Repair and Repetition An Exhibition of Artist Books Bookscapes Collective, and the BooksOnBooks Collection. ARLIS Conference 2023 The Forum, Norwich   Following Turn the Page Artist Book Fair in 2022, Jerry Jenkins, Curator, Emerging Media, Contemporary British Publications at the British Library, approached Jules Allen to inquire about the possibility of an Artist Book Fair being held alongside their annual Arts Libraries Conference. However the timing of this request was one year too late. Although Turn the Page proved to be a huge success, after two years of COVID restrictions and ten years of organising the event, the committee felt it was time to move on to new ventures. That new venture is Bookscapes Collective. The six of us have exhibited alongside each other during those ten years, and came together through our joint interest in working with Museum Collections and Historic places. We enjoy researching and making site specific work which open conversations between the past and present. However following the discussion it was agreed we would bring together an exhibition comprising pieces of our own work, alongside a selection from the BooksOnBooks collection. This is a private collection which has been catalogued and documented on line and offers posts and reviews about book arts, the history and future of the book, acts of reading, looking and their relationship. (more here). The pieces displayed were selected for their connection to the theme of ‘Repair and Repetition’. This title refers not just to the physical act of making, restoring and conserving books but also to the process of making art as an act of healing, recovery and meditation. The books demonstrate how art can be mindful and provide a way to process and cope with traumatic events, such as the recent COVID Pandemic. Artist books featured from the Books On Books Collection included Anouk Kruithof Universal Tongue Anouk Kruithof Pixel stress J. Meejin Yoon - Absence (2004) Pien Rotterdam - Absences (2015) Salt & Shaw - ‘Look’ (2021) Salt + Shaw ITHACA (2015) Salt + Shaw WHORL Nif Hodgson Fluid Horizons (2021) Ken Botnick, Table of Contents (2020) Simon Morris, Royal Road to the Unconscious (2004) Maria Welch - ‘Erratic Obsession’ (2019) Caroline Penn’s Standen (2014) Helen Malone & Jack Oudyn, The Future of an Illusion (2017) Marian Macken - Ise Jingū: Beginning Repeated Xiao Long Hua’s The Blind Men and the Elephant (2019) Guy Laramée, A Caverna (2012) Joyce Cutler-Shaw, The Anatomy Lesson: Unveiling the Fasciculus Medicinae (2004) Lucia Mindlin Loeb, Abismo (2012) Francesca Capone “Weaving Language: Language is Image, Paper, Code & Cloth’ (2018) Masoumeh Mohtadi’s Blindness (2020). Phil Zimmerman, High Tension (1993)
 Guy Laramee A Caverna (2012) Pien Rotterdam, Absences (2015), Masoumeh Mohtadis Blindness (2020) We are extremely grateful to the curator of the collection Robert Bolick who has always been hugely supportive of both Turn the Page and has promoted and brought exposure to many other artists, craftspeople, and institutions. Works on show by Bookscapes Artists included
 Chris Ruston Field Notes: The Seashore I Know
These Artist Books demonstrate the variety of ways emotions can be expressed through art and the medium of book in its widest sense. The exhibition was received well and generated interesting conversations about the importance of art, education and expression for well being. These pieces not only provide a place for the individual artists to express themselves and process emotional content, but facilitated an openness and sharing of experience from the people who viewed them. Art is a communication, an invitation to share experience and to connect with others who may either been through a similar situation or offer a new perspectives and understanding. A Book Art Performance |
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Karen continues
“The physical act of ‘making’ became an important part of this healing process.
When so much felt out of control, the simple act of picking up a needle and thread became an anchor, my safe private space. Embedding images of rogue cells that were being contained and the demise of the ‘Grey Dot’, became an act of superstition, like touching wood. Slow meditative stitching allowed a focus on the moment at hand. Each stitch guiding the direction - navigating the unknown”.
The various stitched works have been collated and bound into an oversize book. The pages are formed from extra large pillow case covers - perhaps a symbolic reference to the gesture of moments of laying down to rest.
The performance was performed by two women - Ruth Lin and Audrey Vick, from the Whitwell Station Players, who brought their own silent yet dramatic interpretation to the moment. Slowly each page turned - a gentle unfolding, revealing a remarkable book of embodied emotions. The performance was enhanced as the haunting music of Bach and Mozart filled the room. In conclusion Karen stated
“These embroideries were never intended for exhibition but binding them together and being able to close the book, seemed a fitting conclusion to this period of my life”.
