Construction

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.

In Residence

My first couple of days working ‘in residence’ in the library provided a really focussed period of work on the project. I brought the starting points I had developed, along with sketches, photographs and notes to show any interested participants or members of the public. The ‘big book’ was brought down from the collection to sit on my worktable and provide an important proximity to my working process.

I continued to work on the book units, having now identified the exact dimensions to make. I wasn’t working any differently to how I would in my own studio, but being in the library itself provided a focus and impetus to my making and thinking. The library had been asked to collect together any papers or books that would have been otherwise discarded so that I could potentially incorporate them into my work. The range of these was slightly disappointing, but was enough to start exploring possibilities. The lovely library staff found me a tin of old library stamps and some inkpads, which I played with on the surface of some of my book units.

About a month later I had a second residency session, again working in the library in an intensive way and exploring further the use of withdrawn publications in my book units. This time in the library also allowed for participants in the project to visit and talk about what I was doing, as well as the development of their own work for the project. That sharing of process, thinking and development between the artists involved is a key part of this whole venture. Those discussions are so important for artists to have with their peers or mentors, partly as a means of over-coming problems (that you sometimes didn’t even realise were there), but also in a spirit of support and understanding. Even just describing what you are doing or trying to achieve to someone else can solidify things in your own mind and provide a way forward or even just a confirmation that the approach you are taking is right.

 

Making (decisions and books)

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.

Playing with (book) structures

I have long been interested in making simple book structures. My work previous to this project had included making a series of small Coptic bound books that then became the repository for recording some aspect of the landscapes I was visiting. The stitched binding remains exposed on the spine of the book, which is made up of page ‘signatures’. Bound together with a series of interlocking stitches, the book structure becomes a unit that flows beautifully in your hands or can sit open in a variety of curves through to a full circle. Using a fairly substantial, good quality paper for these books, I became fascinated by how this basic structure as my ‘blank’ unit could then be dyed, printed, dropped in puddles or dipped in exposed estuary mud, collecting some physical aspect of the landscape, just as I had also treated similarly ‘blank’ units of hand woven thread.

So it was only natural that my initial thoughts for this project were to make books. But… surely that would be too obvious? Wouldn’t everyone else be making some sort of book? Just because the starting point is a collection of books the creative response could take any form…

I considered something less bookish… I had thoughts about possible directions:

using the shelves on which the books are kept

the spaces within these shelves

the repetition of the book unit

the scale of these large books – making something big!

But I kept coming back to that incredible exposed spine. Just because something seems obvious doesn’t make it wrong. That gut reaction I’d had about ‘my’ book seemed just as relevant for my intuitive desire to explore this stitched bound book structure. Furthermore, to have some sort of continuation of themes between projects seems very justifiable. After all, we divide our work into ‘projects’ to present to our audience but really an artist’s work is a continuum, an ever-evolving line of inquiry.

Unidentified Book

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.

West Dean

Alice Fox 49 Beer Bottle Tops1

I will be teaching a workshop in March at West Dean College in West Sussex. As a new tutor to this renowned centre for the creative arts I have been invited to show some of my work in the College foyer in the run up to my course there. I have sent a variety of work to show in this exhibition, including: Spurn Cloth #1, the large art quilt piece I made during my 2012 residency at Spurn; 49 Beer Bottle Tops (shown above) and 76 Hair Grips (both incorporating found metal with hand stitch and natural staining); a selection of paper-based pieces incorporating rust prints, collagraph and stitch. The exhibition runs form 10th January to 10th March.

enchanted april

Alice_Fox_Puglia_olive_grove

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!

Alice_Fox_studio@masseria_della_zingara

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.

Alice_Fox_Puglia_agricultureAlice_Fox_afternoon_stitchingAlice_Fox_collected_words&plant_marksAlice_Fox_old_olive_treeAlice_Fox_recording_place_book

walking the lanes

Alice Fox end of harvest

Suddenly the seasons have shifted. Although today is the start of the meteorological autumn it doesn’t always feel autumnal on the first of September. The last week has felt very autumnal with changes in the feel of the air and subtle shifts in foliage colours. There are fruits and seeds ripening and all sorts of interesting fungi appearing. Last week I was teaching down in Hertfordshire and staying in a village surrounded by arable fields. The harvest over, machinery was busy turning the earth ready for the next lot of crops. One day a golden blanket of stubble covered the gently rolling landscape and the next it had been turned in on itself, revealing rich chocolate brown earth.

Alice Fox walking the lanes fungus

Walking the lanes near where I was staying my hands became full of treasures, so much so that I used my umbrella to hold them! I don’t now very much about fungi and I wouldn’t normally do more than admire. But I do know a puff ball when I see one and I was delighted to find one that was fresh and firm: ideal for my tea.

Alice Fox walking the lanes collection

Back in Yorkshire a day later and we walk in local woods. Again there are beautiful perfect fungi, ripe berries to pop straight into the mouth as we walk and under one tree we find a scattering of oak galls, which I gathered for use in dyeing.

Alice Fox woods walk fungus

At home I drew the berries I’d found on the lanes and used their juice to add colour to my pages. The colours won’t stay true for very long but there is something ‘true’ about using the object you’ve drawn to make marks itself. A leaf that also caught my eye because of its purple hues sits alongside and seems to sum up the shift in the year.

Alice Fox berries and leaf sketchbook page

collar books

Alice Fox Shirt collar book #1 d

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.

Alice Fox Shirt collar book #3 a Alice Fox Shirt collar book #3 b Alice Fox Shirt collar book #2 c
Alice Fox Shirt collar book #1 b

Alice Fox Shirt collar book #1 a

leeds artists’ book fair

Leeds Artist Book Fair 2014_Page_1

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 HaberdasheryAlice Fox Forgotten Haberdashery book detail 3

Alice Fox Forgotten Haberdashery book detail 4