NEW BOOK - Marshland

Here is a preview of my latest artist's book, Marshland

18cm x 23 cm artist's book with 70 pages
Reproduced from a visual diary (sketchbook) drawn daily during October.
The original sketchbook is a vintage German 'home comments' book.
The illustrations were created using red and blue; Posca pens; Lamy fountain pens; coloured pencils; pastels; index cards and rubber stamps.

The visual diary was a direct response to emotions experienced throughout the month, visualised.
I am considering print options at the moment trying to figure out what feel I want from this book.

Work in Progress - Morass

Very pleased with my large format test prints on archival sustainable heavy matt paper. Once they are fully dried and fixed, I'll be folding 2m concertinas.
I'm planning on cloth-bound hard covers in fuchsia.

Working title: Morass Publication date: TBC when I'm totally happy with it.

The image is a vertical slice from the Bank of England down through the sewers past the London Underground and down into Hell. This satirical vertical cross-section contains two quotes about finance by Charles Dickens. This artist's book was inspired by Our Mutual Friend (1865) and the grasping need for money that integrates all levels of society.

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