“The physical act of ‘making’ became an important part of this healing process.
When so much felt out of control, the simple act of picking up a needle and thread became an anchor, my safe private space. Embedding images of rogue cells that were being contained and the demise of the ‘Grey Dot’, became an act of superstition, like touching wood. Slow meditative stitching allowed a focus on the moment at hand. Each stitch guiding the direction - navigating the unknown”.
The various stitched works have been collated and bound into an oversize book. The pages are formed from extra large pillow case covers - perhaps a symbolic reference to the gesture of moments of laying down to rest.
The performance was performed by two women - Ruth Lin and Audrey Vick, from the Whitwell Station Players, who brought their own silent yet dramatic interpretation to the moment. Slowly each page turned - a gentle unfolding, revealing a remarkable book of embodied emotions. The performance was enhanced as the haunting music of Bach and Mozart filled the room. In conclusion Karen stated
“These embroideries were never intended for exhibition but binding them together and being able to close the book, seemed a fitting conclusion to this period of my life”.
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What an amazing opportunity to exhibit work in such a historic space. We are extremely grateful to Hannah Henderson, curator at the Museum of Norwich, for her support and enthusiasm, in allowing Bookscapes Collective to exhibit work in this unique space. Responding to various objects from the museum"s collection, and with this site in mind, we have all enjoyed producing work to install in the wonderfully atmospheric undercroft.
'Light form the Dark' brings together the varied histories of Norwich : stories that merge and echo through each others artworks.
'Light form the Dark' brings together the varied histories of Norwich : stories that merge and echo through each others artworks.
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As you step through the door and descend the steps, you can't help notice the history which has been etched across the surface of these delicate crumbling walls for the past 700 years. This first room is flooded with light. Progressing into the building the light grows dimmer, and the atmosphere becomes palpable. Light seeps through small grills high in the walls. While the modern age has seen the introduction of electric lighting, we wanted to keep this atmosphere and opted to work with the limited natural light. Work was presented in subdued light, individually lit to enhance the mood of the place. Visitors were given the option of having a torch as they move through the rooms.
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While soft light filters through these atmospheric rooms, we were aware this space has a dark history. Initially built as a wealthy merchants house, the building then became a prison or 'house of correction' from the 17th century. These rooms would once have been used as a place of punishment.
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Four pieces of work by myself were displayed in this first room:
Title; The Poems of Mrs Opie: A Return to Possibilities,
Title: Reverberations,
Title: Out of the Ashes: The Observer Books, I & II,
Title; The Poems of Mrs Opie: A Return to Possibilities,
Title: Reverberations,
Title: Out of the Ashes: The Observer Books, I & II,
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Moving through to the second room, visitors were presented with work by Karen Apps and Heather Hunter.
Karen Apps Title: The Confines,
Karen Apps Title: Slaves to the Needle
Heather Hunter Title: In the Tapestry of Life
Heather Hunter Title: Woven Stories
'The Confines' by Karen, juxtaposes two women living more than four centuries apart - Julien of Norwich and Lorina Bulwer. Both lived in seclusion - one by choice, the other detained against her will. Julien elected to be an anchoress, while Lorina was committed to the workhouse by her family.
Both Karen and Heather were drawn to the textile heritage of Norwich. The city once had a thriving industry. Karen's installation "Slave to the Needle" brings attention to the use of child labour which is often overlooked, but a played a part in the production of fine embroideries. Children as young as four were put to work.
Heather's attention was more specifically pulled toward the weaving heritage. She was intrigued by the arrival of The Strangers, who settled in Norwich during the 16th Century. Fleeing religious and political persecution, they brought weaving skills and tools which helped the cities textile trade to flourish. The Strangers also brought their small canaries which would sing as the weavers sat at their looms.
Karen Apps Title: The Confines,
Karen Apps Title: Slaves to the Needle
Heather Hunter Title: In the Tapestry of Life
Heather Hunter Title: Woven Stories
'The Confines' by Karen, juxtaposes two women living more than four centuries apart - Julien of Norwich and Lorina Bulwer. Both lived in seclusion - one by choice, the other detained against her will. Julien elected to be an anchoress, while Lorina was committed to the workhouse by her family.
