Stone Piles

stone piles 1

I am home from a short vacation at the English East Coast. I brought a selection of stones, sea glass, and shells with me. I tried to make my kids collect some, but they just picked them up to throw them into the water (great fun, apparently), and so I had to be careful to make sure they indeed went home (the stones). I was surprised and delighted by the range of colours the stones had. At the time I picked them up, I thought would go into bottles to be posted. But now I am not so sure anymore what to do with them.

While struggling to find back to work, I decided, they need to get arranged in piles in my studio.
stone piles 2

The stone in the middle here is specially fascinating, the one with the hole. This hole was drilled by anothe small stone. The hole goes almost through the hole stone, and the little one is holding on by just fractures of mm:
stone with hole detail

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Book Art Exhibition at the Liverpool Central Library

Picton Reading Room (one of their reading rooms) at the Liverpool Central Library

As I mentioned to people on Facebook before: I had a wonderful Saturday in Liverpool, visiting the city and the exhibition in the Library with the whole family. I am grateful to be blessed with two children who love libraries. Little boy had a little tandrum when we left the library, and another one when we, after visiting the docks, got into the cars and he realized we would be driving home without visiting the library once again. When I told him yesterday that we would be going to the library (in Wollaton), he insisted he wants to go to Liverpool. And right he is: It was a wonderful library, with an architecture where new embraces the old in a quite literal sence: At some parts when walking from new, light structures with lots of glass into the old building, it is actually made such that the old outer brick wall remains visible. The photo below has been taken in the new part and will give you an impression how diverse the different parts look.

little girl and I going up in Liverpool Central Library to see the exhibition

In the first picture above you see one of their reading rooms, obviously part of the old structure. Oddly (I think it is a strange decision for a library) this is a “whisper room” where you can hear every whisper. Our kids celebrated with yelling and had to be taken (i.e. chased) out of it as soon as possible. Right beneath it they had a children’s section, naturally also a round, with carpeted wide stairs that doubled as sofas leading down to a place where now the fair was put up. It had much light, a very child-friendly atmosphere, and also accustics that did not make us immediately the centre of everyone’s attention.

Picton Reading Room (above), Hornby Library (below), and the Oak Room (unfortunately without photo) are the rooms where the library has their rare books and design bindings accessible. You first enter the Reading Room and exhit through a side door to enter Hornby Library, which has another exhit the the Oak Room. It was amazing to see the artist books among design bindings, and very interesting. I was very happy to see a Mark Cockram original for the first time. On the Oak Room a copy of Bird of America is on display. – I never knew it was so big! I took a couple of photos of the design bindings as well, but they are so poor quality, that I don’t want to bother you with them. – There is not much to see anyway.

Hornby Library in Liverpool Central Library with artist book exhibition

Upon entering Hornby Library: The pieces you can see hanging there are 616 Balustrates created by Carol Ramsay specifically for this exhibtion. The cut paper shapes mirror the balustrates on the gallery in this room.

In the far corner you can see Julie Dodd‘s Can’t See the Trees for the Forest. It made for wonderful photos – I think I saw every single visitors taking snaps at it, and I also could not resist the temptation:

Julie Dodd, Can’t See the Trees for the Forest

There were a total of 39 works on display in the Hornby library which made for a pleasantly intimate exhibition. There was a wide selection of different works, a wonderful display of book art in its many shades. I did not snap pictures of all of them, but I thought you would like to see some:

Hannah Fray, Moth

Hannah Fray‘s Moth is a layered accordion structure, with the moths cut out partially to give a three-dimensional feel to them. It is probably easier to understand what I mean when looking at the next picture:

Hannah Fray Moth (behind) and November Moth (front)

Henri Matisse, Jazz (front) and Deborah Neely, Chartres partially visible (back)

Lizanne van Essen, Suspense

Louisa Boyd, Flare

James Reid-Cunningham, Abstract #19

I am sorry but my photo of James Reid-Cunningham‘s book doesn’t do it justice at all. It is a fascinating piece, all angles and lines and points and holes. You will find some more pictures on his website, but I don’t find them much better than what I managed here: It definitely is a book to experience. I wish I could have held it. It made me want to have a go at some more geometry books once again, and pick up where I left with to touch and to cut. Well, back to the topic of the exhibition on hand:

Lynette Willoughby, Textures Book

A simple counts tells you I have failed to photograph a lot of equally fascinating books. I also failed to take a photo of how and where my book was displayed, but well – you know it by now!

As mentioned before, after visiting the exhibtion and fair (unfortunately without photo) we walked through the city to the docks – of course to put a bottle into the river Mersey

me, throwing a message in a bottle into the river Mersey near Albert Dock in Liverpool

As usual, you can read more about that (and see more photos of the docks of Liverpool) on my blog dedicated to the project message in a bottle.

