Wednesday, June 27, 2012

WHEN MAILING YOUR BOOKS...

...please be aware that in some places, unregistered mail is sometimes lost. Or worse!*

I hope this  post is not a case of closing the door after the horse has bolted, but perhaps we should consider recorded delivery  when sending out our books.

I am well aware of the need to keep costs within means, but perhaps it's something which needs to be addressed. Perhaps should have been addressed! Certainly, an important consideration for any future projects.

So, if you have not yet completed and mailed your books, please see if you can record their sending/delivery from your end.  And do email the recipients once the books are sent.

And, as a courtesy, let senders know as soon as books arrive.

On that note...I'd better get cracking, hadn't I? I think I'm looking at November for my completion(s).
Diane (dinahmow)

* I've been on the losing end too often so now send all important mail (hey! all mail should be considered important!) as recorded delivery, which means it must be signed for by the addressee.

Monday, June 25, 2012

Group 7 "Rowing Boat" en route


Copies of "Rowing Boat" set sail from my local Post Office Saturday morning. Got to fill out several customs forms! I'll be curious to learn how quickly these arrive at their Italian, Canadian, Australian, Californian, Ohio and New York destinations!
This was fun, though I focussed so entirely on structure and the desire to play/work with the sculptural or object side of the matter, the book itself doesn't seem to count.
Goodbye little books!
Alicia
So . . . it looks like 'preview' in Blogger really means freeze the computer. This is my second try. No preview, just publish (hopefully not to perish).

Both the project and the sense of community have been a great experience.


I have had a wonderful time doing "My Ancestors" as part of Edition IV, Group 7. It's a varied edition folded structure with press and hand-printed elements as well as a poem entitled "Mother Tongue." The image above is from the early stages of testing plates and types of paper. The design, paper research, folding, carving, colour choices, printing, etc.  were all deeply satisfying.

Special thanks to Gene Epstein of Group 7, whose beautiful work, "Delicate," arrived and reminded me that it's time to send these books on their way. 


I teach printmaking at the Haliburton School of the Arts every summer, and sometimes offer a presentation as well. This year the talk is "Creativity and Aging: The Time of Your Life." The book project is the core of the talk which looks at how both individuals and creative effort have stages of development. I'll be showing all the maquettes and proofs as well as a couple of final pieces and Gene's book. Whatever other books arrive before the 30th of June will also be presented. I shall do the talk again in October for lovers of Japanese paper, at The Japanese Paper Place in Toronto. Hint . . . hint . . .

Saturday, June 23, 2012

Withdrawing.


It is with much regret I have to withdraw from the BAO project.My husband is seriously ill, and I am not able to focus on the project in the near future.

I thought for a while that I could simplify it enough to manage, so I have printed 15 x3 linocuts and lithographies, plus tested covers with intaglio on gauze.  But the final stage with finishing it all to an acceptable quality seems out of my reach right now.
I wish you all the best with your part of the project!!
Elisabeth Omdahl
Group six
"Silent Wolves"






Wednesday, June 20, 2012

Ghosts -- Edition 4, Group 3

I've finished my contribution to Edition 4 at last. Here is a sneak peak at the book:




 As you can see, Ghosts is the title. I did quite a lot of research on ghostly apparitions and read Victorian ghost stories, and went to see The Woman in Black, and generally thought that my book would include some things that go bump in the night. What actually happened was that after a couple of false starts, I found myself wanting to make a different sort of book. One that has a haunting, to be sure and......oh, but I shouldn't spoil the surprise before the members of my group (Group 3) get their copies. 


I'm hoping to mail them all off this week, as I'm going to be crazy busy the rest of this summer. So if you are in Group 3 and you'd like your copy, don't forget to send your mailing address to our group coordinator, Ronnie, if you haven't already done so! :)

Wednesday, June 13, 2012

Lark Books Call for Submnissions

Lark Books is putting together another book of handmade books, it is called "Showcase 500 Handmade Books" and is curated by Julie Chen. Here is the link to the submission page http://www.larkcrafts.com/submit/calls-for-submissions/  I haven't started making my books for the exchange yet, it helps (me) to have a deadline so now I have one, 2nd August.

SOME OF OUR BOOKS ON DISPLAY

Yesterday, I took some of my small collection of books, including BAO works, to be displayed at the Mackay City Library.
I managed a few pictures before the camera batteries died!

http://www.flickr.com/photos/18554857@N03/sets/72157630053343185/

Sunday, June 10, 2012

Snow falling in daylight (Group 9)

I have prioritised my BAO books for the first half of the year as the second half is looking a bit crazy.  As a result I have finished my Group 9 book as well and can breathe a sigh of relief.  I chose "snow falling daylight" for my second edition.



