Posts Tagged ‘artist’s books’

Alone together

April 1, 2020

Larksong - text by Jeremy Hooker, artist's book by Liz Mathews

Larksong  (artist’s book by Liz Mathews, poem by Jeremy Hooker)

Greetings for April and all good wishes from Potters’ Yard in these sad and difficult times. I’m working at home as usual with my partner Frances in our shared studio, so apart from how very quiet it is, and an unusual interest in food shopping, our working life is not much different from our normal daily routine. But the exhibition I was preparing for, which was due to open in early May, has now been postponed until next year, and all the other events I have scheduled for this year are cancelled, suspended or postponed in the uncertainty. And of course these things that I’d normally think of as major disasters are the least of our worries.

One of the things I’ve found most comforting and uplifting in these last few weeks has been the extraordinary blossoming of goodwill that has turned our society into a true community, with people doing their utmost to contribute to the good of their fellow humans. And it’s a good thought that though we’re alone in our homes, isolated from physical contact and proximity, we can still be together in social ways, keeping in touch and sharing things that bring us together virtually. I love this inspiring video forwarded by my friend Priscilla in America (and originally sent to her by artist, calligrapher and musician Jan Owen), showing musicians from the Toronto Symphony Orchestra playing Appalachian Spring together – though they are each in their own homes.

Spring  (artist's book by Liz Mathews) words from Mahler's Das Lied von der Erde

So I’m aiming to do as much online as possible, to focus on spring and share some rainbows of hope and flashes of light – and bring you here on this online galleryblog Daughters of Earth some private views in the next few weeks, for viewing at home, away from the ebb and flow of the outer world:

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This paperwork is called Prism II, and it’s on handmade paper (70cm x 50cm approx), lettered in acrylic paints applied with a pen improvised from a wooden clothes-peg. I love to use odd lettering tools – bits of driftwood, sticks from trees – and I like to choose something appropriate to the text. Here Winifred Nicholson is talking about a happy home environment – the words are from her article called ‘I like to have a picture in my room’ – and the clothes-peg has very domestic, almost intimate connotations, some of which can perhaps be transferred into the letters as they’re formed. It’s a nice tool to use for this purpose too, as the flat, absorbent top edge of the peg makes a great italic nib, but without the control of a ‘proper’ pen. And without the little dip in the nib that helps regulate the flow of the ‘ink’, you get a much more free, irregular ink-flow – in fact the ink does what it wants to, rather than what you think it should. I like the materials I’m using to contribute their own life to the work we’re making together, and here, this irregularity lets a lot of light into the form of the letters – soft broken edges on the absorbent paper, no hard edges or straight lines. And light through colour is the essence of the rainbow, the prism breaking up the lightwaves into their constituent hues.

ROYGBIV by Liz Mathews

I’m still working on the last few paintings and drawings for my exhibition, now re-scheduled for next April – so the pressure’s off, but the structure of my working week is keeping me sane, so I’m sticking to it. The exhibition – at London’s lovely Burgh House – was to have been called The Prospect of Happiness – and it’s now known as Postponed The Prospect of Happiness – which is almost too poignant. So I’m trying to inject a note of optimism and hope into the artworks I’m making:

The Prospect of Happiness  (text by Frances Bingham, paperwork by Liz Mathews)

This is The Prospect of Happiness, on handmade paper (about 70cm x 50cm) with watercolour paints mixed with Thames water, and lettered with a Thames driftwood stick. The words are from Frances Bingham’s novel The Principle of Camouflage, and the ‘prospect’ is the view from high on Hampstead Heath, down across London, to the downs on the south side – a view very familiar to us both from our local walks – especially on a clear spring day. The ‘tree-crowned hill’ is perhaps Boudicca’s barrow – which features in Frances’ most recent book London Panopticon as the end of a pilgrimage – the view then being at twilight. I like to think that though it’s not so easy to get to the actual place at the moment, this view and all it contains and represents is ever-present in our minds.

Blake's London  - text by William Blake from Jerusalem, paperwork by Liz Mathews

This is Blake’s London, a paperwork I made last week for the exhibition. I’ve been thinking about this piece for a long time, and it has finally come together. It’s on handmade paper (approx 30cm x 42cm) and the words are from Blake’s Jerusalem – not the great anthem we sing (And did those feet…) – that’s from his Milton, but from his later weird and visionary poem Jerusalem the Emanation of the Giant Albion which the poet Southey got a quick preview of in 1811, and ungratefully described as:

“a perfectly mad poem called Jerusalem” (from Kathleen Raine’s William Blake for Thames and Hudson).

It seems that Blake worked on writing, designing, engraving and printing this book for over a decade, beginning perhaps in 1804 and continuing to add to the poem until 1820, and he illuminated only one copy, which he did not sell but was still in his possession on his death. Kathleen Raine gives us a way of understanding the work:

Blake’s ‘visions’ do not belong to time, but to the timeless; they are related as parts to a whole, but as parts of the surface of a sphere, all equidistant from the centre, rather than in the time sequence to which in this world we are normally confined. Like dreams they came to him in single symbolic episodes, or images; there is some attempt at chronology, but the material does not lend itself to this order, any more than would a series of vivid dreams, all relating, perhaps, to an unfolding situation, but not forming a consecutive narrative.

(How much this reminds me of the ‘unfolding’ situation now – and how prescient Blake’s vision, how all-encompassing!) And about his over-arching vision for the work itself:

A single inspiration informs words and decoration alike.

It is this unity of inspiration, and integrity of text and image that has always been my highest aim for my own work. I chose these particular words because they celebrate our patch – the area of London that is home for me and my partner – and because they seem to represent the most harmonious aspect of the city – benign and beautiful architecture on a human scale gracing fields as a natural evolution, rather than urban nightmare obliterating wasteland with ‘development’.

As I was making Blake’s London for my exhibition in the context of visions of London, including portraits of historic London houses and writers’ London landscapes, I wanted a very particular image to set the words within – an image that would be an embracing vessel for the text. I chose for this to draw Euston Arch – built in 1837, just ten years after Blake’s death, as the grand entrance way to the new Euston Station, gateway to the north – and embellished in 1870 with the letters E U S T O N cut into the architrave in letters of gold – and demolished in the new London of the 1960’s to the distress of many soulful Londoners including John Betjeman. I drew the arch from a contemporary photograph.

