tag:blogger.com,1999:blog-53435763352617883432024-03-12T16:17:09.357-07:00Major project and Fine Art degree showAnonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-5343576335261788343.post-87125807461796605862017-05-09T10:04:00.001-07:002017-05-09T10:04:40.519-07:00Art Degree final show - Hanging day - Prints and Paupers<div style="text-align: justify;">
The space was finally ready to hang everyone's work. Floors scrubbed, walls painted.</div>
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Only six of us to hang work in this beautiful clean space (and a sculpture in the middle of the floor).</div>
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It has been a difficult couple of days, maybe it has felt easier for those of us with just wall hanging work, several pieces all the same size, the worst decision being which ones to hang. With my work, all different shapes and sizes of pieces, some 2- dimensional and some 3-dimensional, I have been really stressed. Not knowing whether to hang all the prints or maybe only have one book and at each thought having to rearrange the lot. The only bit that has remained in the same place throughout the process are the back to back long ones.</div>
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Decided in the end to hang all three 180cms prints, the before (black pure lead print), the process (grey/white monoprint with pellet holes) and the after (black with white spots) which was the print taken from the same plate after it was shot through. I wasn't sure about hanging the pale one in the middle as it had a sandwich effect but I think it has worked out well in the end. I prefer to hang a block of three rather than two prints together. I have rolled the lead and set that underneath.</div>
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We had difficulty hanging the two 3.5 metre long prints back to back, just getting the height was tricky, they are held together at the top over a piece of dowel with strong magnets. This works with the magnets used to hang the three above.</div>
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I am really pleased with these prints, they have stayed pristine through the making and the hanging, I'm still amazed I could make them at all, I love these and I'm keen to do more continuous printing. I have put the books on plinths as planned but have decided not to show the bullet hole enamel book. The books add some interesting shape to the show and reflect the big prints across the space.</div>
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Just get a tiny hint of what my work looks like in the space with the edges of other peoples (don't want to give their games away). I'm really pleased with how the show has hung, I have had so much help - thank goodness - it would have really difficult to do on my own.</div>
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I have also put into the show my artist statement in English, Welsh and in Braille, each was a page long except the braille with took over four and a half A4 pages. It seemed only right to supply this in Braille as it has been the major inspiration for this whole project.</div>
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I have set up the Braille writer on a table with instructions and a Braille alphabet so that the public can have a go at writing in Braille, there is a pile of paper to try it on and a box with photos of people using the machine that they can add theirs to if they want, or take them home.</div>
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I think everyone's show looks amazing and that our work compliments and contrasts really well together, several of high saturated colour and a couple of us working in large scale black and white.</div>
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Opening night 7pm Friday 26th May 2017, Carmarthen School of Art.</div>
Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-44052979303762809652017-05-05T04:44:00.002-07:002017-05-05T04:44:51.667-07:00Artist's Books exhibiting in Kunsthuis Gallery, Yorkshire.<div style="text-align: justify;">
I am very pleased to say that two of my artist books have been accepted and are going this month to be exhibited in the RA inspired Summer Exhibition at the Kunsthuis Gallery in Yorkshire. This is a contemporary abstract gallery.</div>
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The two pieces that are going are;</div>
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Reflect, Refract, Encode</div>
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The Crow<br />
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I'm hoping to make the opening night, fingers crossed.</div>
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Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-46901752661217931112017-05-05T04:37:00.001-07:002017-05-05T04:37:38.578-07:00Degree show set up, the final choices - Opening night 26th May Carmarthen School of Art.<div style="text-align: justify;">