I think I chose this title because I love the look of white on white – which is how I imagined the world might look when snow fell in daylight. I embossed and debossed snowflake images I created myself and stacked them as I thought about how they fall and pile up.

I left the edges of the pages a bit frayed – like the feathering of snowflakes, and I knew I wanted to have a really delicate, loose binding that gave the sense of the fragility of the snowflakes – not something rigid and bound.



The Swarowski crystal set atop the book continues the sense of frailty and delicacy.




 The words in the middle are mine – again, how I imagine the world might be in daylight snow.


In the end, it’s a little book of snowflakes.

It is quite small, the squares are only 8cm x 8cm and I made an edition of twenty, so I have some spares for swapping, or for selling through the studio.

Wednesday, June 6, 2012

Group 7 Update from "Rowing Boat"



Group 7! I was excited to open my first book from Gene Epstein a few days ago. A lovely take on "Delicate." Thanks, Gene. Will you post a photo of your book here?

As for me:




I've been pondering and avoiding the "Rowing Boat" Book Art Object project for months now caught up on the boat structure. I know I'm missing something obvious, but after trolling for boat making directions--- finding cute ones for real row boats and origami instructions for boat-like structures--- and making clumsy clay and foam core structures, I've determined to follow my attraction to the abstract notion of a vessel. This decision is based on the stash of floral wire and wrap I found in a drawer and the lessening of frustration experienced while making these. On the spiritual front, it is pleasurably meaningful to shape them between the palms of my hands.

My next step is to tear into the old journals. In doing this, I find passages that are worth "sending out to dry" but which don't work with the original structure, which is a coptic bound book. Doing this means cutting up pages and getting any narrative out of order. Instead, I'm counting on my old favorite, the meander, so that lucky readers will get one page, front and back. I find I do want to send even a fragment of a story rather than the rain of words I thought would "do."

The covers are chipboard covered with paste paper scraps from the yards of same I've been making this summer.

More and more soon. They are coming.

Sunday, June 3, 2012

Another Group 2 Book


Like Fiona, my contribution to Group 2 has gone out into the world and it seems timely to share the work with a wider audience.
41: Its beginning to hurt takes as its starting point the possibility that one of Sarah Bodman's stories has been recovered from its place of interment in a Danish forest and subsequently offered for sale by a London bookseller.

The work is housed in a simple drop side box (130mm x 160mm x 25mm), covered in Black Geltex bookcloth with a grey Canson paper relief onlay panel and lined with black Suedex.
Inside the box is a bundle of documents, held together with a band of gros grain ribbon. The first of these is the colophon.
Behind the colophon are ephemera associated with the book's sale - a note written on the back of a discarded shopping list expressing an interest in the book; an extract from the bookseller's catalogue with details of the book, its provenance, its condition and its sale price; and the bookseller's With Compliments slip that accompanied the book when it was sent out on approval.

The final element of the package is the book itself - distressed, with significant staining and water damage and evidence of insect attack.
41: It's beginning to hurt is intended as a reflection on the hurt experienced by artists when their work is appropriated by others and used, often for profit and without consent, in a manner contrary to the artists' intentions.

A subversive stitch - the story and the book (Group 2)

I have sent these little books out into the world and they appear to have reached their far-flung homes so it seems safe now to talk about the process and the finished product in a bit more detail. I am bit behind in posting to BAO - it's been a mad few weeks in Oz - but here it is. Apologies of those who have already read about it over on my blog.

My mind wandered across several different thoughts and approaches for this book and I settled on a combination of ideas around women's work and stitching, darning, and embroidering; about censorship and letters written home during the wars where sentences were blacked out, leaving the safe words showing; about stitching to remove words and leaving others; about history where men mostly got to write it and women weren't featured. Quite an amalgam.

I machine-stitched the words away on the cover, leaving the important ones behind, with threads dangling madly everywhere. On the inside pages, the words are sealed in place and can’t be easily removed or erased; and yet the tracing paper makes it a bit hard to discern what is written. The words are printed on paper where I had also printed an image of the threads off all the covers.

Here is the book from front to back.









Given so much of my work is quiet, subdued and uses a simple palette - this was a very liberating and exuberant book to make. I loved the mess of the threads, I loved the boldness of the colour, and I loved the messages.  A lot of my work is about quietness, peace and gentleness; yet this piece has a bit of the feminist in me in it which I thoroughly enjoyed expressing!