Thank you Leigh for the images (iphone)
Friday 28 July 2017
Plan B and Selected Material on show.
Thank you Leigh for the images (iphone)
Tuesday 25 July 2017
Output.....
The pleasure of old school conversations, face to face, a glass of cordial or another form of refreshing beverage and an open bag of crisps. Clear evening sun light streaming through the pub window after the hurried flurry of a summer rain storm.
In a series of conversations I have been having with a much respected friend over a number of months, our topics have been diverse and often entertaining. One of our more recent diversions has kept our attention for some time, a subject we return to with fresh vigour. I thought I might share, as it raises a number of issues that either may or are having an effect on my work. The theme is .. output of work.
In my youth I painted, I sold and I lived by my work. Yes, I did chalk drawings of popular animated cartoons and you would often find me sitting with my portfolio in Castle Square, pen and ink with water colour wash of Lincoln Cathedral and other land marks in my home city.
I would paint on wood and found objects, canvas and clothes. Commissions and selling at exhibitions, either solo or group. For these exhibitions I would not think twice about producing upwards or 20 works for exhibition in a few months. I do not mean I was working on the posh shop production line style, more it was my job and I worked 6 days a week for a minimum of 7 hours a day…. A job, not a few hours a week in an evening class or as a nice thing to do on a Sunday afternoon. So my output reflected the work involved, the hours worked and the medium. There were complicated works from ~Bricollage~ through to flat stuff. My work then, as it is now, followed a stream or streams of thoughts or themes. To explore or re-examine, to stretch the perspective of the viewers involvement. Trying new materials and ways of working..
I would be commissioned to paint a view of a clients house or whatever.. as long as it had a little bit of ‘Cockram’ in it they were happy. With repeat clients I would always endeavour to keep the work fresh and in context whilst trying to bring out the individual nature of the work in progress.
One client asked for works of their house, same view in the seasons. In effect four views. It was great in the summer but as the year moved on the weather changed. I wanted to capture the way the limestone used in the building of the house (Circa 16th century) changed in the different light and weathers. Dashing to either photograph the house in chilling sleet ( a mixture of snow, ice and rain) or gale force winds all at the same time of day in the middle of each season is no fun. By the end of the year I had finished the four views, the client was delighted. There was a hanging party, I talked about the work showed my notes, photographs and sketches. That much I remember. Oh yes, I got paid, in retrospect about the equivalent as I would for four of my design bindings today. Needless to say the four views were not my sole output for the year….
Looking back I cannot find a time, when at any one point I was told I was producing too much work, working too fast or spending too long on a particular theme. In fact I was often asked if I had more work to show… This is often the case with artists. They work on more that one piece at a time, not sitting around waiting for the paint to dry but making the most of their time or mood etc.
It is the same in nearly all aspects of making or doing jobs. Professionals work to the best of their ability, to the maximum output without compromising the quality of the work. The Kitchen Porter for example.. if he/she is able to work quickly to the required standard no-one is going to complain.. In-fact, if the pots and pans are cleaned quickly then the KP is to be congratulated.
There is a fabulously rich and diverse history of the artist and multiples. Posters, limited edition prints, unique prints, sculpture, ceramics, themes and so on being utilised by the artist as a platform to communicate and of course to earn a living. Many iconic artists have used the impact and immediacy of the quickly made multiple or ready-made to great effect. No one thinks twice about an artist producing an extensive body of work on a theme for an exhibition, in fact it is expected.
I have worked in the field of fine contemporary binding since graduating from college some years ago. Over the years I have not lost my interest in the wider field of the arts and indeed I draw from my experiences and incorporate them in my work. I think that it may be fare to say that I try to push myself and my work when it comes to working with the book. I try to respond to the book.
I understand the constraints when working with the book, the many complex materials and mediums coming together all of this combined with a history as rich and diverse as we who created and use it. I often refer to the book in its totality as Alchemy. I choose to work with the book, it is my chosen medium for the simple fact that it can be all artistic mediums and expressions.
Over the last few years I have been exploring the more artistic side of my work and my output.