Liverpool is a fascinating city. Unfortunately we did not have time to see much of it. But we already decided to come back again with more time on our hands.

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Progress – a little bit

a view at my sideboard. Other than usual this time you can even zoom in to see some of what I put into the boxes if you keep clicking on that photo.

The first thing I did after an almost one week break in my studio was tidying up. Not the usual make-my-work-surface-usable-again tidying up, but the and-also-the-stuff-that-is-waiting-to-be-looked-at-again tidying up, which is a  step more thorough. I tossed some really old projects (for example I figured I will never finish the next two moebius books that I had planned (here and here), and neither the box for the last one I made), and thus made space for packing other work in progress safely away. I like to have the materials that otherwise would scatter every even surface here and there in one box for each project. That didn’t quite work out due to lack of space. But – wow! – I am currently working on seven projects simultaneously. I could have known of course, none was completely forgotten about (yet), but I was not aware that there were quite so many. Just sorting through the stuff helped me sort through my thoughts as well. Some really just needs a small finishing touch.

When I lay awake at night after putting little boy back to bed, I began to think what was the reason to put each single one temporarily aside. I tried to see the bigger picture, and – bang! – I had an idea for nightmare. So the first box is finished now :-)

inside box has a pencil sketch of a leafless tree, leaves sourround it, grass and water in the distance, moon in the sky

the spell can be found outside on the bottom of the box

the box then gets filled with various found objects, a bit of wood, a cherry stone (I think) a blade of grass, a leaf, a piece of copper, and in this case a stone

 

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Swap – Cathryn Miller, “L is for Lettering”

L is for Lettering by Cathyn Miller

You might remember that when I first finished “absences“, I offered to swap it. This post is about another book that I received in return: L is for Lettering by Cathryn Miller.

The bookblock is handbound (presumably without support) and then glued into the thick hemp paper covers that you can see in the picture above. The book block has been laser printed; each spread has one page that shows some scanned hand lettering.

L is for Lettering by Cathryn Miller

Unsurprisingly L is for Lettering is an alphabet book. In the photo above you see page “B”: The first word on the left starts with a “b” – “because”, and on the right hand side you see an example of the Baskerville Typeface.

Throughout the book, the lettering is being commented on in red pencil, remarking on flaws in the setup, like “uneven fill” or “untidy serifs”.

On the front flap of the cover, a little piece of the original lettering is included:

L is for Letterpress by Cathryn Miller

The text on the other pages tells the story how Cathryn, seeking to be educated as an artist, ended up in a design and lettering class with “Mr. M”. For good reason she deemed most of what she learned in that course useless, what with computers being used in the printing industry more and more. On the “V” and “W” pages, however, you can find her writing “I never imagined that I would one day use the skills that I learned that year, that I would actually use lettering and design and even layout to produce my artwork.”

L is for Lettering by Cathryn Miller

I love this book for many reasons. The first impression I had: I think I am in love with hemp paper! It seems strong, yet flexible. The paper used for the cover has about the thickness of cardstock, but has this textile quality that amazed me when I touched cotton paper for the first time. (When I first tried cotton paper, I thought I would never use any other paper ever again!) But compared to cotton paper – at least the one I usually use -  this is coarser and a bit stiffer. I love this roughness, and the grain this paper has… Well, I could keep on talking but I don’t want to bore you.

Then: I love alphabet books. As apparently does Cathryn because this is just one of several alphabet books she made. I count eight at Vamp and Tramp only. My husband M. is the one in the family with strong opinions on different typefaces, on how to set type and all that sourrounds text design. But like many things and ideas in a marriage, even out, I learned a great deal from him, and once you know about kerning for example, you cannot ignore faults anymore. So this book also feeds this part of me in a pleasant way.

And it was a pleasure to read a bit more about Cathryn’s artistic background, and her writing is entertaining and funny. Thank you very much for this fabulous book, Cathryn!

 

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Book Arts Fair in Liverpool coming up – Die Stadt/The City on display

a shot from my laptop camera

Live goes by in a flurry once more with therapy sessions every single day this week, and no studio time for me. I am very weary of hospitals, therapy, and especially therapy dressed up as play sessions. Even my kids see through this easily by now. To keep myself in good mood, new hair dye is drying on my scalp as I am typing this. The result will hopefully be blue hair, but might end up nothing or blue skin – who knows. The excitement of the unknown…

I don’t have much time for blogging – the instructions actually say, I should have rinsed my hair 5 minutes ago. But I wanted to remind you that on the upcoming weekend there is the book art fair in Liverpool. I will probably be visiting with husband and kids. My book Die Stadt/The city is on display in the accompaning book arts exhibition, and I was very happy to hear that it has received much interest from visitors (and apparently they sold several copies, which I am going to bring on my visit. – Yay!). If you want to take a look, too, now is a good chance! If you indeed intend to go, drop me a line – it would be fun meeting up with you for a coffee.

