Artist's Book: Evil Eyes

Softback book bound in oatmeal-coloured card. Portrait format measuring 190mm x 110mm.
Title is bound in beads into the spine and closed with a green elastic band.
21 printed pages with tipped-in photos. Photo pages are date stamped.
Second edition of 20, Brighton 2006
First Edition of 10 was made in hardback with a cloth cover (2005)

Whilst travelling to work it was noted, by certain keen individuals, that the world appeared to be full of beings: other than the everyday. With the assistance of an adapted mobile phone camera these ghosts, animal spirits, numen and peri that crowd around us can now be revealed. Mostly captured during regular days – frequently when rain was in the sky. So far we have managed to identify only a few of them – what we know is here, along with our clearest photos and some of our thoughts.
Damp Research Laboratory

To see all the spreads in this book click here...

The images below are photos of the cloth bound first edition.

Damp Flat Books in exhibition: Ars Libris: Artists’ Books as Ergodic Texts

I'm pleased to announce that Damp Flat Books will be exhibited as part of a group show Ars Libris: Artists’ Books as Ergodic Texts in Bilkent University Library, Art Gallery in Ankara, Turkey, from October 12th to November 13th, 2017
Curated by Andrew J. Ploeg and Attila Gullu.

On show will be Mean Bone

Evil Eyes

Future Fantasteek! No.18

From exhibition organisers website:

'Artists’ books' is a term coined by Diane Vanderlip to describe the pieces gathered in an
exhibition that she curated at Moore College of Art in 1973. But the concept itself arguably dates back much earlier. Defying description and evading definition, artists’ books have generally come to denote works of art crafted as or from actual books. They emphasize physical qualities over literary ones and necessitate unconventional relationships with their “readers,” demanding interactions that are radically distinct from those of traditional books. The difficulty intrinsic to such interactions speaks to the nature of artists’ books as ergodic texts, texts that Espen J. Aarseth maintains require a nontrivial, extra-intellectual effort to traverse. Despite, or perhaps because of, their elusiveness and complexity, such books, including those fashioned by Brian Dettmer, Georgia Russell, Kaspen, and many others, challenge the presumed parameters of the
textual and the visual. In doing so, they raise and respond to urgent questions regarding art, literature, and readership.

Bilkent University Library, Art Gallery in Ankara

Exhibition photos, kindly taken byAttila Gullu