I've got quite a lot of work that could be exhibited at the final degree show, mostly quite large pieces. To figure out how I might get them in the space I made a scale model of the space and all of the work. The space I have is 4 boards of wall space, 8ft by 4ft boards, 16ft by 8ft altogether and lots of floor space.</div>
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It made all the work look very cramped as I had not anticipated how much floor space there would be. </div>
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The painters working spaces were taken down to reveal the beautiful space for the show, lots of wall painting and floor cleaning but we got it all done ahead of schedule.</div>
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Yesterday we made a mock of how my work will hang in the space, using lining paper so as to keep the proper work sparkly clean for the show.<br />
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Next plinths made and ready to bring in. The large low plinth is 90cms by 90cms by 60cms tall for the large book that opens right out and the slimmer taller one is 45cms by 45cms by 90cms tall. All my work is based on 30cm units, not sure why it just turned out this way. It seemed important as the show has a look of computer code that there be a unifying measurement particularly in something as fluid as art work.</div>
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Just a stack of prints to sort out,
magnets for hanging, business card holders and artist statement to
translate into Welsh. I'm sure I'll find another thousand things to do
before the opening.</div>
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Remarkably
nerve racking hanging even the mock yesterday, suddenly my work will be
out there in a big way, lots of it together rather than just the odd
bit at an exhibition.</div>
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<span style="font-size: large;"><b>Opening night 6pm, Friday 26th May, Carmarthen School of Art, Coleg Sir Gar, Jobswell Campus, Carmarthen.</b></span></div>
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Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-5752029505247470382017-04-26T08:55:00.001-07:002017-04-26T08:55:41.950-07:00New lead monoprints and an air rifle<div style="text-align: justify;">
I've made another lead plate, with a braille version of a Heidegger quote 'Tell me how you read and I will tell you who you are'</div>
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Initially I inked the smooth lead and placed paper over it with the
braille mock up on top. I shot through into the lead again with lead
shot in the air rifle. The lead is 150cms long by 24cms wide.</div>
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Some of the shots actually went right through the lead and dented the wooden floor.</div>
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The top sheets came off and left the monoprint, some with the pellets still stuck in the holes in the paper. I think this one particularly shows the whole conceal and reveal philosophy of Heidegger.</div>
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The second print form this roll, I inked and hand printed. The first one was the most enjoyable print I have made so far, and nearly the most stressful, the layers of texture from just a simple monoprint are great. I had no idea what these prints would come out like, but they will fit really well with the rest of the prints and books for the show.</div>
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The lead also looked amazing so I took some photographs while the ink was wet and then when the lead was cleaned.</div>
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Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-49388339659280798162017-04-24T01:57:00.004-07:002017-04-24T01:57:36.236-07:00Nearing show completion - another lead book<div style="text-align: justify;">
I decided to make another book with the lead covers that turned out to be too small for the first book. This time not a pull out concertina, just a folded book. I wanted to bring back some of the excitement I had using original braille paper in my initial research experiments so I glued braille paper (the lovely buff coloured stuff) to the sheets I was to print on and re ran the original 'Point Blank Pages' extended print but singularly.</div>
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Unfortunately the pages cockled and no amount of flattening, ironing or being cross uncockled them.</div>
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<a href="https://1.bp.blogspot.com/-DkoPU1Qr50w/WP20NB2UnEI/AAAAAAAAA2Y/AGVR374h_WcRWOeZH-5dWJvMsiGe6gKbQCEw/s1600/research%2Bbrief%2B402.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://1.bp.blogspot.com/-DkoPU1Qr50w/WP20NB2UnEI/AAAAAAAAA2Y/AGVR374h_WcRWOeZH-5dWJvMsiGe6gKbQCEw/s320/research%2Bbrief%2B402.jpg" width="320" /></a></div>
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Printing on them helped but sadly they are not perfect, the braille paper does however give another dimension to both the colour / shade and also to the texture.</div>