Talk to you -hopefully- soon when I have more time at my hands!

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Nightmare Boxes Update – Thinking, Pondering

I am currently pondering how to add text to my nightmare boxes. It is another one of those projects of which I thought I would finish it in just a week and now I have been working on it for much longer. The project started out rather straightforward:

The first trials consisted of just the text written on paper, adorned with images from an medieval manuskript, folded in a labyrinth accordion style and inserted in the box. The plan was to completely print them on my pigment inkjet printer, decorate the boxes, – done easily and fast. But I became more and more dissatisfied with the look of the writing and the exact positioning on the paper, and the paper as a medium while I was preparing for the printrun.
The first modification was to write the text with a goose feather. Although not completely convinced of my caligraphy skills, I liked this “more medieval” look. A sample of scanned, and layered over the existing document.
The next modification was printing on parchment rather than paper. The printing itself worked surprisingly well. But a variety of other difficulties came up: While looking cool, the folding was not so easy, and the resulting textblock was rather thick, and had a rather tight fit in the box. The folded sheet had two spreads that were hidden, and therefore did not carry any text. Thinking of how to reduce bulk, I realized that the structure of the labyrinth accordion was not only too bulky, but generally not so very well chosen. It is great if you want both a text that can be leafed through, but also use the backsides that, once the structure is unfolded, give an additional something. – I had made it such that if you undid the labyrinth, you could see one of the creatures completely, together with brief information about the spell. But the image was not that spectacular, and it was not that much of a revelation I even had made sure that this informational text was readable while still folded.
So now I though of using a simple accordion structure instead. Or maybe a scroll, or maybe… Giving up this initial idea, the project opened up to a variety of options. Not quite decided what to do, I settled on making the boxes first.

Out of a whim I decided to fill them with found objects and let pieces of wood “grow out” of the boxes. That felt very right at the moment, I was not sure where exactly I was going.

I still like the boxes as such, but I am struggling to create a coherent something.

The past week I have pondered numerous possibilties of how to add the text and create a book, and I have not given up any of them. The main choice I will have to make is whether the text belongs into the box or whether the box is an addition to something the book with the spell. – I pondered for example making the box the cover of the book; making another box that holds both, the box and the book; putting both in a leather pouch; putting the text into the box such that it pops out when the box is opened; putting a book in the bottom of the box; using the wood as a dowel for a scroll…
It seems I have not found quite the right thing yet. Today I played with the idea of putting the text, written on a scroll, into a leather pouch. This in turn I wanted to fix to the side of the box. I reduced this more and more and ended up with some kind of napkin ring construction and a scroll to go into the box again. But somehow this still doesn’t seem completely right.

Probably I will have to gain more clarity of how the whole thing should work and function before I can decide on how to put in text. Or maybe I just need to take a break with them.

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Nightmare Boxes

my workspace this morning

There is an old German spell against nightmare (or creature nightmare), which I find very fascinating. Its translation goes somewhat like this:

Nightmare, you evil creature
don’t come here tonight.
You shall wade through all waters,
You shall pick all leaves from all tress
You shall count all spades of grass there are,
Don’t come to torture me tonight.

The original rhymes. – I am not good at translating in general, and poems are even worse. The idea behind the spell is that nightmare is not just forbidden to come but given tasks to fulfill that are supposed to keep it for so long that there the night will be over before it can come here.

In my current work I want to investigate this once more. Currently I am still playing and the project still shifts around and changes every day. Currently I am planning to combine the words in its original old rhineland dialect, written on parchment, with boxes of found objects. But I am still busy putting the boxes together, and I not sure where exactly it is going. I am also playing with the idea of using the lino cut I made a while ago or making a new one, too. I’ll see.

state yesterdat – already looks different today

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Busy, busy, busy

very first preliminary work, done in 2011

My apologies for being -once again and even more than usual- short-mouthed online and for slacking with replies to comments and emails, and many thanks to all who have written and commented nonetheless. All your messages were read, and very much appreciated; I more or less locked myself up here in the last week(s) to get the work done, and receiving messages and comments feels like an umbilical to the life and world ouside my attic refuge. -  But then, instead of returning the favour of connection, evil me just put the messages aside for the moment. I hope to catch up with you all in the evenings to come.

As you might have guessed from that introduction, I have been busy, busy, busy once more: Yesterday evening while hubby was watching a football match, I finished the first steps for a new book/edition with the current working title “346″ and am seriously thinking of yet another edition with the working title “Johannisfriedhof” (that is the name of a graveyard in Leipzig, translated it would be John’s graveyard) for which the first stages of planning have been done, too. I would like to finish them in the next two weeks, so time is really pressing.