Both Karen and Heather were drawn to the textile heritage of Norwich. The city once had a thriving industry. Karen's installation "Slave to the Needle" brings attention to the use of child labour which is often overlooked, but a played a part in the production of fine embroideries. Children as young as four were put to work.
Heather's attention was more specifically pulled toward the weaving heritage. She was intrigued by the arrival of The Strangers, who settled in Norwich during the 16th Century. Fleeing religious and political persecution, they brought weaving skills and tools which helped the cities textile trade to flourish. The Strangers also brought their small canaries which would sing as the weavers sat at their looms.
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Continuing through the building the rooms become darker with less natural light. Jules Allen and Jo Howe's work explores differing aspects of the social history of Norwich, highlighting the toll poverty, and harsh working conditions had on peoples well being.
Jo Howe. Title: Embodied Emotions
Jo Howe Title: Baggage
Jules Allen Title: A False and Deceitful Colour
Jules Allen Title: Softening the Blow and A Dark Time.
Jo Howe. Title: Embodied Emotions
Jo Howe Title: Baggage
Jules Allen Title: A False and Deceitful Colour
Jules Allen Title: Softening the Blow and A Dark Time.
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Finally Jen Fox's installation references the industrial heritage of Norwich. Jen explores this connection to place through walking and documenting what she sees. Much of that history is still evident throughout the city. Her research revealed one hundred and fifty different crafts and trades were carried out during the medieval period.
Jen Fox Title: To Have Within: Hold: Contained: Share.
More detail about each artists work can be found on the Bookscapes Collective website.
Jen Fox Title: To Have Within: Hold: Contained: Share.
More detail about each artists work can be found on the Bookscapes Collective website.
An Altered Book of Amelia Opie's Poems
Norwich has long been known as a city of dissenters and of having a forward thinking and progressive attitude. This was reflected in the nineteenth century by its willingness to be the first city to establish a public library. Books are powerful - the control of knowledge and its dissemination through the printed page has facilitated enlightened thinking, contributing to individuals who challenge prevailing establishments.
One such resident was Amelia Opie (1769 -1834) - novelist, poet, radical and philanthropist. Opie’s philanthropic work included visiting workhouses, hospitals, prisons, and the poor. She promoted a refuge for reformed prostitutes and supported the Norwich branches of the Anti-Slavery Society. A successful writer, who published 13 works of prose and five books of verse, whose work was extremely popular in the early 1800’s and, at the time, considered as “moving and truthful”
Her book of poems may now seem out dated by todays standards but, seen in the context of her time, it took courage to speak about these subjects. Her work is now largely overlooked but this work seeks to bring her back into the spotlight.
I have deconstructed her book of poems. Some words have been erased by fire allowing different thoughts to surface. I have tried to stay open to what presents itself relying largely on intuition with regard to what stays and what is discarded. Stories travelling over time as new text emerges; a selection of words that resonate in the here and now.
One such resident was Amelia Opie (1769 -1834) - novelist, poet, radical and philanthropist. Opie’s philanthropic work included visiting workhouses, hospitals, prisons, and the poor. She promoted a refuge for reformed prostitutes and supported the Norwich branches of the Anti-Slavery Society. A successful writer, who published 13 works of prose and five books of verse, whose work was extremely popular in the early 1800’s and, at the time, considered as “moving and truthful”
Her book of poems may now seem out dated by todays standards but, seen in the context of her time, it took courage to speak about these subjects. Her work is now largely overlooked but this work seeks to bring her back into the spotlight.
I have deconstructed her book of poems. Some words have been erased by fire allowing different thoughts to surface. I have tried to stay open to what presents itself relying largely on intuition with regard to what stays and what is discarded. Stories travelling over time as new text emerges; a selection of words that resonate in the here and now.
The initial idea came after talking to Bridewell curator, Bethan Holdridge, who explained she had recently discovered a box of partially-burnt documents while sorting through the museums cupboards. In an interview with the BBC about the finds she stated “The harsh realities of loss sit side by side with chance discoveries” which I felt aptly describes the process of making this work. During this process of redaction, I was made aware how attitudes and perspectives shift and slide through time. The pages become a visual poem as new sentences emerge formed from Opie's words, thus creating a conversation in the here and now.
