Lead book with concertina pages - Artist's Books

I reprinted the full second set of collagraph plates on individual pieces of paper (as printing them on one long roll took hours and had a big chance of major disaster half way through) and attached them all together with paper tabs including tabs on the first and last page to attach them into the book- I googled how to do this as I had never made a concertina this big before.

 This concertina now measures 3.5 metres like the long prints.

What I didn't realise was that the second set of collagraphs are slightly bigger than the first set and therefore when I folded them ready for the covers the concertina was too big and I would have had to catch every page in the binding and not be able to pull out the concertina from the covers.

As you can see the covers only overlap the book block by about 0.5cm.

New covers please!!!

Next problem was that I only had one piece of lead left the right size to make a cover for the book block so I had to improvise with grey board, graphite and varnish. Remake both covers, the front one much simpler.

The covers are connected by brass pillars through back board, front and back tabs, 2 sheets of glassine to protect the print from the lead and a graphited wood block to provide support.

I haven't opened the book yet, it's virgin opening will be at the show. In Heidegger's phenomenological context, the visual language (originating in braille) discloses concealed meaning, and the opening of the book discloses or 'un-conceals' where the narrative meaning is held in concealment. Un-concealment reveals 'presenced' truth of Being (alethia).