Earlier this month I was fortunate to be in Southern Italy, teaching at the wonderful Masseria della Zingara. We had a great week exploring the land around the Masseria, walking the lanes, collecting things to use in the studio and using various techniques to record our experience. We collected, printed, stained, wrote, stitched, wove, folded . . . and ate!
Spring was in full swing (which it certainly isn’t yet here in the UK!) and we were surrounded by fruit trees in blossom, beautiful wild flowers and a green lushness that I’m sure will have gone once the temperatures rise later in the year. The wonderful red earth in that part of Italy provides a striking foil for the colours of growth. And of course my travel reading had to be The Enchanted April by Elizabeth von Arnim, which provides the story for one of my favourite films, a must-see at this time of year.
I have books on the brain at the moment – if I’m not writing words for one, I’m playing about with book forms. On a recent workshop I was teaching, where simple book forms was a small part of what we did, I was inspired to try out some new bindings. I used some of the demonstration samples to experiment with and now they have become little books.
I recently got a copy of Little Book of Book Making, out in America (and I think a UK version is coming out later in the month under a different name) in which my work is featured alongside some amazing book artists. Making books is just a small part of what I do and I only use very simple structures, so I feel very honoured to have been included in such a collection.
Now that the Shirt Collar Project exhibition is open and the final pieces have been revealed I can share a few images of my finished work. There is a full explanation of the process and decisions that led to these pieces over on the project blog. I ended up making three small book forms using the prints I made from my collar. I find the 3D nature of these pieces very pleasing. I often feel drawn to working in a more three-dimensional way and perhaps this project has taught me to go with that impulse. I really allowed the experimentation with the materials to lead me this time, with no particular outcome in mind: a really useful challenge.
I’ve been working on my contribution to the Shirt Collar Project and it has taken me in a direction I didn’t expect. Pictures of the final pieces from all ten artists will be revealed over on the project blog but here are a few images of my process as it unfolded (or folded!). I didn’t expect to make book forms but having printed from my collar on to both paper and fabric I then tested various routes and this was the one that I ended up following.
I will be at this lovely event this weekend at The Tetley, a new contemporary art gallery in Leeds. I first showed at this event last year and it was a very friendly gathering of all things book art. I’m looking forward to seeing the new venue and meeting some lovely artists’ book making/appreciating people! I’ll be taking some of my Tide Marks books along, as well as this: Forgotten Haberdashery
Tide Marks is finally up at Gate Gallery, Grimsby. We put the exhibition up on Tuesday with the expert help of Sue Stone and the exhibition opened today. The private view (I’ve never worked out why they’re called private when everyone is welcome!) is on Friday evening from 6-8.30pm. I’ll be there so if you’re in the area do come along.
I grew up in Grimsby, so as well as the place having strong links with the sea and therefore being a very appropriate place to show this coast-inspired work, it feels great to be showing in my home town.
The book published to accompany the exhibition is available to buy here.
Hebden Bridge Rag Market are holding a summer exhibition on the theme ‘haberdashery’, with 20 artists work displayed in 20 shop windows during July. My book Forgotten Haberdashery is one of those 20. This features marks made by rusty pins from a rusty round tin, prints from scraps of lace and yarn, an old button, vintage silks and an abandoned needle. I’ve used rust prints, collagraph print, embossing, monoprint, screen print, chine colle, and stitch (gosh, that sounds a lot but the surfaces are actually quite subtly built up). I’m looking forward to hearing where it has ended up…
I’ve been playing about with old envelopes and have made a series of small note books using them. I’ve always loved the patterns you get on the inside of many envelopes and often keep them ‘just in case’ they might be of use. Now I’ve found a way of using them and giving them another life. I’ve enjoyed playing with some of the printed marks on them, deliberately including bits of text, stamps and those little windows that allow you to see the address on the letter inside.
I’m reading Roger Deakin’s Wildwood: A Journey Through Trees at the moment. Anyone who reads this blog regularly will know I’m a fan of nature writing and there is a pile of such books permanently on my bed-side table, either waiting to be read or ready for me to dip back into a favourite section. There is a chapter where Deakin describes visiting the artist Margaret Mellis, which I read the other day. Because he is focusing on trees and wood he is particularly interested in Margaret’s use of driftwood for her sculptures or assemblages. He also describes her drawings made on opened out envelopes and he makes an observation that really struck a chord with me:
Letters, like driftwood and ideas, arrive out of the blue. They are gifts. The envelopes, like the driftwood, had a former life, and would generally be discarded. Mellis gives them new status and a function. Ingeniously reusing an envelope, or driftwood, to make a picture is, in the context of environmental politics, a deliberately frugal act. Both were once trees, and what would otherwise have been wasted is turned to good use. (p 188).
The phrase ‘a deliberately frugal act‘ has stayed with me since I read it as I know that many of the decisions I make both in my life in general and in my artistic practice are just that. I am excited by the possibilities of the found or discarded object and see it as a challenge to make use of them. If by doing so I can reduce the consumption of new materials that is another challenge met. This doesn’t mean I won’t use new materials but I am always considering carefully how and when I do.
I’m currently preparing for a series of workshops over the next month introducing people to printing and dyeing with rust. I am gathering collected rusty things as well as a range of materials on which to make our rusty marks. Fittingly, the first of these workshops next weekend will be held in a salvage yard. I’ll let you know what we find and how we get on. If you fancy making some notes on the back of an envelope then the little books are available here.