Monday, 29 October 2012
Curtains, my second work for BookArtObject Edition 4, is done! It is a reflection on the nature of BookArtObject, shaped by four questions I set myself at the start of the project:
1. The logistics (and cost) of posting parcels around the world means that BAO works are mostly small in size. Is this inevitable or is it possible to produce a larger scaled work?
2. The splitting of a large number of BAO artists into sub-groups means that the work produced is mostly shared only with the others in the sub-group. Is it possible to produce a work that is equally accessible to all?
3. One of the defining features of Sarah Bodman's An Exercise for Kurt Johannessen (the starting point for Edition 4) was its ephemeral nature - it ceased to exist almost as soon as it was created. Should (and if so how should) this be acknowledged?
4. Editioning can be tedious. Is there a way of making the end point seem more than the satisfactory execution of a multitude of repetitive tasks?
The result is an installation that existed for the time it took for a record to be made of its existence. Its component parts are now in Queensland, New South Wales, Victoria, the Australian Capital Territory, the United Kingdom and the United States.
More photographs can be found here.
Tuesday, 23 October 2012
conference notes arrived in sheet form - beautifully prepared on quality stock, with thin sections, generous margins and the paper grain running in the right direction! With my second BAO4 edition now out of the way, it's time for a new project and I've decided that it should be a fine binding of these notes. The afternoon has been spent trimming the sheets and folding and assembling the sections. The next task is to settle on a design. No decisions made at this stage except that I will probably use one of the lush hand made Tibetan papers (above) that I picked up from US binder and conservator Jim Canary at the event. Watch this space!
Friday, 19 October 2012
Friday, 12 October 2012
Cartographica, Little Bit Long Way and Tinted Undercoat Required - using covered box board for the leaves and gros grain ribbon for the hinges. I had a chance this week to talk with local binders and book artists about some of the techniques I developed for producing what I believe are reasonably elegant works. I also spoke about some of the more traditional concertinas that have peppered my binding life, including one (above) made jointly with a recent four year old visitor to BEMBindery. It seemed to go well but, as is always the way with such talks, I came away feeling that there were things I forgot to say, things that could have been better expressed and a resolve to be a bit sharper next time.
Sunday, 7 October 2012
I've written elsewhere about the first of these (41: It's beginning to hurt) and included a photo of the second (Cartographica) in an earlier post. The photo above is a detail of this latter work. Cartographica grew from a realisation that paper maps are fast disappearing, with the information they contain either being lost or made available only in digital form. The work is a concertina binding, consisting of 162 fragments of maps and charts, arranged in random sequence. At just over four metres in length, it is the 'longest' book I have produced to date. It was great fun to make and I've since fantasised about what it would be like to make a concertina binding with a length of, say, 20 metres or even 50 metres. Perhaps a project for a community workshop?