I don’t want to give away too much at this stage, but I can say that much: 346 was my room number in hospital where I spend 7 weeks in 2011. I had the idea to make something about that since I first entered that room, and now, finally, I am ready for this book. It will be a collection of photographic prints in a box together with a small information sheet/booklet. I prepared all the images and ordered a first set of prints to work with. For the edition I am thinking of having simple boxes custom (machine-) made. To make editioning easy and keep the price of the finished product down. Since working withe the messages in bottles, I have grown more and more fond of the idea of democratic multiplies. – Experiences and/or tips anyone with having boxes made? Do you know a good place to order them?

The Johannisfriedhof is supposed to be another edition, and again I am looking for a low-end means of production. I might end up photocopying it, which will put it into the realm of zines, I guess. Also the combination of a short story, a short-short story with sketches and a centre-poster thingy fits within the genre, I guess. But will have to work more on the details.

Oh, and then there is also the “Nachtmahr” edition, for which a couple of boxes are already piling on my desk, but I currently have a few problems with the content. More about that when I have figured them out.

boxes with slight variations – trials for a “Nachtmahr” edition

And off I go back to the sketch-boards.

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Erased, a collaboration of Büchertiger Studio & Press and Rucni uvez Zoranoske

Version 1: Parchment with gesso ground on one side and acrylic wash on the other side, acrylics and ink

I mentioned before that I am working on a piece that is supposed to end up as a book collaboration between Zoran an me. The text is “erased” a poem that I wrote earlier this year. Since I started to work on it, I made countless trial versions, and now have 5 versions I dare count as actual outcome. Two of them – those that I like best, of course – are now on their way to Zoran, who will make a cover and binding for them. Not an easy task: How do you bind 7, 5 or 3 single pages?
Three versions are still here, and I wonder whether I should have a go at a binding, too.

Version 2: parchment, ink and acrylics, – no gesso or acrylic wash

Ich habe schon in einem vorherigen Blogpost meine Zusammenarbeit mit Zoran erwähnt. Seit ich zuerst daran gearbeitet habe, habe ich jetzt einen Haufen Probe-Exemplare und auch 5 fertige Exemplare von Erased fertig. Das ist ein Gedicht, das ich Anfang des Jahres geschrieben habe. Zwei von den fünfen – natürlich die, die mir selbst am besten gefallen – sind nun auf dem Weg zu Zoran. Er macht dann einen Einband und die Bindung. Das ist keine so leichte Aufgabe: Wie bindet man drei, fünf oder sieben Einzelblätter? – Drei Versionen habe ich noch hier, und ich überlege, ob ich selbst mich auch mal an Ihnen versuchen sollte.

Version 3: Parchment, gesso ground on one side, acrylics wash on the other, ink and metal leaf

Version 4: paper, ink, acrylics, – no gesso or acrylic wash

paper, gesso ground on one side, acrylic wash on the other, ink and acrylics

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Swap – Cheryl Penn, “Where I am at – Book 4″

You might remember that when I first finished “absences“, I offered to swap it. Some people agreed to a swap, and it is time that I show off some of what I received in return. Cheryl received my first book for her encyclopaedia of everything but her book was the second that reached me. – It had to travel far, coming from South Africa. The structure is that of an accordion book with a little booklet sewed into the first valley fold with a three hole pamphlet stitch. The pages feature different letters on several levels. I can make out a lot of “bbbb”‘s and “B”‘s, but there is also some writing, of which I have not figured out whether it is asemic. Also other glyphs can be made out and different writing is layered over each other.

According to the booklet, she explores here glyphs from the Bhubezi writing system. The borders between decorative strokes, letters from the latin alphabet and these glyphs is flowing and not always clear to me.

detail of some B’s

Those of you who have read this blog for a while know that I am very interested in writing systems as such, and I am intruiged by this skript. Cheryl’s explanation in the booklet raises more questions than it explains. What is that skript? Who are these people? So I asked her, and she told me:

the Bhubezi writing system is one I have devised myself as part of an ongoing mythology – The Women Who Hold Up the World

On her website I found out a bit more. If I understand correctly (and it is all – suposedly deliberately – mysterious), she invented these Bhubezi women, and made several books about their culture, their stories and also invented a writing system for them. They are magical, mysterious and powerful women. – But all there is is just fragments, and I find it hard to understand what she made up and other’s picked up on, or the other way around. The whole makeup is really beautiful to me, enriched with mystery, and she manages to manufacture a genuine atmosphere of old.

another details – maybe showing some Bhubezi glyphs

Apart from raising my interest in this skript on an intellectual level, the book as such is also a valued addition to my collection. I find this layering of different skripts visually interesting, and it is funny to think that some lines might or might not carry meaning.

Thank you very much for swapping, Cheryl!

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