Findings : 71 Objects has been selected to be part of the Westmorland Landscape Prize exhibition, which runs from 13 September to 10 November at the Rheged Centre, just outside Penrith. If you’re in the North West during that time do pop in and have a look. There are over 70 artists from all over the UK, showing a range of work that ‘celebrates and interrogates our relationship with the landscape’.
One of the ways I am exploring and recording my allotment plot is through a series of weekly plant print books. These are small hand made, coptic bound books. Each week I gather leaves from the plot (whatever is available or things I’ve weeded or trimmed anyway) and use them to fill the pages of one of the books using botanical contact printing (or eco printing). I’ve been surprised how much variety I have managed to maintain, even through the low weeks of winter. When I started the series last summer I really wasn’t sure how much would be available at this sparse time for growth. Bramble and a few other self-sown weeds are a constant and are keeping my little pages filled as we head towards spring.
This series of 52 books will be exhibited in August as part of Natural Selection, a group exhibition at the Festival of Quilts in Birmingham. I will also be giving a lecture at 10.30 am on Thursday 1st August as part of the talks & lectures programme at the show.
My exhibition Findings continues until Sunday 20th January at SNAPArts, Wakefield. This is a private gallery and there are two dates in January when it will be open, otherwise visits can be arranged by appointment (contact details in previous post). The open dates are:
Tuesday 8th Jan: 11 – 5
Sunday 20th Jan: 1 – 5
I hope to be there in the gallery on both dates and look forward to talking to visitors about the work. As well as the two groups of 60 objects shown in the images, there are framed and unframed works on show.
Last week I installed North Atlantic Drift: Curious Objects. This exhibition uses a wonderful ‘cabinet of curiosities’ at the Old Low Light down on the fish quay in North Shields, Tyneside. The cabinet, which was designed especially for the space, sits amongst a fascinating multi-media heritage exhibition. There are many drawers of different dimensions and scales, with plinths and boxes on top.
This collection of altered found items and constructed forms are based on objects gathered from northern coastal locations of the British Isles. The materials have been subjected to the forces of North Atlantic Drift (the northern extension of the Gulf Stream); they have been shifted, displaced, scoured, tangled and fractured. Organic and man-made debris, floating on currents or shifted by water and tide, is intermingled, broken down and re-configured.
The space is filled with my altered and constructed objects until 30th June.
I collected Unknown Book from Newcastle Library last weekend, taking my piece off the shelves up on level 6, where it had shared the space with the local interest collection during the Love Big Books Exhibition.
Gary Chaplin, one of the participants in the Fifth-Sized Book Adventure has made a great little film using interviews with some of the artists explaining their contributions to the project. You can see the film here.
Next Sunday (26th November) I will be at the Knitting and Stitching Show in Harrogate, demonstrating in the Artists in Action studio all day. I will have part of Unknown Book with me, as well as lots of samples and examples of book structures, with which I will be playing and demonstrating. The show is also another chance to see Page 17, the Embroiderers’ Guild exhibition in which I have a piece connected to my Unknown Book project. If you’re at the show do come along to the ‘studio’ and say hello.
Unknown Book: Paper, linen, acrylic, acetate, ink, natural dyes, gold leaf.
A collection of hand made book units with stitched Coptic binding in linen thread, using new and re-purposed paper (discarded by the library) and incorporating print, natural staining and gold leaf.
On Wednesday I took Unknown Book up to Newcastle to install in the City Library as part of the Love Big Books exhibition. My piece is on library shelves up on floor 6 of the library in amongst the books that live there permanently. I didn’t know until I got there where my work would go in the library. I’m thrilled with how it sits amongst the ‘real’ books, almost camouflaged.
The exhibition is on all floors of the building, with work in a variety of different spaces. Visitors will either seek out the work and explore the library through the exhibition, or they will come across exhibits whilst using the library for all sort of different reasons. The exhibition continues until 17th November.
The individual units that make up ‘Unknown Book’ are a series of small Coptic bound books. The structure that encases the books is made up of 106 units in a grid. Some of these are filled with one book structure, whilst others contain a number of separate sections. There are therefore around 250 individual items that make up this collection.
The book structures are made of a mixture of good quality printmaking paper and re-purposed paper from publications discarded by the library. Edges are torn and uneven.
The books made of new white paper have been marked, dyed, stained, printed, wrapped, scrunched, rubbed, scuffed, distorted and dipped. The structures made of re-purposed books, magazines and papers have been bound, scrunched, curled, wrapped, sliced, deconstructed, reconfigured, cracked, folded and formed.
Together these make up a collection of experiments with material, form and process. They contain a record of my thinking and making around the subject of a collection of books; about scale and accessibility; about classification and collections; about the physical properties of paper and the changes it might go through.