Liz Mathews drawing Euston Arch

I thought that the arch’s golden pillars could here stand for the beautiful trees of Euston Grove, that wonderful green space surviving in front of the dark and dowdy Euston station. These huge trees are now over 200 years old, contemporary with Handel’s great plane trees of Brunswick Square, and have survived not only the bombs of the Blitz but the more insidious erosion of the constant traffic of Euston Road, the most fume-laden air in London – and played their part in protecting us Londoners from those fumes. And yet these trees are now threatened with demolition themselves, much to Londoners’ distress, to make way for HS2 building works. So the final lines stand as a plea, a spell, an invocation of Blake’s spirit to aid the hopeful vision of a future in which this particular green and pleasant bower may be spared the fate of Euston Arch.

I referenced Blake’s own design for the poem in making the work, composing the text layout inset into the image in little clouds, and the lettered font itself from one of the pages of Jerusalem in Blake’s own finished and illuminated copy:

Page 160 from Kathleen Raine's William Blake (Thames & Hudson)

And I followed the design for the starry sky in one of Blake’s watercolour drawings from his Illustrations of the Book of Job, in which The Morning Stars Sang Together, balanced like wing-walkers along God’s outstretched arms:

detail from The Morning Stars Sang Together, watercolour by William Blake c.1821, from Kathleen Raine's Blake biography (Thames and Hudson)

I like to think of those angelic morning stars shining through the branches of the great plane trees at Euston, still singing for us all.

Blake’s biographer the poet Kathleen Raine and the visionary painter Winifred Nicholson were great friends, so it seems appropriate to bring them together in this post, and finish with Kathleen Raine’s own view of the time and the city:

Blake's Graffiti by Liz Mathews (poem by Kathleen Raine)

This is Blake’s Graffiti, a ‘banner-book’ made from driftwood, the ‘pages’ made from shards of a broken wooden wine-box we found washed up on the Thames foreshore near London’s Southbank Centre. The pages were first dried out, then bound together with linen book-binding tape and handmade paper, then painted and lettered with acrylic paints mixed with Thames water. The text is from Kathleen Raine’s poem What Message from Imagined Paradise; she could be writing it about today’s news – but I feel the message is perhaps ultimately comforting. Let’s focus on the delight as much as we can, and both hope and pray that we can ensure things change for the better after all this.

What message from imagined paradise

Can bring hope to us, whose daily news

Is of polluted forests, poisoned seas

Of the polluted air, the clouds

Laden with sour vapours from our furnaces;

What can we hope or pray for that can heal these

Mortal wounds to our brief beloved earth?

 

Implicit in each beginning is its end:

What poet can write

Of beauty truth and goodness in these days

(Or say rather, of what else?)

And yet I feel delight

As I look up into today’s blue skies

Where the sun still gives light

And warmth (wisdom and love, Blake says)

And on this doomed decaying city rise

On the last days as on the first

These marvels inexhaustible and boundless.

 

Kathleen Raine

 

Eight artist’s books by Liz Mathews

February 18, 2020

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Paper Wings

55 love poems by Maureen Duffy set to paper by Liz Mathews

A contemporary illuminated manuscript in the form of a double-sided concertina book, setting 55 love poems by Maureen Duffy with one poem to each page of handmade paper (30cm x 42cm). The dazzling variety of the poems, and their recurring themes and motifs proved inspirational for the use of vibrant and diverse materials and tools in making the book. Materials include handmade papers, acrylics and watercolours mixed with honey, wine, blood, snow-melt and rain; lettered with diverse tools including reed pen, Japanese brush, driftwood stick, clothes-peg and swan’s feather quill. The book was originally exhibited (before construction) as an installation flying overhead in the London gallery of Enitharmon Press in 2014.

Book measurements: 31cm x 22cm x 7.5cm closed: opens to 11.5m long x 31 cm high. (Portfolio slipcase 33cm x 23cm x 8.5)

One-off original in slip-case £4000

(A half-size facsimile of this book copy – 1 in a special facsimile edition of 5 – is currently on display in the Treasures Gallery at the British Library, in a new exhibition of the work of 17 contemporary book artists – all women.)

 

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Tatter’d colours

Text by Anne Finch from The Soldier’s Death (17th century)

Eight flag-pages made from French linen canvas, bound with a continuous length of linen bookbinding tape, to be read as a book or hung in the form of regimental colours. I came across this poem by Anne Finch, Countess of Winchilsea, in AP Wavell’s Other Men’s Flowers (Jonathan Cape 1944), and found its appalled pacifist-Jacobite overtones both astonishing and inspiring within the Field-Marshall’s collection of favourite poems, known to him by heart. I too am a pacifist (probably also an ‘appalled pacifist-Jacobite’ in fact), and much of my work has been concerned with conflict, and, like this poem, with the effects of war on the individual. (For more on this, see The Dunkirk Project, and my artist’s book Thames to Dunkirk.)

Materials include linen thread and bookbinding tape, acrylic ink and paints, charcoal, soot, ash, chalk, clay slip, mud, tea and acid-free matt varnish, the text lettered with a driftwood stick and large Japanese brush. Contained in a kitbag/cover made from English cotton duck, linen thread and tape, and acrylic paints, with materials and instructions for hanging and restoring to book form lettered on the flap of the kitbag case.

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Tatter’d colours (artist’s book by Liz Mathews) exhibited at The Forum, Norwich, and photographed by Gary Florance

‘To hang Tatter’d Colours, remove book from kitbag cover and unroll to flat book form. Unthread the long end of the tape binding the pages at top left, and hang from hemp ropes or beams in diagonal sequence as illustrated on the kitbag flap, fixing each flag with twine through the loops at the top. To rebind into book form, fold pages into sequence, aligning top edges with care, and thread the long tape back through the top left loops in the order indicated on the kitbag flap.’