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These are the front and back of the book, indented with lead pellets from the front and raised on the back.</div>
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<a href="https://3.bp.blogspot.com/-6e9deBwJh-M/WP20QtuPbsI/AAAAAAAAA2Y/6mAqeTkWa4kzQvbVIoQ4tK22PeMWW2m3wCEw/s1600/research%2Bbrief%2B405.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-6e9deBwJh-M/WP20QtuPbsI/AAAAAAAAA2Y/6mAqeTkWa4kzQvbVIoQ4tK22PeMWW2m3wCEw/s320/research%2Bbrief%2B405.jpg" width="223" /></a></div>
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This book will be fully opened for the first time at the show, I think if I open and close the pages too often they will eventually break. This and the last book will stand as much as a piece of sculpture as of a book. The lead covers will make it difficult to handle and dangerous to handle without gloves.</div>
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Health and Safety procedures and health risks in journal.</div>
<br />Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-91265026374677050102017-04-14T03:22:00.000-07:002017-04-14T03:22:01.828-07:00Lead book with concertina pages - Artist's Books<div class="separator" style="clear: both; text-align: center;">
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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.</div>
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This concertina now measures 3.5 metres like the long prints.<br />
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<a href="https://3.bp.blogspot.com/-9cFRv7xjeZw/WPCeVi1uiaI/AAAAAAAAA1Y/FLuO3cBn_F0nGExX2YuYZmK6aUpJ9T8sACLcB/s1600/research%2Bbrief%2B395.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://3.bp.blogspot.com/-9cFRv7xjeZw/WPCeVi1uiaI/AAAAAAAAA1Y/FLuO3cBn_F0nGExX2YuYZmK6aUpJ9T8sACLcB/s400/research%2Bbrief%2B395.jpg" width="400" /></a></div>
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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.</div>
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As you can see the covers only overlap the book block by about 0.5cm.<br />
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New covers please!!!</div>
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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.</div>
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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.</div>
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<a href="https://4.bp.blogspot.com/-OMIM76bXLEg/WPCeZQZqJXI/AAAAAAAAA10/yjaujb24bSIIy2-hz5ZvvaDbTILOUYvTwCEw/s1600/research%2Bbrief%2B399.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://4.bp.blogspot.com/-OMIM76bXLEg/WPCeZQZqJXI/AAAAAAAAA10/yjaujb24bSIIy2-hz5ZvvaDbTILOUYvTwCEw/s320/research%2Bbrief%2B399.jpg" width="320" /></a></div>
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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 (<i>alethia</i>). Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-32994448122731561182017-04-03T12:10:00.002-07:002017-04-03T12:10:27.936-07:00further......lead book covers and lots of inkI finally finished the second set of collagraph plates and the second 3.5metre print.<br />
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<a href="https://4.bp.blogspot.com/-wr6id5tu_go/WOKbiNvSKnI/AAAAAAAAA00/kSZoBb2kA8wuq_Csioa0_PFBBqfwrje0gCLcB/s1600/research%2Bbrief%2B363.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://4.bp.blogspot.com/-wr6id5tu_go/WOKbiNvSKnI/AAAAAAAAA00/kSZoBb2kA8wuq_Csioa0_PFBBqfwrje0gCLcB/s640/research%2Bbrief%2B363.jpg" width="241" /></a></div>
This piece is the braille version of a Martin Heidegger quote 'Man acts as though he were the shaper and master of language, while in fact language remains the master of man.'<br />
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Again I'm very pleased with the result!<br />
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I also made the lead covers today for the book and took prints from them too.<br />
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<a href="https://2.bp.blogspot.com/-hhUeKVKRNlg/WOKc1gdH0_I/AAAAAAAAA04/8HYuePKM4x4EUzqFlcM-RgQTezoy9SQFACLcB/s1600/research%2Bbrief%2B374.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://2.bp.blogspot.com/-hhUeKVKRNlg/WOKc1gdH0_I/AAAAAAAAA04/8HYuePKM4x4EUzqFlcM-RgQTezoy9SQFACLcB/s320/research%2Bbrief%2B374.jpg" width="320" /></a></div>
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I shot two lead plates together with the air rifle this is the back plate, the front has the pellets embedded in it.<br />
Inked up they were quite stunning!<br />
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<a href="https://4.bp.blogspot.com/-jN_A0ZE9-wc/WOKdLGM3DfI/AAAAAAAAA08/T8Rl8CJP_84DeL_s2PWTSqerxjUBkxfqQCLcB/s1600/research%2Bbrief%2B372.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-jN_A0ZE9-wc/WOKdLGM3DfI/AAAAAAAAA08/T8Rl8CJP_84DeL_s2PWTSqerxjUBkxfqQCLcB/s320/research%2Bbrief%2B372.jpg" width="320" /></a></div>
....and the front cover hand printed<br />