It has meant taking a back seat, concentrating on finding a way of working that is suitable for me. I have been very fortunate in working with a number of artists from different disciplines from around the world. This has given me the chance to step away from the sometimes corseted world of fine binding.
Recently I have been working with a structure for the text block referred to as Drum Leaf. This structure is attributed to Tim Ely, a much respected and likeable book artist based in the USA. I have found the method of text block production to be an answer and a perfect vehicle for the way I am currently working.
In a series of conversations I have been having with a much respected friend over a number of months, our topics have been diverse and often entertaining. One of our more recent diversions has kept our attention for some time, a subject we return to with fresh vigour. I thought I might share, as it raises a number of issues that either may or are having an effect on my work. The theme is .. output of work.
In my youth I painted, I sold and I lived by my work. Yes, I did chalk drawings of popular animated cartoons and you would often find me sitting with my portfolio in Castle Square, pen and ink with water colour wash of Lincoln Cathedral and other land marks in my home city.
I would paint on wood and found objects, canvas and clothes. Commissions and selling at exhibitions, either solo or group. For these exhibitions I would not think twice about producing upwards or 20 works for exhibition in a few months. I do not mean I was working on the posh shop production line style, more it was my job and I worked 6 days a week for a minimum of 7 hours a day…. A job, not a few hours a week in an evening class or as a nice thing to do on a Sunday afternoon. So my output reflected the work involved, the hours worked and the medium. There were complicated works from ~Bricollage~ through to flat stuff. My work then, as it is now, followed a stream or streams of thoughts or themes. To explore or re-examine, to stretch the perspective of the viewers involvement. Trying new materials and ways of working..
I would be commissioned to paint a view of a clients house or whatever.. as long as it had a little bit of ‘Cockram’ in it they were happy. With repeat clients I would always endeavour to keep the work fresh and in context whilst trying to bring out the individual nature of the work in progress.
One client asked for works of their house, same view in the seasons. In effect four views. It was great in the summer but as the year moved on the weather changed. I wanted to capture the way the limestone used in the building of the house (Circa 16th century) changed in the different light and weathers. Dashing to either photograph the house in chilling sleet ( a mixture of snow, ice and rain) or gale force winds all at the same time of day in the middle of each season is no fun. By the end of the year I had finished the four views, the client was delighted. There was a hanging party, I talked about the work showed my notes, photographs and sketches. That much I remember. Oh yes, I got paid, in retrospect about the equivalent as I would for four of my design bindings today. Needless to say the four views were not my sole output for the year….
Looking back I cannot find a time, when at any one point I was told I was producing too much work, working too fast or spending too long on a particular theme. In fact I was often asked if I had more work to show… This is often the case with artists. They work on more that one piece at a time, not sitting around waiting for the paint to dry but making the most of their time or mood etc.
It is the same in nearly all aspects of making or doing jobs. Professionals work to the best of their ability, to the maximum output without compromising the quality of the work. The Kitchen Porter for example.. if he/she is able to work quickly to the required standard no-one is going to complain.. In-fact, if the pots and pans are cleaned quickly then the KP is to be congratulated.
There is a fabulously rich and diverse history of the artist and multiples. Posters, limited edition prints, unique prints, sculpture, ceramics, themes and so on being utilised by the artist as a platform to communicate and of course to earn a living. Many iconic artists have used the impact and immediacy of the quickly made multiple or ready-made to great effect. No one thinks twice about an artist producing an extensive body of work on a theme for an exhibition, in fact it is expected.
I have worked in the field of fine contemporary binding since graduating from college some years ago. Over the years I have not lost my interest in the wider field of the arts and indeed I draw from my experiences and incorporate them in my work. I think that it may be fare to say that I try to push myself and my work when it comes to working with the book. I try to respond to the book.
I understand the constraints when working with the book, the many complex materials and mediums coming together all of this combined with a history as rich and diverse as we who created and use it. I often refer to the book in its totality as Alchemy. I choose to work with the book, it is my chosen medium for the simple fact that it can be all artistic mediums and expressions.
Over the last few years I have been exploring the more artistic side of my work and my output.