While working on these pages I found myself wondering: Who is now the author? Whose voice is now speaking? Is it Amelia? Is it mine? I wonder is history not a continual process of redaction? Of loss and gain, of recording and rewriting experiences?
I was also aware of a dilemma regarding the use of original pages printed in 1811. It provoked an uncomfortable reaction in altering a book which was published during Amelia Opie’s lifetime. The book arrived with its spine broken, but otherwise in reasonable condition given its age. However because the pages contain such history, - worn by travelling through two hundred years, there is an authenticity and life which you would not have if I used a modern printed copy. Each page contains its own history - in the yellowing and stains on the page, and the imprint left by the letterpress type. Even the paper has a different quality having a higher rag content than modern paper.
While working on these pages I found myself wondering: Who is now the author? Whose voice is now speaking? Is it Amelia? Is it mine? I wonder is history not a continual process of redaction? Of loss and gain, of recording and rewriting experiences?
I was also aware of a dilemma regarding the use of original pages printed in 1811. It provoked an uncomfortable reaction in altering a book which was published during Amelia Opie’s lifetime. The book arrived with its spine broken, but otherwise in reasonable condition given its age. However because the pages contain such history, - worn by travelling through two hundred years, there is an authenticity and life which you would not have if I used a modern printed copy. Each page contains its own history - in the yellowing and stains on the page, and the imprint left by the letterpress type. Even the paper has a different quality having a higher rag content than modern paper.
In Areopagitica (1644) the poet John Milton declared that
“Books are not absolutely dead things, but do contain a potency of life in them as to be as active as that soul was whose progeny they are”.
Milton believed books are more than just inert containers for the words that they contain. He drew attention to the life (and potential death) embodied in the physical document that is a book. It is a reminder of how things are constantly repurposed, written over - a palimpsest of fragmented lives. I found my connection to Amelia Opie by editing her words, paring back sentences that resonate within me, and, through the process, discovered the beauty of her poetry. I hope others will be curious to rediscover this remarkable woman. I like to think of this work as a visual conversation between two women living two hundred years apart. I have brought a selection of her words back into focus allowing their presence to shine loud and clear.
“Books are not absolutely dead things, but do contain a potency of life in them as to be as active as that soul was whose progeny they are”.
Milton believed books are more than just inert containers for the words that they contain. He drew attention to the life (and potential death) embodied in the physical document that is a book. It is a reminder of how things are constantly repurposed, written over - a palimpsest of fragmented lives. I found my connection to Amelia Opie by editing her words, paring back sentences that resonate within me, and, through the process, discovered the beauty of her poetry. I hope others will be curious to rediscover this remarkable woman. I like to think of this work as a visual conversation between two women living two hundred years apart. I have brought a selection of her words back into focus allowing their presence to shine loud and clear.
"We are surrounded by voices, by remembering"
Edmund De Vaal.
Edmund De Vaal.
Threads will be woven These redacted pages are to be displayed across a medieval wall, which survived a fire which destroyed the rest of the building, suspended on nails leftover from the remains of a Victorian shoe makers workshop. Threads will be woven from nail to nail, fine lines recalling a mind map connecting 'voices"
Another piece of work, presently in progress and inspired by my research into libraries and fire, is an installation of blackened books. I have purposefully selected a series of Observer Books. Beside the titles offering a symbolic element, I have a personal connection; these books were a feature of my childhood. Pocket sized and covering a huge range of topics, they encouraged readers to explore and identify objects in the world around them.
Blackened, they represent loss. As libraries fight to keep funding and as access to information via computers becomes increasing easy, I reflect on the struggles that people in the not so distant past have faced in pursuing access to education. It is easy for us these days to take the familiar for granted. Our towns would be a poorer place without libraries and archives.
Blackened, they represent loss. As libraries fight to keep funding and as access to information via computers becomes increasing easy, I reflect on the struggles that people in the not so distant past have faced in pursuing access to education. It is easy for us these days to take the familiar for granted. Our towns would be a poorer place without libraries and archives.
“Books are the carriers of civilisation. Without books history is silent, literature dumb, science crippled, thought and speculation at a standstill. Without books, the development of civilisation would have been impossible”
Barbara Tuchman, author, from her 1980 address at the Library of Congress.
