Tag Archives: commissions

New Artist’s Book ‘Jove’s Brother’

Artist's Book Meg Green 2015

‘Jove’s Brother’ by Meg Green, 2015.
Ink, plastic, cord, Kindles.
H 165, W 115, D 65 mm

‘Jove’s Brother’ is an observation on our changing relationship with books and reading.

Seven non-functioning Kindle e-readers have been bound into one complete volume.  Each hand drawn ‘page’ constructs a series of images eventually forming a QR code which can be read by mobile, tablet or laptop.  The code links to the continuous text of one of the most iconic books ever written in the English language displayed down a single page of this non-commercial dedicated website JovesBrother.com.  The title of this artwork is revealed by searching the text.

See more about this unique concept book at Jove’s Brother.

Jove's Brother Original Artist's Book by Meg Green Original Artist's Book by Meg Green Original Artist's Book by Meg Green Original Artist's Book by Meg Green Original Artist's Book by Meg Green Original Artist's Book by Meg Green  Original Artist's Book by Meg Green Original Artist's Book by Meg GreenJove's Brother Original Artist's Book Meg Green 2015

The way we understand and absorb reading is changing

A new European study led by Anne Mangen of Norway’s Stavanger University, documents differences in the immersion, recall and emotional responses to a story based on whether the material is presented in traditional paper book form or via digital e-reader.  The researchers found that “the tactile experience of a Kindle does not provide the same support for mental reconstruction of a story as a print pocket book does”.

“When you read on paper it is a tactile experience,” says Mangen who also highlighted a paper published last year found that “students who read texts in print scored significantly better on the reading comprehension test than students who read the texts digitally.”

New European study into empirical effects of digitisation on text reading shows reading is becoming more intermittent and fragmented with “empirical evidence indicating screen devices might negatively impact cognitive and emotional aspects of reading”.

The fact that sustained reading takes time strengthens our ability to maintain long term focus, improves our understanding of depth, complexity and layered meaning, and provides a more thoroughly immersive experience of reading in general.  This level of sustained focus helps people, especially children at formative education levels, prepare for and negotiate complex life situations with more balanced references to deeper memory and cultural experiences.

Context is everything.  #RealPaperBooks.

Guildhall Library Artist-In-Residence ExhibitionGuildhall Library Artist

‘LondEnfold’ by 2014 Artist-In-Residence Meg Green features a series of works inspired by the special collections of Guildhall Library, the world’s largest collection devoted to the history of a single city.

Meg’s hand-bound books expand off the page and climb out of the covers depicting some of the more unusual aspects of London’s extraordinary sense of place.

Exhibition runs Tuesday, 18 November through 13 December.
Workshop 1-4pm, Thursday 4 December, Advance booking required 020 7606 3030.
Presentation and Evening Reception, 6-8pm, 11 December, no booking necessary.

Looking forward to seeing you there!

Guildhall Library: the Library of London History

Guildhall Library is a public reference library specialising in the history of London. The Library’s printed books collection comprises over 200,000 titles dating from the 15th to the 21st centuries and includes books, pamphlets, periodicals, trade directories and poll books. The collection covers all aspects of life in London, past and present, its trade, people and buildings. In addition, we hold extensive collections covering maritime history, business history, clocks and clockmakers, internationally renowned collections of books on wine and food, historic English law reports and British parliamentary papers and statutes.”

Commemorative Book for Special Event

School teacher Abi Seager of Bishopsgate School contacted Some Odd Pages for help with a class project.  One of her students, Reuben, was moving to another city and the class wanted to make him a special commemorative book.  With some easy guidelines from Some Odd Pages, Abi asked all the students for drawings, photos, artworks of any kind with a few words to Reuben and their signature.  It didn’t take long at all to create the covers, title and binding for Rueben’s special book.  The whole class presented their book to Reuben on the last day.  Here’s what Abi said about the project:

Hi Meg, The book went down a storm!  Everyone loved it. Reuben’s mum sent this message:
 
“Thank you so much for contributing to such a special book for Reuben. He was overjoyed and it made him so happy.  Thank you for creating such a special memory.”
 
So as you can see she and I and the children are all very pleased with it. Thank you once again, I will certainly be back to create more books.  Have a great summer,  Abi

 

We love participating with groups on these projects.  Nothing captures the unique gesture and special presence of your friends like their own hand writing.  You don’t have to draw well to express yourself in a few scribbles and add your own words and images.  It’s wonderful how the voice of each person really comes through and creates a really special memory.

The binding for a commemorative book isn’t expensive or complicated.  Starting at £35 we provide some simple guidelines for making the pages.  You deliver the prepared pages, your book is bound in a soft or hard covers with cover title and title page, and returned to you ready for presentation.  Easy peasy and a lasting memory of the people and special events created in their own hand.

