The Winter light over the past few weeks has been beautiful. Silvery tones, and stunning contrasts have been a pleasure to witness. Each day brings something different.
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This next few months will be a busy time with plans for a number of events. The first being an exhibition with Artbookart at Gallery 70, Leigh on Sea, followed by two Artist Book Fairs in April and then May. Needless to say I am busy "pulling threads" together and completing work. I am hoping to incorporate some of the marbling techniques and drawings into various book structures. Beyond the Page exhibition will feature work inspired by Lighthousekeeping by Jeanette Winterson. It is a beautifully written book which conjures a host of images and possibilities. Narrowing down my ideas and finding a particular focus - while enjoyable, has taken more time than I expected. However there's nothing like a deadline to stop the procrastinating and crack on! Each of us in Artbookart will be making an artist book so it will be interesting to see the various interpretations come together. First sketch ideas.
I have decided to make the book three dimensional by using a map fold. The seahorse talisman is referred to as 'the lost hero of time" and will rise up through the centre of the book. There always seems to many ideas and not enough time to follow all the threads that new skills and techniques generate! Having been familiar with using ink as a drawing medium,I have been thinking about how the process of suminagashi, and marbling might be incorporated into my existing practice. Last Autumn I decided to take up the challenge of 'Inktober' (work can be viewed on instagram). The challenge was to produce an ink drawing everyday for the month. This exercise produced a number of drawings - some I consider complete others as 'beginnings'. I decided to experiment by combining the Suminagashi process over the initial marks. I was excited by the combination and feel it has further potential. The Suminagashi marks add a delicate layer of transparent lines. Finally, some of the drawings had a final layer of graphite marks added to make them complete. Definitely something to explore further! Combining a layer of Suminagashi Ink drawing, suminagashi, graphite drawing.
Having experimented with Suminagashi, I wanted to learn more about the traditional methods of marbling. Having evolved through the Middle Ages, marbling was once so highly prized artists would jealously guard their processes and designs. My father initially trained as a bookbinder, so I grew up with some the books he had restored. There was always something magical about opening those old books with their beautiful marbled endpapers. I owe my love of art and books to him. While Suminagashi is a fairly straightforward process and can be easily set up in a studio or kitchen, marbling with carrageenan moss is a more involved process. Size is required to be added to the water to hold the gouache on the surface. There are more variables that can affect the outcome. For the process to be successful the correct balance is essential - for example the temperature can have an influence, as can the hardness of the water used.
However when all is in balance the results can be extremely satisfying. I quickly became absorbed by two particular patterns - the vein and the stone pattern. Suminagashi is the ancient Japanese process of floating ink on water. Patterns are created by gently manipulating the ink, using the breath, or a single hair to create swirling marks. Paper is then placed on the surface of the water thereby transferring the design. Suminagashi was first recorded in the twelfth century. The process appears simple, producing some fabulous marks but like any art form, there are always those skilled artists who can raise it to another level. These are my first attempts!