Measurements: each page 70cm high x 40cm wide, book opened to hand extends up to 4m including the interval tape linking the flag-pages. Kitbag measures 47cm x 14cm x 11cm

One-off original  £1000

Tatter'd colours by Liz Mathews (detail of kitbag/cover)

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Sir Orfeo

Text by Maureen Duffy from her epic poem Sir Orfeo (published in Past Present, Pottery Press 2018)

Artist’s book made from a single huge sheet of handmade paper. The paper is painted, lettered, folded and torn into 12 double pages, but still retains its ability to be restored to the whole image – in keeping with the text, a contemporary retelling of the Orpheus story in an English medieval romance about a king who loses his queen and his position and identity, almost his life, and then by great good fortune and his own goodness, regains everything. This restoration to wholeness is echoed by the form of the book.

The whole sheet is lettered with Sir Orfeo’s name; the large letters then form the framework of the design for the individual pages, where the story is told and reflected in a semi-abstract design of watercolour and handmade acrylic inks. This book was originally shown as the stage backcloth to the first public performance of this bardic poem by the poet, accompanied by jazz pianist and composer Dorian Ford and world singer Vimala Rowe, performing Dorian’s original settings of words from the text (at Burgh House in Hampstead, London, 2017). After the performance, the backcloth was folded into the form of the book, but can easily be restored to the single sheet. I am particularly interested in this tension between duality and integrity of form in my books, especially where it reflects some aspect of the text itself.

Measurements: whole sheet of paper 200cm x 70cm high, book closed 25cm x 28cm x 2.5cm. Contained in portfolio slipcase made from handmade papers 33cm x 29cm x 3cm

One-off original £800

 


 

Singing the Year (text by Vita Sackville-West)

Singing the Year

Lines from Vita Sackville-West’s English epic poem The Land.

In the form of a double-sided concertina book with 12 pages, one page for each month, Singing the Year is constructed so that the December page can be attached to January, and the year flows in a seamless cycle, repeating and renewing, like ‘patterns on a scroll unwinding’. I have kept the design simple to allow the vibrant colours, sounds, sights and atmosphere of the text describing the organic seasonal cycle to speak for themselves.

Materials include various handmade papers, watercolours and handmade acrylic inks, acid-free adhesive, and the book is lettered with driftwood sticks and a wooden clothes-peg. In the ‘May’ page shown below, the blue beehives are made with little stacks of paper, the swarm with a scrap of russet gold paper attached to the page with honey mixed into the acid-free adhesive, and the warm golden colour of the lettering also has honey mixed into the paint, lettered with a little wicker stick.

Each page 42cm x 30cm (approx), opening to a circle with maximum diameter of about 5 metres

One-off original in slip-case  £1200

May page from Singing the Year (text by Vita Sackville-West)

February page from Singing the Year (text by Vita Sackville-West)

 


 

Version 2

The Seasons Alter

Text from Shakespeare’s A Midsummer Night’s Dream, in the 1623 First Folio version, with original spellings and renderings.

This book is made from a single sheet of handmade paper 52cm x 72cm, painted, lettered, folded and torn into a sequence of pages which draw the text continuously across both sides of the paper, creating a double-sided painting which folds to a book with 24 pages in sequence. The text is from Titania’s prescient Act 1 speech in which she warns of climate chaos and the dissolution of the cosmic order as a consequence of conflict, exploitation and reckless violation of the natural world. The colours and brushwork reflect the flowing sequence of the text and present the confusion of the seasons swirling to an inescapable vortex, mixing the gentle, traditional and predictable characteristics of each season with violent disruption and discord.

Materials include handmade paper and acrylic paints mixed with mud, rainwater, icicle-melt, so that the weather has a material presence in the work; it was air-dried in winter sunlight, and first shown in an exhibition in Norwich Millennium Library. In slip-case made with the same materials.

Measurements: double-sided single sheet of handmade paper 72cm x 52cm

One off original £1200

 

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Swallows on the Thames (text by Matthew Arnold)

Swallows on the Thames

Lines by Matthew Arnold from The Scholar Gypsy

Another book made from a single sheet of paper, setting Arnold’s lines in a painting made with acrylic paints mixed with water from the Thames, and lettered with a Thames driftwood stick. The single sheet is made up of 12 pages that flow across the sheet ‘as the ox ploughs’, in a continuous unending sequence, and fold down to a book 20cm x 20cm x 1cm (approx), and the work can be read page-by-page as a book, or framed for display on the wall. This dual nature can perhaps reflect an imaginative idealisation of a mid-summer reverie, an afternoon’s shady lazing on the river in its country-mode, which contrasts strongly with its urban manifestation in the following book, Strand of the Thames.

Measurements: sheet opens to 72cm x 52cm, and the closed book is 20cm x 20cm x 1cm (approx). Contained in portfolio slip-case made with the same materials.

One-off original £700

Swallows on the Thames (page 5)

Swallows on the Thames (page 6)

Swallows on the Thames (detail) text by Matthew Arnold

 


 

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Strand of the Thames

Text by Virginia Woolf, from her Diary (1939)

Artist’s book in the form of a 1930’s photograph album: a setting of Virginia Woolf’s diary record of a Thames-side walk, set in 15 grisaille watercolours of the actual sites where she’s walking; watercolour paint mixed with Thames water and the text lettered with a Thames driftwood stick. This book lent itself particularly well to a small edition; I took monochrome photos of the watercolours for each page, and constructed each volume for the edition in the same way as the original/prototype, as a concertina photo album on black handmade paper, fixing the photos in with acid-free photo corners. (All materials in both original and edition acid-free.)

The one-off original is now in the permanent collection of the British Library.

Measurements: original 42cm x 31cm x 5cm (approx); limited edition 15cm x 12cm x 1.5cm

Signed and numbered limited edition (of 20) £40

Read more about this book on the British Library’s blog in a guest article by me: Virginia Woolf’s Haunted Walk

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Rag – Luideag

Text by Ruaraidh MacThomas/ Derick Thomson; book by Liz Mathews

I was inspired to set this extraordinary poem (in the original Gaelic as well as the poet’s own translation to Scots English) by the moving poignance of the idea, and by how surely the words describe the fragility of the language, surviving shredded and scattered, clinging to sharp rocky headlands, used only by ‘ragged children’, exposed to the wind and weather, sounding with the sea in its voice.

