Posts Tagged ‘Frances Bingham’

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.

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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

 

Stories and marks

March 1, 2011

John Clare’s ‘tale of spring’ is a very encouraging beginning to the month, promising an imaginative glimpse of what’s to come. His delight in the narrative ballad of the seasons is a constant inspiration in my work, and I love the idea of the story of the turning year. Translating this deeply familiar theme into words that strike us as fresh each time we read them, and accurate, John Clare transforms a time-honoured, repetitive trope into a work of art that captures the essence of individual experience, universally, giving us back something that we’ve perhaps lost or forgotten.

This idea is the inspiration behind my Books of Hours, contemporary illuminated manuscripts contemplating the movement of time and the mystical dance of the seasons through fragments of poetry, exploring different ways of translating the text into objects of illumination. This month I’m working on Seasons dancing, setting Burns’ poetry of the turning year – which I’ll be showing in these pages next month. Meanwhile, I’ll show you the March page from Singing the Year, with text by Vita Sackville-West, with just a glimpse of February past and April to come:

Capturing the feel of a text that in itself is vividly visual is a very exciting challenge to me, and one that it’s not easy to define in terms of actual process or techniques. I try to let the light through from the text, rather than illustrate it. In the Van Gogh exhibition at the Royal Academy last summer, I overheard a puzzled visitor say ‘It’s just marks, isn’t it?’  And later in the year, when we were revisiting the sacred texts in the John Ritblat Gallery containing some of the most precious treasures of the British Library, another overheard remark was ‘These are just stories’. Marks and stories is just what we do.

A painting of mine is the cover image for The Principle of Camouflage, my partner Frances Bingham’s new book (a literary novel, coming out in April this year, and available now from Two Ravens Press). I painted Sea light in response to the story, rather than as an illustration to it; I was aiming to catch the fleeting luminous quality of the light, and something of the particular space and atmosphere evoked.

I used a board with quite a rough ground, prepared many years ago by Frances’ great uncle, the artist Guy Worsdell, who had a studio at St Ives and whose paintings and woodcuts (though not often landscapes) are drenched in that light. I like to think that some of it comes through my overlaid marks.

Maureen Duffy has said of The Principle of Camouflage:

A true work of the imagination, transporting Prospero’s isle, and us, to wartime Britain on a shining wave of sea images.

and this vivid imagery has inspired several other works of mine, including a small group of elephants (artist’s books made from a single sheet of handmade paper, painted, torn and folded into a sequence of pages). Sometimes the setting of the text seems like a form of performance – a way of inhabiting the text in the moment, not unlike reading it aloud, in the way it concentrates the mind on the form and flow of the words while making the marks. I will be showing some of these books in Watermarkmy next exhibition, at the Ice House Gallery in Holland Park during May (I’ll be adding full details here soon) and meanwhile I’ll give you a preview of one of the books, called Storm.

Before tearing and folding, the sheet looked like this:

And after, like this:

I’ll be adding details about Watermark next month. Meanwhile, if you’d like more information about any of my work, please leave me a comment in the box below, or click on contact details for other ways to get in touch.