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<a href="https://1.bp.blogspot.com/-qbRXRAyJJng/WOKdcZrBeLI/AAAAAAAAA1A/izQQpIhbnQE6c-OCHmczh-y7B0lXF7v6gCLcB/s1600/research%2Bbrief%2B371.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://1.bp.blogspot.com/-qbRXRAyJJng/WOKdcZrBeLI/AAAAAAAAA1A/izQQpIhbnQE6c-OCHmczh-y7B0lXF7v6gCLcB/s640/research%2Bbrief%2B371.jpg" width="546" /></a></div>
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I love the rich gloopy nature of the ink with the delicate print of the pellet edges. Shot and printed leaves me with little control over how it comes out and I think this work is better for it, otherwise I would have contrived this to be neater, smoother and much more controlled.<br />
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I love print!<br />
Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-80788766582270053642017-03-28T10:07:00.000-07:002017-04-03T12:01:20.290-07:00Lead books, braille and an air rifleInspired by the enamel book looking like it had been shot, I started looking at lead, partly because old bullet were / are made of lead and partly because of its maleability.<br />
I shot air rifle pellets into lead and through paper, carefully of course, with proper safety equipment!<br />
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<a href="https://3.bp.blogspot.com/-rjXR13keLsQ/WNp8xILZ-SI/AAAAAAAAAzM/n4o5EPgamxUiHUQkuw4KSFQ_dl3M1MCAgCLcB/s1600/research%2Bbrief%2B334.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://3.bp.blogspot.com/-rjXR13keLsQ/WNp8xILZ-SI/AAAAAAAAAzM/n4o5EPgamxUiHUQkuw4KSFQ_dl3M1MCAgCLcB/s200/research%2Bbrief%2B334.jpg" width="200" /></a><a href="https://4.bp.blogspot.com/-ajxOgUYovZ4/WNp8wkW7m5I/AAAAAAAAAzI/L3Tef0wB1aITbQYu65-BPF9G015pHQi1ACLcB/s1600/research%2Bbrief%2B335.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://4.bp.blogspot.com/-ajxOgUYovZ4/WNp8wkW7m5I/AAAAAAAAAzI/L3Tef0wB1aITbQYu65-BPF9G015pHQi1ACLcB/s200/research%2Bbrief%2B335.jpg" width="200" /></a></div>
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At the same time printing with lead, some used and bashed up lead and some new<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-NSn8r-TQMe0/WNp9sOOiMdI/AAAAAAAAAzU/YtBOj7URa9YOSGc5D3xCrvMk_M6qCPZNACLcB/s1600/research%2Bbrief%2B344.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-NSn8r-TQMe0/WNp9sOOiMdI/AAAAAAAAAzU/YtBOj7URa9YOSGc5D3xCrvMk_M6qCPZNACLcB/s320/research%2Bbrief%2B344.jpg" width="192" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Old used strip of lead with second print behind</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-ITroGlDXZRk/WNp9sKlOYfI/AAAAAAAAAzY/9_p9rdkf4eALCnmyoBXKUaWDUpPVlCd1wCLcB/s1600/research%2Bbrief%2B345.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-ITroGlDXZRk/WNp9sKlOYfI/AAAAAAAAAzY/9_p9rdkf4eALCnmyoBXKUaWDUpPVlCd1wCLcB/s320/research%2Bbrief%2B345.jpg" width="192" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">New piece of lead</td></tr>
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Fantastic deep black almost velvet quality of the new lead is very different from the bitty beaten up quality of the old, you can see old hammer and tool marks, creases at the edges etc.<br />
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From these experiments I decided to make a book with braille collograph pages and shot lead covers (which I may or may not get prints off before they become the covers).<br />
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The pages are made from card and paper, punched through and then varnished repeatedly, each measures 30cms by 56cms, as the covers are 30cms x 30cms and the concertina will need to fit within the covers<br />
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This is plate 2 inked up and ready to print (obviously backwards)<br />
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I have cut down a roll of Fabriano 220hp to 50cms (perfect size to fit through the press and cut down further later) I cut it on the chop saw to keep the edges as neat as possible and save unrolling it in advance......<br />
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......and have printed on a roll nearly 3.5 metres long, lifting the barrel of the printer and hauling it through, rolling the print up with tissue paper to keep it clean.<br />
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The unveiling of the final full print<br />
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OVER THE MOON!! I thought I would have to do this at least three times to get one good one, remembering I will only get about about three prints before the plates have been too squashed.<br />
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All I have to do now is sit on my hands and not touch it until it is completely dry before I fold it into the concertina for the book.<br />
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I also want to use the plates for something, I have left them with ink on as they have taken the colour and feel of lead.<br />
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Now for the covers..........<br />