I set the lines in both languages, one like a shadow or reflection of the other, on 8 clay pages, scraps torn from a single sheet of stoneware clay, the words scratched into the surface of the clay, so that they are ‘written on the rocks’. The hard sharpness of the fired clay shards reflect both the harshness and fragility of the poem’s atmosphere and meaning.  The clay pages are tacked with linen thread to a rough cotton cloth, ripped and wind-torn to a ragged softness. The scruffy cloth is distressed with a mixture of paint, charcoal and soot, strong tea and Scotch whisky, and finished with an acid-free sealant. Contrasting in texture with the stony clay, it wraps the shard/pages to protect them when the wall-hanging is folded down to a book. The closed book is contained in a box made from recycled cardboard and handmade papers, tied with a rough cotton and linen strap, like an old cardboard suitcase.

Measurements; box 30cm x 16cm x 13cm; book opened to wall hanging approx 120cm x 70cm at widest

One-off original  £1600

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Liz Mathews with young visitors to turnthepage artists’ book fair, Norwich

 

Journeys of imagination

February 18, 2020

New from The Pottery Press

F4C7B535-6A9A-403D-BACC-5466C2EC7DEAWanderer by Maureen Duffy

New poetry by ‘one of Britain’s foremost writers’ (Guardian), and ‘a unique literary talent’ (Sarah Waters)

We travel with Maureen Duffy on the Wanderer’s terrifying voyage, on exploratory passages to India and Ravenna, on a very English train-ride, to concerts and galleries (and on the journeys of imagination they stimulate), through the gardens and street-markets of London, and to the junkshop of the remembered past. Maureen Duffy describes one of these poems as ‘a kind of elegy to life and love’, the ultimate theme of this brave and passionate collection.

Maureen Duffy’s published some 34 works of fiction – since her first novel That’s How it Was came out in 1962 to immediate acclaim – and at least 10 collections of inspiring poetry including her wonderful Collected Poems. Then there’s her non-fiction including biographies of Henry Purcell, Aphra Benn and Britain itself. And then she’s written some 16 plays for stage, screen and radio, including Rites at the National Theatre, and recently Hilde & Virginia at London’s Jermyn Street Theatre, with Sarah Crowden. Maureen’s play Sappho Singing has recently been adapted as a film, to be premiered on International Women’s Day (8th March) 2020 at the Coronet Theatre in Notting Hill. And Paper Wings, lettering artist Liz Mathews’ artist’s book setting Maureen Duffy’s love-poem cycle Songs for Sappho is currently on show in the British Library’s Treasures Gallery.

Wanderer, Maureen Duffy’s new collection, is as inspiring as ever. Brave, truth-telling, passionate and tough, these poems speak vividly of the cosmic and the local, and how the two are connected. Intimate, entertaining, yet characteristically engaged with the dark troubles of humanity, they are drawn from her London life, her East End roots, and her lifelong themes and empathies, confirming her local alliegiancies and her citizenship of Europe and the world in multi-coloured words.

’Tough poems, made of the rough substance of real lives… a beautiful answering back against the worst.’ (David Constantine)

Wanderer by Maureen Duffy

Pottery Press pamphlet 5, 48 pages with 31 full-colour images setting the poems by lettering artist Liz Mathews

ISBN 978-0-9930171-5-5

£9.99

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3B868791-9A27-4E1C-8DBD-077971230311London Panopticon by Frances Bingham

Today’s the day. Sometimes it seems that this day, today, whichever day it is, might be the last chance to – do what? – something essential, yet unnameable, before the deluge. Seize the moment…

Blue makes a London pilgrimage from the Thames up to Hampstead Heath, walking through time and the city, meeting Londoners past and present on the way. A litany of London voices – irascible Jeremy Bentham, Wose the tree-guardian, Virginia Woolf street-haunting, Fletcher the sacked banker and innumerable others – sing their city incantation: protest song, lament, celebration.

London Panopticon also draws on a Londoner’s perspective, on a visionary journey within this heartland. Frances Bingham, like Maureen Duffy, writes across the literary spectrum, and has published fiction, poetry, non-fiction and plays, most recently Comrade Ackland and I for BBC Radio 4. She has rediscovered the neglected poetry of Valentine Ackland in Journey from Winter (Carcanet 2008), her acclaimed critical edition, and her definitive biography of Ackland is forthcoming next year (2021). London Panopticon really defies categorisation, encompassing short-form fiction, lyrical prose-poetry and play-script; the narrator Blue makes a journey through the day and the city, and encounters places and people at the heart of the city. I’ll just call it an urban Under Milk Wood, inspired by London itself.

‘London Panopticon is more than a pamphlet. As sparkling and all-encompassing as the city itself, it is a vision, a love song, a pilgrimage, a perfect union of image and word. And it takes one’s breath away!’  Mimi Khalvati

London Panopticon  by Frances Bingham

Pottery Press pamphlet no 4, 80 pages with 28 b/w images by lettering artist Liz Mathews

ISBN 978-0-9930-171-4-8

£9.99

Both books available from The Pottery Press, or to order from your local bookshop.

Under the Quarry Woods

April 26, 2018

9780993017131Under the Quarry Woods by Jeremy Hooker is the third in our series of pamphlets from The Pottery Press. Quarried from journals written over 16 years at his home in a Welsh former mining village, these new prose poems by the eminent poet and critic are alive with observations, impressions, memory and dream.  Forming a meditation on a place and its people, they reveal an industrially- scarred landscape in which the writer finds himself to be at once a stranger and at home – and his response is powerful, moving, lyrical and humane.

As a lettering artist I’ve been lucky to work with Jeremy Hooker’s words for many years now, setting his lines and poems in an on-going collection of artist’s books, many of them in my Singing the Year series of contemporary Books of Hours, and in an artist’s film The moment that holds you.  I found this new sequence as inspiring as ever – subtle, deeply felt, closely observed, visually arresting word-pictures that reveal more than they say.  The harshness of the scarred landscape is illuminated by glimpses of natural beauty and by possibilities of regeneration for the land and its fractured communities – and shadowed by some impossibilities too.

These juxtapositions and contrasts in texture, colour and tone were very stimulating for me as an artist – and for the design of the book cover I looked for an image that combined darkness and light, destruction and tentative regeneration, drawn from the deep woodland landscape.  I chose a photo I took a few years ago of a lightning-struck oak tree in the middle of the woods, surrounded by small oak saplings sprung from its acorns, all under a lowering sky of heavy cloud; dark layers of woodland and cloud-cover, with the small new growth determinedly emerging. Lightning oak with saplings.

