossing over into photoworks, installation and photobook works. What is the focus of your practice? The relationship between mind, consciousness and the materialisation of the photographic object. What …