Last week was taken up with an all out effort to finish the reverse side of my book 'Watershed Journey'.
Originally the book was conceived in terms of having a blank back side so to speak, or to be more honest I just hadn't really thought about the back.
The whole thing was an experiment, which might have gone wrong at any stage and in fact at one point I got stuck and had to cut off two pages! So it was a surprise to find myself using this work for the exhibition invite card.
Then we decided to display the book on a plinth, to be viewed from all sides, so I knew I had to continue the journey on the reverse. These photos show various stages in the making. Temporarily I blu tack the collage pieces into position, thus allowing for changes of mind as things go on. When I'm happy with the relationship between all the images I laboriously peel it all off page by page and glue permanently. Quite a fiddly process, and sometimes a page gets a last minute reorganisation.
I don't know how the stylistic aesthetic of 1950s textiles/wallpaper has crept in. My vision of the linear fields of rushes have just made it that way.
Eventually my studio space becomes a nightmare of heaps of ripped up paper which has to be searched through to find that elusive perfect little strip...
Originally the book was conceived in terms of having a blank back side so to speak, or to be more honest I just hadn't really thought about the back.
The whole thing was an experiment, which might have gone wrong at any stage and in fact at one point I got stuck and had to cut off two pages! So it was a surprise to find myself using this work for the exhibition invite card.
Then we decided to display the book on a plinth, to be viewed from all sides, so I knew I had to continue the journey on the reverse. These photos show various stages in the making. Temporarily I blu tack the collage pieces into position, thus allowing for changes of mind as things go on. When I'm happy with the relationship between all the images I laboriously peel it all off page by page and glue permanently. Quite a fiddly process, and sometimes a page gets a last minute reorganisation.
I don't know how the stylistic aesthetic of 1950s textiles/wallpaper has crept in. My vision of the linear fields of rushes have just made it that way.
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