For the colour images within the book, I chose a poem from the heart of the sequence:

As I wait in the car four seagulls fly over the supermarket carpark, crying.  For an instant I smell the sea and hear the swash of waves on shingle, curling over and withdrawing.

Distance returns, restless as the tides.

My memory is salt with longing.

I made an artist’s book setting this poem with a sheet of handmade paper the colour of sand and shingle, folded and torn into a sequence of pages, but readily restored to the whole image – and then I painted the image with watercolour and gouache mixed with salt-water, lettering the words with a small driftwood stick and a wooden clothes-peg. The book is called Salt wave, and it’s contained in a portfolio slip-case, shown here first:

saltwave cover

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SWp2

SWp3

SWp4

SWp5

Swp6

SWdetail

Under the Quarry Woods is available from The Pottery Press at Potters’ Yard Arts for £5.

ISBN: 978-0-9930171-3-1

Contact studio[at]pottersyard.co.uk

A walk with Virginia Woolf

September 25, 2017

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The British Library has recently acquired three more of my artist’s books for their permanent collection. The first is called Strand of the Thames, and in it I’ve set an extraordinary entry from Virginia Woolf’s Diary of 1939. She writes about discovering the Thames foreshore in London, observing and thinking as she walked – and so I followed in her footsteps seventy years later, and found everything (everything) still as she described. I made the book in the form of a 1930’s photograph album, with 15 grisaille images of the places where VW’s walking and observing, like photographs in watercolour, and to bring the material presence of the river itself into the book, I mixed the watercolour paint with Thames water. The words are lettered with a little driftwood stick from the river, picked up on that same strand.

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A limited edition of Strand of the Thames

Making editions of my artist’s books isn’t always easy or appropriate; one-off works sometimes don’t lend themselves to duplication in any way.  But I like to make editions where possible, as they are a much more affordable version of the artwork, and for this book, because of the photograph-album reference in the original, I’ve made a quarter-size facsimile (4×6 photo size), constructed in exactly the same way on handmade paper, with black-and-white photographs of the grisaille images mounted with acid-free photo corners. This is a signed limited edition of 20, and the British Library have also added one of these to their collection, but there are a few left available from the studio, at £40 each. [Contact lizmathews(at)pottersyard.co.uk]

You can read more about this book on the British Library’s blog, in a guest post by me: Virginia Woolf’s Haunted Walk

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From walking with Virginia Woolf to flying with Maureen Duffy

The other one of my artist’s books that was recently added to the British Library’s collection is Paper Wings.

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One of a special edition of five, this artist’s book is again constructed in exactly the same way as the original. With Paper Wings, the ‘original’ is also a prototype, since I intended to make an edition of the work from the start. It’s one of my all-time favourites among my oeuvre – inspired by Songs for Sappho, a very exciting love poem cycle by Maureen Duffy, which the poet allowed me to set in its entirety and to publish for the first time here at The Pottery Press.

A new love song cycle by Maureen Duffy is an event in itself – and these poems are engaging, witty, moving, personal yet universal, and a profound exploration of all the weathers of love by a poet who brings her years of experience and a deep, sensitive humanity to the work. And the cycle itself is dazzlingly inventive, drawing the reader into the immediacy of the experience with running themes and motifs, contrasting humour and vulnerability, strength and tenderness, darkness and light in the different weathers and moods, the spiralling hopes and fears of a love documented from its beginnings through the seasons of three years, and on into the future.

Paper Wings detail

I’ve written before here on Daughters of Earth about my work on the book, and its first flight as an installation at Enitharmon’s London gallery. The book itself is now constructed into a double-sided concertina that opens fully to 27 metres long, with each poem-page forming a link in the chain and set so that the first and the last songs are back-to-back, forming an unending cycle within the book, in reflection of the song-cycle itself. This form gave me an opportunity to reflect that infinite variety and inventiveness of the individual poems by giving each a full page of handmade paper 30cm high by 42cm wide, and working on the design of each setting individually, often incorporating materials from the words.

I mixed paint with wine, riverwater, honey, wax, sugar, salt, mud, snow, rain, earth, clay, herbs, tears or blood, and lettered the words with a driftwood stick, a twig from an apple tree, a white dove’s feather, a reed pen, a clothespeg, a chopstick, a hand-cut bamboo nib, a paintbrush and a clay-working tool, as well as the occasional steel nib – and I used many different methods of construction for the pages to reflect each poem as closely and as materially as possible. I’ll show you a small selection of poem-pages here, beginning with Song 42, where it all started for me. I was delighted when Maureen Duffy came to a private view at midsummer 2012 of light wells, my exhibition at The London Centre for Psychotherapy  – and even more pleased when she bought one of the pots in the show. At this private view we talked a little about the possibility of my setting some of her work – I’ve been a very appreciative reader of Maureen’s fiction and poetry for many many years, and wanted to work with her words – and to my great pleasure she was open to the idea. You can perhaps imagine my delight when she sent me this poem a few days later – a poem inspired by one of my own bowls – the latest in the poem cycle she was then writing. And we went on from there:

Song 42

The idea of these love poems as messages flying through space, linking the parted lovers with a strong cord, is one of the themes running through the cycle that evoked very powerful images for me.

Eleventh Song

Also present in that first poem-page is the motif of the cosmic circle or sphere, or by extension two parted hemispheres, that conjures Donne – a motif that I’ve referenced throughout the cycle, including the pages for the first and last songs, as well as in the circular structure of the book itself:

Twentysecond Song

Fifth Song

Many of the poems were written in direct response to a contemporary event; this next one evokes that extraordinary cosmic moment in December 2010 when the light of the sun shining on the full moon was completely eclipsed by the earth’s shadow:

Song 24

Third Song

‘Like Hafiz seven centuries ago’, I formed the letters of Third Song with a reed pen from Persia – exactly like those that can be seen in the British Museum – dipped into red wine.  For the next one, I drew and lettered with a traditional Japanese brush and based the design of the image on a 10th Century woodcut from The Tale of Gengi – also written by a woman:

Song 32

And for this next one I posed for 32 self portrait silhouettes in a variety of hats, and lettered the poem with rainwater mixed into the white paint:

Thirteenth Song

For Song 44 I made a snow-cage through which to glimpse the words with white paint mixed into snow-melt:

Song 44

Because I was setting the entire cycle, and couldn’t pick and choose which lines to set, I found one or two challenges to my image-making skills among the poems.  These poems are very contemporary, wrought from the fabric of everyday life, and I’ve never before set a poem with the line ‘my email is down’ –

Eighth Song

– or one referencing a draining board:

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but with both of these, I thought that what worked so well in the poem would also work in the image it evoked in my mind, and just trusted the words – with some success, I think. Some of the poems brought a strong visualisation readily to my mind, and clearly suggested materials I could include – for the next one I mixed the honey-coloured paint with sugar:

Sixteenth Song

and this one I lettered with a white dove’s feather picked up on Hampstead Heath:

Song 30

For my favourite of all, I mixed the paint with honey, and lettered it with a wicker stick:

Song 33

– and if you look closely, you can see some little stripy bee-shapes in the surface texture of the handmade paper, transferred from the drying towel in the press – another embodiment of the words in the material form of the setting.

Paper Wings DVD

You can see that I took these photographs of each poem-page before the construction of the book, and I used them to make an artist’s film. More than a simple film-of-the-book, Paper Wings the film is an exciting, immersive experience. As the pages turn, Maureen Duffy reads each poem – her lived-in voice bringing a living and breathing presence to the cycle, within a soundtrack of the seasons.

The film is available on dvd from The Pottery Press, for £10. (Contact thepotterypress[at]pottersyard.co.uk)

 

Paper Wings limited edition book

From the photographs I also made a limited edition of 100 full-colour books, bound suspended from a top-binding for two reasons: first, to reflect the form of the installation (where the poem-pages were strung overhead like prayer-flags with the words flying through the air), and also to allow the reader to follow the through-the-year sequence like a calendar, so you can stand the book and turn the pages day-by-day. Each book in this edition is numbered and signed both by the artist and the poet, and again, available from The Pottery Press for £15 – we have a few copies left.

Paper Wings special edition

And the Special Edition of five (one of which the British Library have just added to their collection) is a half-size facsimile of the original, constructed in exactly the same way as the (27-metre-long) concertina book, from full-page digital reproductions of each page and acid-free adhesive. It’s contained in a slipcase made from off-cuts of the handmade papers in the original, and it’s numbered and signed by the poet and the artist. I have a couple of copies still available for £250. The British Library are now showing their copy in an exciting new display in the Treasures Gallery, which features the work of 17 women book artists within an exhibition called The Art of the Book.

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I think of Paper Wings as a key feature of my continuing Singing the Year collection of contemporary illuminated manuscripts. I’ve enjoyed screening the film at arts festivals, including BABE 2017 at the Arnolfini in Bristol, and turn the page artists’ book fair in Norwich, as well as showing the book at events including The National Poetry Library’s Material Word, and King’s College London’s Fabrication Arts and Humanities Festival. But somehow I feel reluctant to part with the original, which is still with me here in the studio. It took me five months to make, during a time when I was very ill, and it was quite literally a life-saver, an escape from the harsh realities of pain and fear into a world of inspiration and poetry.  It represents for me something inexpressible – as perhaps the best poetry always does – and it gives a material form to a poem-cycle that speaks of unending love. I’ll be reading it again on National Poetry Day.

 

 

 

BABE 2017 BLOG POST # 3 – LIZ MATHEWS

April 4, 2017

T to D at BL for BABE2017

Tomorrow morning we open the doors to BABE 2017. With hours to go and set up fully underway, we put some questions to artist Liz Mathews about her work and what she’ll be bringing to the festival…

Source: BABE 2017 BLOG POST # 3 – LIZ MATHEWS

The moment that holds you

January 11, 2017

enitharmon-invitation

A walk through the year, season by season, moment by moment, with poet Jeremy Hooker.

My new artist’s film The moment that holds you gives a vivid portrait of the turning year seen through the eyes and words of West Country poet Jeremy Hooker.  Evocative, summoning, the poems draw you in to a landscape wherein everything connects – the material world plaited into the skein of time, all illuminated by shifting scattered points of light.

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In sixteen artist’s books, I’ve set the poet’s word-images of the turning seasons that catch each moment as it draws together time past and future, not by illustrating the text with pictures, but in such a way that the words become the images.  (These books are all part of my Singing the Year collection of contemporary illuminated manuscripts.)  And this close association between word and image is further echoed by the dialogue between poet and artist as we read the poems, among sounds of the seasons and music by jazz pianist Dorian Ford.

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The premiere screening of The moment that holds you has now been rescheduled; it will now coincide with the London Book Fair, and will be at Enitharmon‘s Bloomsbury gallery on

Wednesday 15th March at 7 for 7.30pm

I’ll be introducing the screening, and the artist’s books featured in the film will be on exhibition in the gallery, along with Enitharmon’s beautiful editions of Jeremy Hooker’s poetry collections, and we’ll be celebrating with music and wine.  What better way to anticipate the clocks springing forward and the days lengthening?

  • Join the guest list at info@enitharmon.co.uk 
  • and the film is available to buy on DVD from Enitharmon for £8 (or leave me a note in the comment box below to buy one direct from me).

A small part of Europe

July 2, 2016
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Tatter’d colours (artist’s book by Liz Mathews) exhibited at The Forum, Norwich, and photographed by Gary Florance

We were in Norwich during the Referendum, at turn the page artists’ book fair 2016.  The fair was wonderful, very busy, with over 60 book artists showing a vibrant and thrilling collection of work, and a large and enthusiastic audience of visitors who were intelligent, informed and excited about the books on show.  The only thing that marred a terrific event was the Referendum result, which had stunned and dismayed everyone I spoke to.  Norwich itself, like London and Scotland, voted pretty overwhelmingly to remain, so at least we had the feeling that we were in a city which feels our European heritage and culture as strongly as we do.  So this is a record of my exhibition, up for a rainy midsummer week in a small part of Europe.

Hot ice and wondrous strange snow

30 artist’s books by Liz Mathews

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Hot ice was exhibited in the foyer and on the mezzanine of the Millennium Library, housed in the stunning glass atrium of Norwich’s Forum, where turn the page 2016 was held.  Our stall was just outside the library entrance, so we were on hand to talk about the show as well as the stand.