Having made certain decisions about what I was going to concentrate on (book structures as ‘units’, exposed stitching, split sections, fragments of cover, staining, page edges) it was now time to experiment with those details. I sampled different possibilities, identifying exact scale and dimensions and finalising how the work would be presented. These areas were explored alongside each other to some extent. I identified a type of acrylic box divided into units that would sit well within the standard library shelves. I wanted my work to be shown on the shelves, whether that was in amongst the normal book collection or in a gallery space within the library. This acrylic unit (about the scale of a large book) would encase my little books, keeping them safe from disruption by library visitors, whilst enabling viewing from both sides. That containment would also echo the string-bound big book, which cannot be opened: my little books will not be open-able either. The divided acrylic unit had a suggestion of the exposed spine of the big book, which is divided into an uneven grid by the lines of stitching in one direction and the split sections that make up the thick volume in the other. I could fill one of these gridded boxes, or 3, or any number, depending on how long it would take me to make the book units to go within.
This is the second in a series of posts about the Fifth-Sized Book Adventure. For the rest of October I will be posting every couple of days about this project, explaining how I have created my contribution to it. My role in the project includes sharing my process of developing work, for the participants on the project, but I also wanted to make this available to anyone else who might be interested in following that journey.
Having listed (in a previous post) some of the qualities that interested me about the Fifth-Sized Book collection, I realised that it was the physical nature of the books that I was interested in. How could I choose a particular book because of subject? That approach wouldn’t be right for the way I work. I am interested in the materiality of things. It was the way that the books had changed over time that really grabbed my attention: the way that page edges or corners had become scuffed with use or marked by contact with hundreds of people’s fingers and exposure to light; the torn and worn covers or those missing parts of their covers; the marks made by institutional stamps that were now integral to the pages, recording a history of ownership, use and classification.
One particular book stuck in my head after that first visit to the library. It was a chunky volume, sitting on a shelf amongst different sized books. Its spine was missing, leaving the stitching on the inside of the spine exposed and showing how the thick book had split into three sections. The whole volume was tied untidily with old string to keep the sections together. This binding and the loss of the spine cover meant that there is no way of knowing what the subject of the book was.
On my second visit I made straight for this volume, confirming my gut reaction that this was the book upon which I should focus my work. This seemingly very old book was a most intriguing object and by not knowing what its pages held it would remain for me an object whose physical state greatly interested me.
When this book is touched it leaves a mark on your fingers and any clothes or surfaces it comes into contact with. What remains of the leather cover is breaking down into a powdery brown dust. The exposed stitching on the spine is clogged with residue of the glue that previously held the cover on. Some sections retain fragments of the spine cover, with one small area showing blue with embossed gold detail, like a glimpse into the book’s previous state.
This is going to be the first in a series of posts about a project I am currently involved in: the 5th Size Book Adventure based at Newcastle Central Library. I am one of a group of lead artists on this Arts Council England funded project, commissioned to share my experience with the participants and make new work, the development of which will be visible for the participants to engage with as they wish. There are around 20 participant artists who are all creating work in whatever medium they use (and it is wide-ranging) in response to the 5th size book collection. They are also recipients of a programme of professional development sessions. All the work will be presented in November in an exhibition in the library itself.
What is a fifth sized book? There are various different ways of classifying book sizes. Most library books, in the UK at least, are classed as 1st size (up to 27cm). There are second, third and fourth dimensions and then anything over 63cm is classed as fifth size.
At Newcastle Library the fifth size book collection is an eclectic mix of subjects, sizes, formats, ages and states of repair. The shelves of third, fourth and fifth size books are all out of access to the general public and the main thing that unites them is their non-conformity with the more standard book sizes on the standard library shelves. It struck me, when being shown the collection, and whilst walking past the area where newspapers are collected and stored (for 1 month after publication), that newspapers are a more ephemeral version of over-sized books. The local newspapers, the Journal and the Chronicle, therefore might be considered part of the collection.
To be invited to take a whole collection of books on such wide-ranging subject matter as religion, architecture, Shakespeare, poetry, history, atlases, dictionaries and many more is a pretty wide starting point. Some might choose one particular book, either by careful consideration or picked at random. The subject matter of that book might take one off on all sorts of creative journeys. Some might decide to focus on the collection as a whole; its physicality; the fact that it is hidden away from public view. Others might concentrate on the whole idea of scale: large scale, possibly small scale, even changes in scale.
I picked a few volumes off the shelves for a closer look: The Complete Woodcuts of Albrecht Dürer; One Day in the World’s Press; Goethe’s Faust (this had a library stamp on every page); Illustrated Catalogue of Bookbinding. The borrowing history in the front of this last one was interesting because it was first borrowed on 20th August 1904, recorded with handwriting in pencil. It was then borrowed 18 times during the next 30 years. On 5th September 1949 it was borrowed and the record was made with a stamped date for the first time. It was borrowed five more times until the last recorded date stamp on 26th May 1966.
After this first visit I listed the things that had jumped out at me:
Gaps – views through to more books
Piles of books
White Gloves (some of the books are fragile but we were actually given gloves to protect us from dusty and disintegrating covers)
Too fragile to open
Dust and staining from perishing covers
Worn and grubby
Greys, blacks, browns
String holding one book together
Pattern and texture on spines
Massively varying subjects
Loose edges of spine