- ACCORDION - CONCERTINA - ACCORDION - CONCERTINA -
- CONCERTINA - ACCORDION - CONCERTINA - ACCORDION -
- ACCORDION - CONCERTINA - ACCORDION - CONCERTINA -
- CONCERTINA - ACCORDION - CONCERTINA - ACCORDION -
-ACCORDION - CONCERTINA - ACCORDION - CONCERTINA -
- CONCERTINA - ACCORDION - CONCERTINA - ACCORDION -
- ACCORDION - CONCERTINA - ACCORDION - CONCERTINA -
- CONCERTINA - ACCORDION - CONCERTINA - ACCORDION -
-ACCORDION - CONCERTINA - ACCORDION - CONCERTINA -
- CONCERTINA - ACCORDION - CONCERTINA - ACCORDION -
are these two terms simply interchangeable?
27.2.10
I've been thinking some more about Japanese methods of bookbinding.
The use of Japanese Stab Binding enables the binding to be exposed on the surface of each bookwork. I've noticed that many artists’ books by Japanese artists draw upon craft based methods, specifically working with the concertina form or with binding that is intricate yet visible to the reader.
Often they combine both of these elements to create bound concertinas or accordion bookworks. This is where all the panels of a concertina or an accordion are bound along one side using a hand-stitched method. As a result the bookwork opens like a conventional book, however, the spine is the giveaway, as is each folded edge, clearly showing the signs of a closed and bound concertina - great stuff!
The use of Japanese Stab Binding enables the binding to be exposed on the surface of each bookwork. I've noticed that many artists’ books by Japanese artists draw upon craft based methods, specifically working with the concertina form or with binding that is intricate yet visible to the reader.
Often they combine both of these elements to create bound concertinas or accordion bookworks. This is where all the panels of a concertina or an accordion are bound along one side using a hand-stitched method. As a result the bookwork opens like a conventional book, however, the spine is the giveaway, as is each folded edge, clearly showing the signs of a closed and bound concertina - great stuff!
18.1.10
I PATCH
I PATCH is a one-off 14 x 14 cm concertina book made up of ten panels. Each panel consists of a typewritten text in the form of a square measuring 9 x 9 cm. The front and back covers are made of foam board covered with navy Japanese Washi Paper onto which is sewn sixteen hand-stitched squares. Inserted in between the foam board and Washi paper is wadding for a padded effect to create the illusion of a patchwork quilt. Each panel of the concertina consists of handmade paper joined together with a strip of paper measuring 1.5 cm in width. Each side of the strip is hand stitched to one side of two panels. This strip is the bind as well as the fold, which creates the extendable concertina structure. The book is packaged with a pink satin ribbon.
The form plays a part in conveying its concept, as the concertina form draws attention to the craft element of the bookwork through the use of hand stitching. This particular bookwork looks to tie in all elements of book form, which includes the physical form of the object and the form of its content. The squareness of the bookwork both outside and in is made to resemble the square patches of fabric to be found on a patchwork quilt. The title, I PATCH, is not only reflected in the patchworks of the front and back covers but also in the square patches of text within the bookwork. The text is laid out in the form of a square block of text, which visually marks a square patch. It is surrounded by a white border, which further draws attention to the squareness of the text and the object.
The exposed stitch work and binding, hand-cut panels and typewritten text are each a record of production. Stitching and binding are a record of the craft methods employed during the making of the book. The unevenness of hand-cut panels marks the process of production, as does the use of a manual typewriter. The typewriter is a particularly interesting instrument to use as it stains the page with not only letters but also accidental streaks from the ink ribbon. As a writing device it is successful in capturing all the elements of a production process, as mistakes cannot be erased and rewritten. As a manual device the markings are reliant on the artist using it; depending on the pressure placed on the typewriter keys, some letters will imprint the paper darker than others. Equally, each page is fed into the typewriter by hand which means that some words may appear out of line with others. Each of these aspects captures moments of making and to borrow Ulises Carrión’s term; the bookwork becomes ‘a sequence of moments’.
The content is a crisscrossing dialogue between the artist, the book and the reader. It is a dialogue that records the thought processes in those moments of production. Therefore, in the same way that the book form has been constructed as a record of a production, the content also documents aspects of this process. However, instead of a physical record, the text is a mental note that taps into the psyche of the artist at the time of production, to create a bookwork that captures these external and internal processes of making.
The exposed stitch work and binding, hand-cut panels and typewritten text are each a record of production. Stitching and binding are a record of the craft methods employed during the making of the book. The unevenness of hand-cut panels marks the process of production, as does the use of a manual typewriter. The typewriter is a particularly interesting instrument to use as it stains the page with not only letters but also accidental streaks from the ink ribbon. As a writing device it is successful in capturing all the elements of a production process, as mistakes cannot be erased and rewritten. As a manual device the markings are reliant on the artist using it; depending on the pressure placed on the typewriter keys, some letters will imprint the paper darker than others. Equally, each page is fed into the typewriter by hand which means that some words may appear out of line with others. Each of these aspects captures moments of making and to borrow Ulises Carrión’s term; the bookwork becomes ‘a sequence of moments’.
The content is a crisscrossing dialogue between the artist, the book and the reader. It is a dialogue that records the thought processes in those moments of production. Therefore, in the same way that the book form has been constructed as a record of a production, the content also documents aspects of this process. However, instead of a physical record, the text is a mental note that taps into the psyche of the artist at the time of production, to create a bookwork that captures these external and internal processes of making.
8.10.09
Pop-Up Letterpress Studio
For one week in September 2009 there was a letterpress machine available for public use at 'the maker-difference pop-up letterpress studio' by Cockpit Arms and SORT in Newburgh Quarter, Carnaby Street. I got to use a letterpress for the first time and printed text on to a lovely little book, courtesy of SORT. The letterpress man was friendly and extremely helpful and told me that sometime in the near future SORT plan to run letterpress workshops from SORT HQ! Excellent news!
18.8.09
15.8.09
Recently there have been some interesting finds in my mailbox. This is rare.
Last week came a note that read:
you look like a blade of grass with 4 incisors sticking out of the sides. it has no legs, so it obviously hops around with no feet. This means that balance is an issue, but it's fine, because this is kept constant by its own homeostasis system. It never falls over, but it can do. If it does, it has to wait for the wind to push it back upright again. This can be quite troublesome in the summer, when wind is at a minimum. It has no arms because its a blade of grass so when it wants to eat, it must turn to the side and use its incisors to mash up food, it then lies on the food, and then the necassary nutrients enter the blade of grass by diffusion and osmosis through the partially permeable memebrane that forms the outer layer of the blade of grass. It has a small brain positioned just behind its bottom left incisor. the end.
Yesterday came this:
Last week came a note that read:
you look like a blade of grass with 4 incisors sticking out of the sides. it has no legs, so it obviously hops around with no feet. This means that balance is an issue, but it's fine, because this is kept constant by its own homeostasis system. It never falls over, but it can do. If it does, it has to wait for the wind to push it back upright again. This can be quite troublesome in the summer, when wind is at a minimum. It has no arms because its a blade of grass so when it wants to eat, it must turn to the side and use its incisors to mash up food, it then lies on the food, and then the necassary nutrients enter the blade of grass by diffusion and osmosis through the partially permeable memebrane that forms the outer layer of the blade of grass. It has a small brain positioned just behind its bottom left incisor. the end.
Yesterday came this:
It's the latest publication from the WET INK PRESS. A book for John Sparrow. Put together and bound by Becky Cremin with contributions from all at WET INK HQ.
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