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Liz Mathews with young visitors to turn the page 2016, photographed by Frances Bingham

My artist’s film Paper Wings, setting Maureen Duffy’s 55-poem love song cycle, was screened on continuous loop (appropriately enough) just inside the entrance to the book fair.

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I’ve laid out the images for Hot ice in viewing order, to give you a virtual tour, and to show the juxtapositions and relation between the works.

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Hot ice and wondrous strange snow in the Millennium Library, Norwich, photographed by Gary Florance

The show began with midsummer, and The Seasons Alter  (double-sided artist’s book free-hanging in the middle) setting text from Shakespeare’s A Midsummer Night’s Dream with handmade paper, acrylics, rainwater, mud  (can be seen page-by-page on last week’s post)

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2  Swallows on the Thames, text by Matthew Arnold from The Scholar Gypsy (handmade paper, Thames water, acrylics)

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3  Butterfly cloud text by Jeremy Hooker from Butterfly Cloud (handmade paper, birch pole, silk thread)

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– then on to Autumn, with

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4  In the light text by Jeremy Hooker from In Drenthe (handmade paper, watercolours)

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5  Portrait  text by Jeremy Hooker from Self portrait with falling leaves (handmade paper, acrylics and watercolours)

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– then round the corner to winter, and the second side of The Seasons Alter, and

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6  It is a winter’s tale  text by Dylan Thomas from A Winter’s Tale (handmade paper, snowmelt, acrylics)

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7   Light through text from Virginia Woolf’s Diary, 4th January 1929 (handmade papers, acrylics and rainwater)

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– then on towards spring:

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8  32 bar blues  text:  A Quiet River by Richard Price (32 stoneware bars, cotton duck canvas, acrylics and watercolours, silk, wool and linen threads, birch poles and copper pipes)

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9  Hot ice and wondrous strange snow  text from Shakespeare’s A Midsummer Night’s Dream (handmade papers, snowmelt, acrylics)

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10  Spring song  text from Mahler’s Das Lied von der Erde, original poem by Wang Wei (handmade paper, acrylics)

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11  Lark song text from Debris:  A Cycle of Poems by Jeremy Hooker (handmade paper, acrylics)

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12  Green light  text from Green Rain by Jeremy Hooker (handmade paper, watercolour, rainwater)

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– then on to a double-sided seven-fold zigzag group, starting with

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20   All things in flux  text by Maureen Duffy from First Light (a poem about Turner) with handmade paper, watercolour, raw clay slip

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21  Blake’s Graffiti  text by Kathleen Raine from What Message from Imagined Paradise (Thames driftwood (broken wine box), acrylics, watercolour, linen tape and handmade paper)

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22  Four pages from Clare’s Year:  Autumn text by John Clare from Autumn (‘Siren of sullen moods’) with handmade paper, acrylics

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23  Lines and nets text by Jeremy Hooker from Guests of Silence (driftwood, stoneware clay, silk-linen threads)

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24  Four pages from Clare’s Year:  Winter text by John Clare from November in The Shepherd’s Calendar (handmade paper, acrylics)

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25  Pattern text by Virginia Woolf from Moments of Being (driftwood, stoneware clay, silk threads)

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26  No end text by Jeremy Hooker from Written in Clay (Earth Song Cycle) with handmade paper, watercolour, acrylics

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– then round the corner to

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19   Turn  text by Maureen Duffy: Burdsong 20 (handmade paper, acrylics)

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14  By way of words  text by Jeremy Hooker from City Walking II (a poem referencing King Lear) with Thames driftwood, handmade paper, stoneware, acrylics, chalk, rock.

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15  Four pages from Clare’s Year:  Spring text by John Clare from Hymn to Spring (handmade paper, acrylics)

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16   This Earth  text adapted from Winifred Nicholson (driftwood, stoneware, silk threads)

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17  Four pages from Clare’s Year:  Summer text by John Clare from To the Memory of Bloomfield (handmade paper, acrylics)

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18  Rag/Luideag   text by Derick Thomson/Ruaraidh MacThomais from Donegal/Dun Nan Gall (stoneware paperclay pages sewn in cotton-duck binding with linen thread; acrylic paints and charcoal mixed with tea and whisky. Can be read page by page; folds to box.)

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13   Writing it  text:  Writing it by Jeremy Hooker (handmade paper, acrylics, watercolour)

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– then the exhibition continued upstairs

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on the library’s mezzanine:

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27  When I heard you like that text by Frances Bingham from The Principle of Camouflage (a novel re-imagining Shakespeare’s Tempest, set on a coast not unlike North Norfolk’s), with handmade paper, watercolour and acrylics mixed with Thames water

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28  The river’s answer text by Frances Bingham from the same book, with handmade paper, watercolour and acrylics mixed with Thames water

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29  One such night as this text by Valentine Ackland from Every Autumn a wind like this wind blows (acrylics on a huge sheet of handmade paper 2m x 80cm)

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Tatter’d colours (artist’s book by Liz Mathews) exhibited at The Forum, Norwich, and photographed by Gary Florance

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Tatter’d colours (artist’s book by Liz Mathews) exhibited at The Forum, Norwich, and photographed by Gary Florance

30   Tatter’d Colours  text by Anne Finch (b.1661) from The Soldier’s Death. Eight flag/pages made from French canvas linen sewn with linen thread; acrylic paint with charcoal, mud, soot, rainwater, blood; cover made from cotton duck, with same materials – folds and rolls to kitbag case.

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It seemed appropriate to end the exhibition with Tatter’d colours at this moment which marks the 100th anniversary of the beginning of the Battle of the Somme; another small part of Europe which is forever England.

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Frances Bingham & Liz Mathews at Hot ice and wondrous strange snow, photographed by Gary Florance

 

(All photos by Liz Mathews, unless otherwise credited.  Please don’t use photos without permission.)

 

 

 

Hot ice and wondrous strange snow

June 18, 2016

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Hot ice and wondrous strange snow appear in a catalogue of contradictory concepts in Shakespeare’s A Midsummer Night’s Dream, and my summer exhibition explores a world of strange times, weird weather, dislocations and ultimately, the joy of finding oneself in the right place and time.