It has meant taking a back seat, concentrating on finding a way of working that is suitable for me. I have been very fortunate in working with a number of artists from different disciplines from around the world. This has given me the chance to step away from the sometimes corseted world of fine binding.
Recently I have been working with a structure for the text block referred to as Drum Leaf. This structure is attributed to Tim Ely, a much respected and likeable book artist based in the USA. I have found the method of text block production to be an answer and a perfect vehicle for the way I am currently working.
Monday 17 July 2017
News for release: Friday 14th July 2017, Poet Kate Wakeling wins CLiPPA
Press Release – Friday 14th July
Winner announced for CLiPPA 2017 (CLPE Children’s Poetry Award)
- Kate Wakeling announced as CLiPPA 2017 winner
- More than 1000 children took part in the 15th anniversary celebration for the award
- UK school children performed on stage alongside shortlisted poets at National Theatre
News for release: Friday 14th July 2017, 1600: Poet Kate Wakeling wins CLiPPA 2017 for her first collection for children,
Moon Juice, illustrated by Elīna Brasliņa, published by The Emma Press.
Rachel Rooney, Poet and Chair of the CLiPPA 2017 judges
praised the winning book; “Moon Juice is a book
brimming with surprises. Some of the poems are playful, some are more
thoughtful but all of them draw the reader into worlds that both delight
and convince. Kate Wakeling tunes us into the musicality
of words, the pauses between, and the white space on the page - making
the poems equally pleasing to the eye as to the ear. This is a skilled
and confident debut collection that demonstrates the power and breadth
of poetry for children. Yes,
Moon Juice is infused with subtle and unusual tastes and it refreshes - exactly as the title
suggests.”
Louise Johns-Shepherd, Chief Executive, CLPE
said: “At CLPE we live and breathe poetry. We know it offers a path
to literacy learning for all children whatever their age, cultural
background or personal experience. This is the 15th Anniversary of
CLiPPA, our annual Poetry Award and I am thrilled to
say that children’s poetry is thriving. Judging by the increased number
of books submitted this year incorporating a variety of poetic forms,
we see a bright future ahead for this significant strand of children’s
literature.
Moon Juice and all the shortlisted titles deserve their places in this, our largest ever celebration of children’s poetry.”
Booked by Kwame Alexander, published by Andersen Press, was highly commended.
Run
by the Centre for Literacy in Primary Education since 2003, the annual
Poetry Award is the only one of its kind in the UK, encouraging and
celebrating outstanding poetry published
for children. The announcement was made at the finale of The Poetry
Show at the Olivier in the National Theatre, a lively celebration of
poetry with children at its heart. CLiPPA 2017 shortlisted poets
alongside winners of the children’s Shadowing Scheme and
poet and chair of judges Rachel Rooney performed to a packed house of
poets, educators, publishers, media and schools. Former Children’s
Laureate, author, illustrator and political cartoonist Chris Riddell
brought the ceremony to life, live-drawing the whole
event from the stage.
Kate
received a cheque for £1000 and both Kate and Kwame received
beautifully bound copies of their book created by bookbinder, Mark
Cockram.
More
than 6000 children from 196 schools from across the UK took part in the
Shadowing Scheme, an increase of more than 160% on schools
participating in 2016. The Shadowing Schools
submitted 250 films of children performing their favourite poems from
the shortlist. The winning performers were invited to the National
Theatre to meet the shortlisted poets and take part in specially planned
theatre workshops. The winning children then performed
on the Olivier stage alongside the shortlisted poets before the winner
announcement.
CLiPPA
is made possible by the generous support of Arts Council England, Crest
Nicholson, The Ernest Cook Trust and St Olave's Foundation Fund.
for her first collection for children,
Moon Juice, illustrated by Elīna Brasliņa, published by The Emma Press.
Rachel Rooney, Poet and Chair of the CLiPPA 2017 judges
praised the winning book; “Moon Juice is a book
brimming with surprises. Some of the poems are playful, some are more
thoughtful but all of them draw the reader into worlds that both delight
and convince. Kate Wakeling tunes us into the musicality
of words, the pauses between, and the white space on the page - making
the poems equally pleasing to the eye as to the ear. This is a skilled
and confident debut collection that demonstrates the power and breadth
of poetry for children. Yes,
Moon Juice is infused with subtle and unusual tastes and it refreshes - exactly as the title
suggests.”