Fragments saved from the ravages of fire often become treasured symbols of hope. They form the basis around which new collections are built and restored. Like a phoenix they rise from the ashes once more.
"Every burned book or house enlightens the world: every suppressed expunged word reverberates through the earth”
Ralph Waldo Emerson.
Libraries and fire have a long and complex relationship. Exploring the history of libraries in Norwich in preparation for a show at the Bridewell Museum, I was shocked to find that most of the major libraries have ended in flames. Beginning with Norwich Cathedral Library which was unfortunately destroyed twice: first by citizens in the Tombland Riot 1272 then again during Henry VIII"s Dissolution of the Monasteries 1538.
During the 17th century Norwich city had been granted an extraordinary degree of self government which fostered a sense of independence and increasing radicalism. Sir John Pettus (1550-1614), Mayor of Norwich, set up a city library in 1608 six years after the foundation of the Bodlian Library, Oxford. This was probably the first provincial library to be established outside of London, and the first to be owned by a corporation rather than church or school. As a result The Old City Library, (refounded in 1657), was set up with an unusually broad range of books including topics as philosophy, law, mathematics, and as well as maps. This was a marked departure from the usual predominantly religious texts.
This enlightened spirit continued on into the eighteenth century when Philip Martineau established a subscription library in 1784. This saw a further departure from tradition as only five clergymen were included on a the committee of 24. Furthermore women were to represent 26% of the original 140 subscribers. It was one of the oldest subscription libraries in the country and continued in operation until it was destroyed by fire in 1898. It was re built opening its doors again in 1914, and continued in operation for a further 62 years until finally closing in 1976.
The nineteenth century saw the Norfolk and Norwich Literary Institution open in 1822, and a free Council run library in 1857. The 1850 Libraries Act had allowed larger boroughs to add half a penny in the pound to the rates to pay for the costs of running library facilities. Norwich Council was among the first to adopt the Act and were subsequently able to create a truly public, non-subscription library. This library survived for 96 years before being demolished to give way to the New Central Library in 1963.
However as was the fate of previous libraries, this too succumbed to a devastating fire in 1994 when over 150,000 books burned along with irreplaceable historical documents from the Record Office. The central library had held more than two million documents including the 800 year old Norwich City Charter, along with manuscripts dating back as far as 1090.
Once more, undeterred Norwich set about rebuilding and establishing a city library. Project Phoenix saw the completion of Millennium Library at the Forum in 2001. This glorious new building sits in the centre of the city and is considered to be one of the most visited libraries in the country. It continues to be home to a magnificent collection of surviving Renaissance books.
During the 17th century Norwich city had been granted an extraordinary degree of self government which fostered a sense of independence and increasing radicalism. Sir John Pettus (1550-1614), Mayor of Norwich, set up a city library in 1608 six years after the foundation of the Bodlian Library, Oxford. This was probably the first provincial library to be established outside of London, and the first to be owned by a corporation rather than church or school. As a result The Old City Library, (refounded in 1657), was set up with an unusually broad range of books including topics as philosophy, law, mathematics, and as well as maps. This was a marked departure from the usual predominantly religious texts.
This enlightened spirit continued on into the eighteenth century when Philip Martineau established a subscription library in 1784. This saw a further departure from tradition as only five clergymen were included on a the committee of 24. Furthermore women were to represent 26% of the original 140 subscribers. It was one of the oldest subscription libraries in the country and continued in operation until it was destroyed by fire in 1898. It was re built opening its doors again in 1914, and continued in operation for a further 62 years until finally closing in 1976.
The nineteenth century saw the Norfolk and Norwich Literary Institution open in 1822, and a free Council run library in 1857. The 1850 Libraries Act had allowed larger boroughs to add half a penny in the pound to the rates to pay for the costs of running library facilities. Norwich Council was among the first to adopt the Act and were subsequently able to create a truly public, non-subscription library. This library survived for 96 years before being demolished to give way to the New Central Library in 1963.
However as was the fate of previous libraries, this too succumbed to a devastating fire in 1994 when over 150,000 books burned along with irreplaceable historical documents from the Record Office. The central library had held more than two million documents including the 800 year old Norwich City Charter, along with manuscripts dating back as far as 1090.