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The exhibition focuses on The Seasons Alter, an artist’s book which sets Titania’s speech about the disruption of the seasons – words eerily recognisable in our time of climate change and environmental upheaval.

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As a lettering artist, I translate poetry into the language of material form – here it’s a single sheet of handmade paper folded into a double-sided page sequence, endlessly circling like the year, and the text is lettered with a driftwood stick in handmade inks mixed with snow-melt, rainwater, mud and dust.

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I work with poetry, anciently prescient or modern, that says something relevant and often paradoxical about contemporary concerns, focusing on the layers of meaning within each text, so the words can speak afresh, directly to us and about our world.

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The 30 artist’s books in Hot ice and wondrous strange snow mark five anniversaries in 2016 that are particularly important to me.  As well as the two artist’s books setting lines from Shakespeare in this year of his 400th anniversary, I’m also including two works setting lines by Virginia Woolf in the 75th year since her death.

Light through (detail)

This is a detail from Light through, with words from VW’s 1929 diary.

I’m also celebrating the birthday of one of my favourite living poets: Jeremy Hooker is 75 this year, and I’m including nine artist’s books setting lines from his poems; his work is a very important inspiration to me and his most recent collection, Scattered Light, just out from the essential Enitharmon Press has some of his finest poems.  His major collected, The Cut of the Light, is one of my most-read and all-time-favourite books.  I’m just finishing an artist’s film setting 16 of Jeremy Hooker’s poems, and I live much of my working and reading life immersed in his words.

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Above and below two details from By way of words, setting lines from Jeremy Hooker’s City Walking II, a poem that draws on Shakespeare’s King Lear:

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Another very special anniversary (and another poet whose work has been essential to me for a long time) is the 50th anniversary of Maureen Duffy’s novel The Microcosm.  This book changed the world for me when I first read it in my early 20’s, when it was already nearly 20 itself, and I’m proud that my tattered copy was signed for me and my partner Frances by Maureen when we met her in a Soho club years ago.  It’s still essential reading.  Her poetry, too, is a constant inspiration, and I’ve been very lucky to work with her on several major projects in recent years, including our artists’ film of Paper Wings – which will be screening throughout the turn the page artists’ book fair (which is hosting this exhibition).  I’ve included two books setting poems from Maureen’s brilliant most recent collection (again from Enitharmon), Pictures from an Exhibition:

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The image above is a page 3 detail from Turn, and the one below is a detail of All things in flux, setting some lines from First Light, a poem about Turner so moving and engaging that it inspired me to risk a Turner-esque painting of my own:

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And the fifth, but not least, anniversary that the 30 artist’s books in Hot ice celebrate is a professional one; it’s 30 years since I set up as a studio potter.  My partner the writer and poet Frances Bingham and I set up our first studio together not far from here in North London back in June 1986 – and her work has not only been the most formative and significant influence on mine – I couldn’t have done any of it without her.  So the final section of this Norwich exhibition opens with two of my settings from Frances’s novel The Principle of Camouflage, which brilliantly transposes Shakespeare’s Tempest to the north Norfolk coast in the last year of the Second World War, in a magical exploration of place, exile and home, the powers and duties of the artist, the restoration of lost things, the discovery of love and the survival of hope in an apparently doomed world.

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Hot ice and wondrous strange snow 

Artist’s books by Liz Mathews

The Millennium Library in The Forum, Norwich

from 24th to 29th June 2016  10am to 8pm

Open daily, free entry

part of turn the page artists’ book fair

at The Forum, Norwich

Friday 24th and Saturday 25th June 2016

10am to 6pm, free entry

 

At the turn of the year

January 11, 2016

Steel solstice (detail): artist's book by Liz Mathews (text by Maureen Duffy)

My first work-in-progress in 2016 is Turn, a group of nine artist’s books setting poems and lines from Maureen Duffy’s new collection Pictures from an Exhibition, just out from Enitharmon Press; I’ll be showing some of them at the book’s launch on 28th January, when Maureen will be reading some of the poems. (Launch event is free, but it is essential to contact Enitharmon via info@enitharmon.co.uk to RSVP)

I began with a setting of lines from the first poem in the collection, A Christmas Concert, which includes

                                                  … a moment

redeeming winter’s, Lucy’s, shortest day

and longest night, […]

with promise of returning Spring.

I made the artist’s book at the winter solstice on 21st -23rd December, painting the snow with paint mixed with snow melt (from last year’s snow), and calling it Steel Solstice.  This ‘promise of returning Spring’ is one of the recurring themes in MD’s poems (especially in her recent love poem cycle Songs for Sappho, which I set in Paper Wings), the turning of the year towards light and away from the darkness of parting and absence.  Her new collection includes the extended sequence Burdsong in which the poet continues to trace the lines of connection binding together the lovers that were mapped so memorably in the poems for Paper Wings; I couldn’t resist setting a few of the 20 Burdsongs, and they will be among the books on show at the launch event.

As the book’s title infers (and like several of the Songs for Sappho) many of the poems are responses to the work of other artists, reminding us of MD’s characteristic openness of eyes, mind and spirit, her generosity, and her vivid awareness of the ‘great company’ (Jeremy Hooker) of poets, artists and thinkers through millennia and across the world, still communicating with each other and with us all through word, image and thought.

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One of my favourite poems from the collection, Last Light is a moving evocation of Turner’s life and paintings; All things in flux aims to capture something of the economy of the poem’s imaginative summoning of Turner’s vision.

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Darkling, another of MD’s trompe l’oeil poems, evokes one of her favourite poets, Keats, whose life had certain parallels with her own. The last stanza of the poem begins I follow your beautiful script / across the pages that are your true portrait –  and I enjoyed the challenge of presenting the lines, first in a recognisably contemporary script (from an unsigned letter to William Godwin c.1783) in Touchstone, and then in a fair copy of Keats’s own hand (from his 1820 letter to Shelley) in another setting, Talisman, lettering the text with a goose-feather quill picked up on Hampstead Heath just opposite Keats’s House. (I found these letters in the Bodleian’s Abinger Collection of manuscripts, with a timely pointer from Dr BC Barker-Benfield.) Both settings will be on show at the launch.

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And judging by the daffodils already coming up in our window boxes, spring is only just round the corner.