Home to the Sheffield International Artist's Book Prize Collection
How did you become involved in artist’s books? Making books began as a way of finding a home for words that spilt out of me. As I learned the scope of materials, the books I made became as much about the production as the words …
How did you become involved in artist’s books?
My initial interest came from when I organised a book-binding workshop for a group of graphic design students; at around the same time myself and a colleague inherited a treadle press from a local high security psychiatric hospital, so my practice was developed from these two incidents.
What is the focus of your practice?
My practice is located within themes of domesticity and seeks to examine the way ordinary, everyday and decorative objects lend personal meaning to the spaces we inhabit, and our subsequent relationship with these objects.
Having originally qualified as a graphic designer my practice embraces an interest in typography and explores the potential of analogue processes, including letterpress and the typewriter.
What are you working on at the moment?
I am currently working on a series of books as part of a collaborative project with Tamar MacLellan; the project explores found items unearthed within a domestic garden and considers how they capture a glimpse into the lives of previous residents. Two books of this trilogy have been completed so far – Recovered/Recorded and Kept.
My instagram account is @wood.philippa
How did you become involved in artist’s books? I trained as sculptor at Chelsea but became more and more interested in artists’ books as a means of enacting book/sculptural sequential ideas. I also liked the modesty and portability of artists’ books, the way you can …
How did you become involved in artist’s books?
I stumbled into making books in 1990, while working with a laborious process, involving liquid dye and silk. I deconstructed the process into a 12 image sequence, which reveals how the colour, repeatedly and randomly overlaid, retains an extraordinary purity and luminosity of hue and tint, which is unique to this process.
I joined a bookbinding course hoping to make it into a book, but instead became hooked on making books. It took 5 years of exploring possibilities and solving problems before I could show it at the first bookfair I took part in – the 1995 Artists bookfair at the South bank Centre.
Making books became integral to my work from that time.
What is the focus of your practice?
I make unique book objects, and multiples in small numbers – often combining hand with digital process. Some record my response to place and time, through colour and drawing, while others explore the physicality of surface, whether of paper, or with more experimental materials and print technologies such as heat fused polyester and plastic lamination. I also like the dynamics between the actual tactile surface, and the illusion of texture – a game, of what is real, and what is illusory.
What are you working on at the moment?
The focus has become increasingly sculptural. My latest collection uses tissue paper layered with polyester film, and sometimes Transclear tracing paper and Perspex to make pieces in which I explore pattern and page repetition. The speed of cutting on the laser-cutter, is contrasted with slow stitch techniques to form the book.
WEBSITE : www.pathodson.co.uk
FACEBOOK : https://www.facebook.com/pathodsonart/
ARTISTS BOOKS ARCHIVE https://pathodsonsnotebook.wordpress.com/
Alastair R. Noble How did you become involved in artist’s books?I have made artist’s books throughout my artistic career. I trained, as a printmaker therefore the production of artist’s books was a natural transition. In light of this, I have employed a number of printing …
How did you become involved in artist’s books? I have been making books for over 15 years, an interest that grew from a retreat I was on in Portland, America. What is the focus of your practice? Beachcombing has always been a passion of mine, …
How did you become involved in artist’s books?
Gordian Projects is co-edited by Emma Bolland (artist and writer), Tom Rodgers (artist), and Judit Bodor (curator). We set up the press in 2013 to publish a collaborative text/image book by eight artists and writers who we were mentoring for the Place and Memory project. After the experience of producing that book, it seemed logical to carry on producing more books under the Gordian Projects imprint. We produce our own work, and collaborations with and by others. Production ranges from the entirely hand made to the commercially printed.
What is the focus of your practice?
We produce work that operates at the intersections of artist book, art writing, and literatures. Recent examples would be the collaborative performance score Sh! ffLight! by Emma Bolland and Helen Clarke that uses typography as musical notation in transcribing a zaum poem / art writing piece that was written for and performed at Writing Photographs at Tate Modern last year, and a text image book ‘More Than Stories’ made with the artist-filmmaker Anya Lewin that uses stills and scripts from her film trilogy staged this year at the John Hansard Gallery.
What are you working on at the moment?
We currently have three new projects in development: an experiemental essay on ‘interior edgelands’ with the writer/architect Matthew Turner, a book of collage with the artist Jean McEwan, and an intergeneration photography collaboration between Tom and Paul Rodgers.
Website: https://gordianprojects.com
Instagram: @gordianprojects
Twitter: @gordianprojects
As summer starts to draw to a close we, at Sheffield Artist’s Book Fair HQ, are beginning to get very excited about the Fair on 5th October. We will have 70+ artists exhibiting on the day. Over the next several weeks we will introduce you …