Once more, undeterred Norwich set about rebuilding and establishing a city library. Project Phoenix saw the completion of Millennium Library at the Forum in 2001. This glorious new building sits in the centre of the city and is considered to be one of the most visited libraries in the country. It continues to be home to a magnificent collection of surviving Renaissance books.
"In the library the first time
I stood in a pool of awe.
Wonder for the taking, acres of promises".
In the Library, William McIlvanney
My own love of libraries and books began in childhood. I spent many hours in our local municipal library. I was amazed by the vast choice of books that lined the shelves, and loved the quiet, peaceful atmosphere. It is sad to think about the challenges now facing many libraries today which have seen funding cuts and/or been threatened with closure. We should never underestimate their value and the part they have played in transforming society from the 18th & 19th centuries through to the present. Access to books and education has been hard won achievement and a privilege.
Researching the history of libraries in Norwich has revealed so much information, I have chosen to focus on this cycle of destruction, loss, and the determination to salvage and rebuild.
As Richard Ovenden points out in his book Burning the Books, Knowledge Under Attack "libraries and archives take the long view of civilisation in a world that currently tales a short view. We ignore their importance at our peril"
As Richard Ovenden points out in his book Burning the Books, Knowledge Under Attack "libraries and archives take the long view of civilisation in a world that currently tales a short view. We ignore their importance at our peril"
Reverberations.
I began these pages after reading an article in which James Anthony described the Norwich Central library fire in 1994. He says
"Make no mistake - this was a tragedy...my parents, living in Norwich at the time, still recall the smell of burning books and papers in the city, feeling a great sense of loss as hot ash fell on the surrounding area"
"Make no mistake - this was a tragedy...my parents, living in Norwich at the time, still recall the smell of burning books and papers in the city, feeling a great sense of loss as hot ash fell on the surrounding area"
I chose a Double Gate Fold book structure as it disrupts the usual linear narrative and allows a more interactive circular reading experience. Pages open to create numerous combinations. Building on an approach which began while working with calligrapher and artist Monica Dengo in her 'A Bridge Between Writing and Drawing' course, it allows the reader to decide the order of how they view the pages. Traditional rules of writing are abandoned as letterforms become abstract marks creating sentences that are no longer legible.
Dissolving stories, disrupted and scattered float across the page. They hint at loss, fragments waiting for order to descend once more. A fleeting moment suspended on the page, remnants of what once was and what could now be.
"Poetry is an echo asking a shadow to dance"
Carl Sandberg.
Bookscapes Collective will be showing work relating to the Bridewell Museum collections. The venue will be the undercroft; a rather special place which is saturated in history. Originally built for a wealthy merchant Geoffrey de Salle in the early fourteenth century, the Bridewell is one of just eighteen late medieval secular buildings to have survived in Norwich. The building changed from a private dwelling in 1583, when it was converted into the Bridewell, a house of correction ; "a place to keep and staye ydle persons to somme honest worke and labor ".
A devastating fire in 1752 destroyed much of the medieval building so all that survived were two medieval arches, a flint wall and the undercroft. It was rebuilt and continued as a prison until 1828 when its use changed once more. as the city became more prosperous various industrial businesses moved in; a tobacco factory, a leather warehouse, and finally a shoe factory.
The building was eventually granted to the city in 1923 by Henry Holmes, a successful shoe manufacturer. Following this it became the Bridewell, Museum of Norwich and celebrates the story of Norwich’s industries and the people who lived and worked in the city.
A devastating fire in 1752 destroyed much of the medieval building so all that survived were two medieval arches, a flint wall and the undercroft. It was rebuilt and continued as a prison until 1828 when its use changed once more. as the city became more prosperous various industrial businesses moved in; a tobacco factory, a leather warehouse, and finally a shoe factory.
The building was eventually granted to the city in 1923 by Henry Holmes, a successful shoe manufacturer. Following this it became the Bridewell, Museum of Norwich and celebrates the story of Norwich’s industries and the people who lived and worked in the city.
Victorian nails - leftover from when the space was used as a shoemakers workshop. So full of character and a great opportunity to make work with these in mind!
Plans are presently under way to show work with Bookscapes Collective at the Bridewell, Museum of Norwich. All the work to be shown responds to objects from the collection and the event will be part of the Art Libraries Conference UK & Ireland.