Louise Johns-Shepherd, Chief Executive, CLPE
said: “At CLPE we live and breathe poetry. We know it offers a path
to literacy learning for all children whatever their age, cultural
background or personal experience. This is the 15th Anniversary of
CLiPPA, our annual Poetry Award and I am thrilled to
say that children’s poetry is thriving. Judging by the increased number
of books submitted this year incorporating a variety of poetic forms,
we see a bright future ahead for this significant strand of children’s
literature.
Moon Juice and all the shortlisted titles deserve their places in this, our largest ever celebration of children’s poetry.”
Booked by Kwame Alexander, published by Andersen Press, was highly commended.
Run
by the Centre for Literacy in Primary Education since 2003, the annual
Poetry Award is the only one of its kind in the UK, encouraging and
celebrating outstanding poetry published
for children. The announcement was made at the finale of The Poetry
Show at the Olivier in the National Theatre, a lively celebration of
poetry with children at its heart. CLiPPA 2017 shortlisted poets
alongside winners of the children’s Shadowing Scheme and
poet and chair of judges Rachel Rooney performed to a packed house of
poets, educators, publishers, media and schools. Former Children’s
Laureate, author, illustrator and political cartoonist Chris Riddell
brought the ceremony to life, live-drawing the whole
event from the stage.
Kate
received a cheque for £1000 and both Kate and Kwame received
beautifully bound copies of their book created by bookbinder, Mark
Cockram.
More
than 6000 children from 196 schools from across the UK took part in the
Shadowing Scheme, an increase of more than 160% on schools
participating in 2016. The Shadowing Schools
submitted 250 films of children performing their favourite poems from
the shortlist. The winning performers were invited to the National
Theatre to meet the shortlisted poets and take part in specially planned
theatre workshops. The winning children then performed
on the Olivier stage alongside the shortlisted poets before the winner
announcement.
CLiPPA
is made possible by the generous support of Arts Council England, Crest
Nicholson, The Ernest Cook Trust and St Olave's Foundation Fund.
Sunday 16 July 2017
8 Studies in Pink. A miniature artists book.
An artists book. A hair under 3" in height.
Saturday 15 July 2017
Surviving Material. Finished and on show.
I feel that I am going to work with this idea of the book for a little while. To explore and expand. I am particularly interested in how I can use this book structure as a vehicle for an aspect of my work that people may not be aware off. Before I became involved with the book I was an artist. You know, someone who paints and does arty stuff. It was my living and gave me the foundation for where I am now.
I have always started my bookbinding projects from the artists perspective. To create in my minds eye or on the page of my sketch book the design and then work out how I am going to achieve my goals.
The challenge is not to be constricted by your self and others. To be creative is hard work, really hard work. I do not mean the struggle of being an artist, the starving artist is a thing of the past and largely fiction, the image of the damp room with a lone easel, a stretched canvas and the tormented artist has been created by writers wanting to romanticise the inner soul of the artist.
I agree that there has been throughout history the occasional artist that is strange or not the norm for society as it was but in the main, one never hears of artists dying of hunger. Sex, drugs and rock and roll .. yes. Paint, brushes, canvas, stone and mallet cost money... Away from the pages of the novel, the artist will have a job, perhaps in the service industries, night shifts at the super market or as street artist. In fact any job that will enable them to continue in their passion.
Being an artist is hard work.
Tuesday 4 July 2017
Plan B
Plan B
Binding;
Light yellow book cloth, decorated w/spray paint through hand cut stencil, collage, more spray paint and collaged titling.
Text block;
4 spreads white Canford medium press (approx 160gsm) spray paint through a hand cut stencil, collage, more spray paint, finished with hand painting, collage and collaged text.
Plan B makes comment on a dystopian society (Perhaps now and perhaps ours) the nightmare of the victim.
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