The final work consists of two artist books. A triptych structure folds together enclosing a hand painted image. The first book's central panel has a 'scar' cutting through the page. It is suggestive of a world in the process of being torn apart; darkness spills out across the smaller panels leaving an impression of an empty devastated world.
The second book opens to a central panel in which the 'scar' has a number of nails placed along the fissure. Referencing the Japanese attitude of Kintsugi - the idea that breakages and cracks can be repaired with an honesty which remains visible, the panel offers a suggestion of potential and renewal.
The outer panels of Bosch's Garden of Earthly Delights depicts the creation of the world. I have created a textured dark cover, with stitched fragile heartbeat. This wraps around enclosing the entire book.
Staying optimistic in the face of such serious climate challenges is no mean feat. However all change starts with a small gesture. Multiplied, these small changes come together as a greater force. If we hold this in mind, and value collaboration over competition, hope continues to have a chance.
The Mid-Atlantic Ridge has become the focal point for the new work. Although this 'scar' is the result of powerful natural forces, I began to wonder about the 'scars' made by man through extraction and industry. Issues re greed and the destruction of natural resources is not a unique phenomenon and can be found throughout history.
Further research lead me to a medieval work - 'In the Garden of Earthly Delights'. Painted by Hieronymus Bosch (1490 -1510), it is thought to depict mans greed, and the transience of worldly pleasures. Consisting of three panels, the scene is set in the Garden of Eden. Initially created as altarpieces triptych paintings first appeared in early Christian art during the Middle Ages. Their primary function was to serve as an aid to devotion or prayer. The three panels are hinged together allowing the work to folded shut or displayed in an open format.
Using this as my reference point, I have set about making a response for the 21st century. While it is not my intention to make a 'devotional' altarpiece, it strikes me the present concerns put forward by scientists re our continued destruction of earths resources is a subject worth thinking about.
The format chosen is the same as Bosch has used - a triptych.
Preparing background ready for inks.
Building layers of texture and ink
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.