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I have hand printed the initial pellets into lead to see how it would turn out before I shoot and print the lead covers, I think I will print the covers before I use them on the book<br />
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Plan / template for the front cover with brass screw posts.<br />
The cover also in braille reads POINT BLANK PAGES<br />
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More to follow.................<br />
<br />Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-49108726901578105722017-03-11T01:34:00.000-08:002017-03-11T01:34:20.894-08:00Artist's Books - Sarah Patterson - the latest books<div class="separator" style="clear: both; text-align: center;">
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This book is 10cms square and the covers are enamel. Shot through paper.<br />
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Concertina double cover, the roll of pianola paper with the keys under and the fingerprints of chords cut out.<br />
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Unfinished maquette piece with curved mirror back and concave and convex lenses. Looking at ones self through distortion / several steps removed?<br />
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Braille eye test reflected in mirror (shortlisted for the Kunsthuis Gallery International Summer Exhibition)<br />
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Maquette for lens book, ever decreasing in size and off centre so only a tiny space is left to look through.<br />
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Tunnel book, pages are loose in concertina sides and can be moved and rearranged, pages white one side and black the other, mirrored back, looking at self through black hole (can see the rings of the other pages in mirror also).<br />
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Braille poem on curved back, book unopenable, one concave, one convex lens to read poem through<br />
(shortlisted for the Kunsthuis Gallery, International Summer Exhibition).Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-78880448231984933352017-03-09T09:59:00.001-08:002017-03-09T09:59:16.512-08:00Artist short films, hands making and unmaking<div class="separator" style="clear: both; text-align: center;">
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I found these films quite difficult to make, they expose my hands at work, making and unmaking in a way that I have never watched from an outside perspective before. <br />
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I have continued the black and white of my prints and books into the films to preserve a continuity and consistency of technique.</div>
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I particularly like the heavy dark industrial side of this film in juxtaposition to the delicacy of paper with holes which is usually to play music, suddenly it has a substrate use rather than its original use.Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-77081111877550024032017-03-06T11:23:00.001-08:002017-03-06T11:26:58.352-08:00Edinburgh Artist's Bookmarket at The Fruitmarket Gallery Febrary 24th & 25th 2017I decided to apply to exhibit at this years Artist's Bookmarket in Edinburgh, this is the first time I have exhibited my books. I was accepted!!<br />
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I'm not sure why I always have to start so big or so far from home, anyway, I packed up every book I'd ever made and headed up to Scotland (unfortunately the same weekend at the Six Nations Wales v Scotland rugby match). I was tempted to put on a workshop but decided that was too much for my first event.</div>
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It was the weirdest, best and quite scary moment when I looked at the programme and saw my name on it as a proper professional exhibiting artist.</div>
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My space looked like this!</div>
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I probably put too much out but excitement is a hard thing to control, I didn't put it all out and changed it round on the second day. It was really interesting to see what got the most attention over the weekend. The tunnel books were a real hit and of course the enamel concertina book, however the closed braille book with lenses and the copper book had a lot of interest.</div>
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I did struggle with people picking things up, and before this weekend I was keen on having all the pieces in my degree show handleable. Not sure now?</div>
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Part of the reason for going to Edinburgh was to get the public to contribute to my final show by way of using the braille writer and writing things with it. </div>