On entering the museum, it is difficult not to miss a beautifully preserved old fire engine. This was my starting point as I began to think about the long and interesting relationship Norwich has had with fire. It was not until 1668, just two years after the Great Fire of London, that Norwich had its first fire engine. Numerous fires had caused devastation in 1505
and again in 1507 when Norwich was 'almost utterly defaced'. Given that many buildings would have had thatch roofs, fire spread quickly.
Even the Bridewell Museum has seen its building engulfed by flames. Formerly a prison, in 1751 a fire destroyed most of the building leaving only two medieval arches, a long flint wall and the beautiful undercroft.
Eventually in 1835 Norwich City Council was allowed to levy a rate to pay for combatting fire, leading to the formation of their own fire brigade five years later. While Norwich Union’s fire brigade disbanded in 1858, large companies still maintained their own fire brigades.
On entering the museum, it is difficult not to miss a beautifully preserved old fire engine. This was my starting point as I began to think about the long and interesting relationship Norwich has had with fire. It was not until 1668, just two years after the Great Fire of London, that Norwich had its first fire engine. Numerous fires had caused devastation in 1505
and again in 1507 when Norwich was 'almost utterly defaced'. Given that many buildings would have had thatch roofs, fire spread quickly.
Even the Bridewell Museum has seen its building engulfed by flames. Formerly a prison, in 1751 a fire destroyed most of the building leaving only two medieval arches, a long flint wall and the beautiful undercroft.
Eventually in 1835 Norwich City Council was allowed to levy a rate to pay for combatting fire, leading to the formation of their own fire brigade five years later. While Norwich Union’s fire brigade disbanded in 1858, large companies still maintained their own fire brigades.
The undercroft.
Given the potential this history of fire opens, I felt I needed to narrow my focus, so decided to concentrate research on the cities various library collections.
Sadly the thread of destruction by fire weaves through the history of Norwich, as does its resilience to salvage, rebuild and begin again. Beginning with the 1200’s with the destruction of the cathedral library, through the 18 and 19th centuries, and on into the twentieth century numerous collections have tragically ended in flames. The most recent being the devastating loss of the Central Library and archives in 1994. Over 150,000 books burned along with irreplaceable historical documents from the Record Office. This led to project Phoenix and the rebuilding of the Millennium Library at the Forum which is one of the most busiest libraries in the country.
Given the potential this history of fire opens, I felt I needed to narrow my focus, so decided to concentrate research on the cities various library collections.
Sadly the thread of destruction by fire weaves through the history of Norwich, as does its resilience to salvage, rebuild and begin again. Beginning with the 1200’s with the destruction of the cathedral library, through the 18 and 19th centuries, and on into the twentieth century numerous collections have tragically ended in flames. The most recent being the devastating loss of the Central Library and archives in 1994. Over 150,000 books burned along with irreplaceable historical documents from the Record Office. This led to project Phoenix and the rebuilding of the Millennium Library at the Forum which is one of the most busiest libraries in the country.
Work in progress
Books are fragile objects. Aside from damage caused by fire, they are also susceptible to other hazards, insect damage, damp moisture, and mould. There is the added element of difficult choices about what to preserve. Within this selection process preferences and narratives can also influence what is kept and subsequently survives.
Books are fragile objects. Aside from damage caused by fire, they are also susceptible to other hazards, insect damage, damp moisture, and mould. There is the added element of difficult choices about what to preserve. Within this selection process preferences and narratives can also influence what is kept and subsequently survives.
Work in progress
History is fluid, a series of redactions, ever evolving and changing as more understanding emerges. Views and attitudes change over time. We see this in many areas today as Museums strive to readdress a balance, giving voice to often silenced or overlooked experiences and perspectives.
History is fluid, a series of redactions, ever evolving and changing as more understanding emerges. Views and attitudes change over time. We see this in many areas today as Museums strive to readdress a balance, giving voice to often silenced or overlooked experiences and perspectives.
Artist
Welcome.
Here you will find a gathering of thoughts, notes, and images which inform my work. A "virtual sketchbook" of projects and ideas as they evolve.
I am also part of Bookscapes Collective.
Bookscapes is a group of six artists that have developed a group practice specialising in site specific interventions and exhibitions.
Learn More>
Bookscapes is a group of six artists that have developed a group practice specialising in site specific interventions and exhibitions.
Learn More>
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