The process of Suminagashi produces a calm and serene feeling - it is not a process that likes be hurried. It feels very in tune with the spirit of Buddhism - slowing things down and encouraging you to "be in the moment". It is a wonderful process of mark making and one which I will certainly be exploring further. I always enjoy the chance to explore new book structures, and spending time 'simply making.' Freed from the challenges of content and ideas, making allows for new skills and ideas to emerge. I have recently been looking at Oriental book structures in particular Japanese stab binding methods. While there are numerous elaborate contemporary designs, I am drawn to the four traditional patterns - the four hole, the Noble, the Hemp Leaf, and Tortoiseshell. There is a beautiful timeless simplicity to these designs. While sewing these books it immediately becomes apparent how the choice of paper is an integral part of the process. If the books are to open successfully fine papers work best. This suits my way of working as I enjoy working on various thin handmade papers. Marbled cover, Four hole binding, linen thread, shoji paper, suminagashi prints. Marbled Cover (Stone pattern), four hole stitch, linen thread, wash paper, ink. Thin volumes of books would traditionally be contained within a bespoke box. in contrast to the western style of binding (where the pages are bound between hard covers) here the box becomes the protective cover for the thin volumes. It wraps beautifully around the books and there is a joy to be had in the process of 'unveiling" its contents. This is a process and structure which I can see myself using for future projects. A mixture of the four traditional bindings, with box. The beautiful North Sea Observatory has just opened at Chapel Point, Lincolnshire and will be showing #200 Fish exhibition from August 23rd - 3rd September. I am delighted to be part of the project which raises awareness of the biodiversity of the North Sea. Co-ordinated by Biff Vernon, more information about the project can be viewed on line - #200 fish Raja Clavata, The Thornback Ray
Artist Book Chris Ruston Vienna - a city rich in history and culture. Having only a few days means tough decisions needed to be made regarding where to go and what to see. Much time was spent walking through the old city centre admiring the architecture and statues. However I had specifically wanted to visit the Natural History Museum so this is where I started. Much like the Natural History Museum in London, the collection is housed in a grand historic building. The collections began under the reign of the Hapsburgs in 1750 and has now become vast with an estimated 20 million objects. I had specially wanted to see the prehistoric figurine - the Venus of Willendorf. This small figure is only eleven centimetres in height but 29,000 years old. In recognition of her significance she is housed in her very own room. It is believed to have been carved during the Paleolithic period and is one of the oldest examples of art in existence today. (There is some debate about the name and in academic circles she is referred to as the Woman of Willendorf to distinguish the association from the Roman Goddess of Love). Although she is often regarded as a divine fertility figure, anthropologists and researchers are still divided as to whether she is truly a representation of a Palaeolithic goddess. We will probably never be sure, but regardless, it is an astonishing ancient work of art. While I knew this figurine was in the collection, I was delightfully surprised to find the Museum also has an exquiste collection of Blaschka glass marine creatures. Leopald Blaschka (1822-1895) was a Bohemian glass artist who made glass models of invertebrate marine creatures. His son Rudolf (1857 -1939) became his only apprentice, so sadly when he died, the knowledge about production of the models was sadly lost. While Professor of Zoology in Vienna, Carl Claus commissioned 150 glass models for the museum during the 1870's and 1880's. These tiny delicate models capture the ethereal mystery of the deep sea, and in an era before underwater photography, were instrumental in teaching naturalists about invertebrates. Real specimens were often difficult to study as they often collapsed and would loose their colour when stored in jars. These beautiful 'artworks' are an early example of science and art working together. The University of Vienna has the second largest collection of Blashcka models in Europe. The collection was in use until the 1930's and presumably put into safe storage during the war. They were rediscovered during the 1980's. It is estimated that between father and son as many as ten thousand marine invertebrate models, and a further 4,400 botanical specimens were produced. Guido Mocafico has made a series of stunning photographs of these glass works capturing their incredible accuracy and beauty. They can be viewed here. As you enter the marine galleries, the visitor passes through a small Victorian lecture theatre. Several impressive stain glass windows form a wall along one side. Depicting Ernst Haeckel's intricate drawings, they create a cool moody 'underwater' atmosphere. A portrait of the man looks down from the back of the theatre. There was a feeling of walking into a very special place - a cathedral to nature! I have recently been looking at these drawings in relation to my next piece of work so was thrilled to come across this room. Ernst Haeckl (1834 - 1919) was a German naturalist, philosopher, physician, artist and a strong proponent of Darwinism. In an age where polymaths were multi talented and able to combine their various experiences and observations, Haeckel's legacy is outstanding. Among his achievements he discovered and named thousands of new species, mapped a genealogical tree relating all life forms and through his detailed drawings of microscopic life forms, was instrumental in expanding knowledge and curiosity about the natural world. He produced illustrated volumes of enduring value and biological atlases that have remained unparalleled in their precision.
And so in conclusion... Moving on, another day, and a different place - the Belvedere Gallery, I conclude here with this charming statue of St Elizabeth. While the crowds flock to see Gustav Klimt's The Kiss (which was magnificent) this understated 13th century sculpture in the medieval gallery is the artwork that stood out above all others. I was moved by its simplicity, and serene quality. Perhaps it was also due to the stark contrast between this and the grand mythological statues we had seen on every building throughout the city! |
ArtistWelcome. 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> Archives
July 2023
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