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Lots of people were keen to join in but I was surprised how many people wanted to take their piece away with them (everyone likes a momento). I asked people if I could photograph their hands while they used the machine. Again like most of my work the photography was black and white. It retains the same slightly industrial, pre-technological and minimal ambience as my work.<br />
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I loved the Fruitmarket Gallery, they have a fantastic collection of artist's books in their shop, lovely cafe and everyone was really helpful and nice. Hopefully return next year?</div>
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Out of this amazing opportunity, I have been invited to submit work for the Liverpool Book Fair and also been asked to submit work and a CV for Edinburgh Library (who carry a selection of artist's books in their collection).</div>
Anonymoushttp://www.blogger.com/profile/13636592690864214651noreply@blogger.com0tag:blogger.com,1999:blog-5343576335261788343.post-18209339281490643082017-03-06T08:46:00.001-08:002017-03-06T08:46:29.805-08:00Research prints and artist books<div style="text-align: justify;">
From October 2016 until now (February 2017) I have been experimenting and researching print and artist book ideas based loosely on braille books I came across last year.</div>
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To attempt to find a visual language based on a tactile language.</div>
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Initially using fingerprints to make marks and make braille letters but flat rather than raised so they can only be read either visually or solely as pictorial. Concertina books always work well to speak a narrative or represent a series for me.</div>
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The idea of a blind language pulled me towards making blind prints, just in relief without ink (or parts without ink)</div>
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Looking at the language of braille lead me to consider code, I then looked at musical code in the form of pianola rolls which play music when put through the pianola machine and combined the pianola code with braille and blank silences.</div>
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This is a colograph print was made from card with braille letters pushed through and printed on a combination of original pianola paper, preprinted 1960's braille paper, ordinary heavy cartridge paper and combinations.<br />
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The braille reads 'Sometimes I see with my hands and see with my eyes'. The braille is oversize and would be unreadable as braille is a series of repousse dots protruding and this is a series of over large dots embossed into the paper.</div>
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This is an artist's book made with the pianola paper and fingerprints on the chords of a piano underneath and cut through. As the playing of this music leaves blank spaces into which we read.</div>
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This work brought about a small series of folded paper prints. The middle one, a part of the first of the four prints above.</div>
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I also started making braille letters by piercing mesh and made another series of work whilst pulling the mesh apart. This also helped develop the idea of making short films, one with mesh, one with the pianola and one making marks on a zinc plate (films to follow)<br />
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Difficult to see on a screen but very fine metal mesh, ripped down to wire in the second print. The prints are printed using oil based ink rolled on covered with a fine sprinkling of graphite powder. The smaller prints below show more of a progression of tearing the mesh.</div>
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In the end, I believe these mesh works to be heading in a direction not significant to this body of work (I will come back to them at a later time to see if there is any further development to be made). However the photographs and film that came from this work is invaluable, some of these photographs are my favourite pieces from this research and I intend to develop the photography through the major project work to come.</div>
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These next pieces came from a desire to make an artist's book that looked at perception, continuing to use the braille motif, I changed a standard visual eye test (as seen in all opticians) into braille. These prints were the results.</div>
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The artist's book that resulted is my favourite so far, it shows a blind (no ink) print opposite a mirror, so it can be read forwards, as in a proper opticians eye test. The real joy of using braille is that it can only be read by a selected few and if turned around or embossed rather than protruded it cannot be read. It works as a juxtaposition of perceptions of the visual and tatile for a seeing person such as myself.</div>
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