CONTACT the studio for more details and your idea for your own book.

Commemorative Book

Book Artist makes The Guardian’s Unusual Jobs list

It’s official.  We’ve been added to The Guardian’s list of Unusual Jobs, #WaHey!

I am a Book Artist

Hand bound portfolio“I’ve been working as a Book Artist since 1996 making books as artworks, creating artist editions and collaborating with artists to create ideas in book form. Broadly speaking, ‘book form’ means some kind of moving pages between covers but my work very often expands to include all kinds of hand-held structures. I work a lot with artists whose have ideas to express as books.

I studied Printmaking as an undergrad but then completed my Master of Fine Arts degree as an independent study in Book Arts during a time when most people had never heard of this idea. I had to explain what I was doing quite a lot. By the time I graduated though some people were asking me to make books and teach sessions. I needed a job, so I just carried on making books with people who had bookish ideas. I now run my own Book Arts studio, Some Odd Pages. I also teach Book Arts and do a lot of book repairs as well as continuing to make my own book artworks. This year I have been selected as Artist-In-Residence to the Guildhall Library in the City of London. I’ll be creating a series of Artist Books for their archives this autumn.

Many of my own book works have been made while travelling so I’ve come to specialise in strong, reliable structures that don’t require a lot of heavy studio equipment. These sessions have been really popular with people who don’t want (or don’t have access to) conventional bindery equipment. Some of the most ancient and enduring books are entirely non-adhesive. I especially like the way non-adhesive books hold themselves together through their own structure.

You can see more about my books at SomeOddPages.com

https://witness.theguardian.com/assignment/5360e29ce4b044f45439b2cf/988706

 

Cassone Art online magazine

Online magazine www.Cassone-Art.com recently invited us to write a Featured Review of Goldsmiths’ Fine Art & Art History degree student exhibition off Brick Lane in London, UK.
Read the full article:  http://www.cassone-art.com/magazine/article/2014/06/goldsmiths-young-artists-build-their-future-in-brick-lane/?psrc=perspectives

‘The Middle’

Down a small side street off Brick Lane, Goldsmiths art students are provoking gallery goers yet again.  Level 2 Fine Art & Art History students recently mounted their first mid-programme exhibition ‘The Middle’ in March 2014 at The Rag Factory, an affordable studio complex off Brick Lane (Tube: Aldgate East).  The shadowy cleavage on their invitation is as seductive as the entrance to their space in the ‘Apricot Gallery’, a hairpin turn down a dark passage.  In their press release, they bait the media wondering if it’s time for a new movement of young artists in London.  Time to shake things up a bit.

Meg Green holds Bachelor and Master of Fine Arts Degrees in Printmaking and Book Arts.  She is the founder of Atelier Soleil, Centre for Book Arts in her native Montreal and Some Odd Pages in London, UK.  Her original works have exhibited and sold in Montreal, New York and London since 1996.  

What is ‘PERFECT’?

'Story Line' Artist Book, What is perfectIs it when the grid is straight?
When the edges line up?
When all the colour stays inside the lines?

Maybe.  But not necessarily.

Very often I watch students experience anxiety as they work through a new process, cut into new materials or make the first marks of a text or drawing onto a white page.  They say things like, ‘I’m so nervous – I want it to be PERFECT.’   What does this mean and why is it the cause of so much anxiety?

It is disturbing that ideas of ‘Perfect’ are increasingly being replaced by ideas of machine-made. This arbitrary exchange of one set of subjective aesthetics for another clouds our judgement and undervalues the meaning and intent of original artworks.  This is especially important in Book Arts as the commercial manufacture of books is at an all time peak.  If we want a hand made book to look like it came from Paperchase, why don’t we just go to Paperchase and buy one?  It would be far simpler and less expensive.  Forcing a hand bound book to impersonate a machined object only conceals and subverts the essential nature of the hand made thing as well as the artist’s intention in making.

Do we want our books to look machined? Do we want all the edges to line up? All the angles to be square?  Maybe, but that’s not the point.  The point is that Some Odd Pages is hereby redefining PERFECT, particularly in regard to Artists’ Books, original artworks, and indeed all objects made by hand.  So, here it is officially:

PERFECT is determined by how well the object
EMBODIES THE ARTIST’S INTENTION
.

So, if aligned edges are essential to your concept, if straight geometry enacts your idea, if colouring inside the lines realises your intention, then so they should be.  On the other hand, if a big splashy, splodgey tangle of lines, cords, shapes and textures substantiates your vision then clearly it is PERFECT on its own terms.

Artist's Book, original painting, Coptic bindingThis in no way compromises the value of excellence in craftsmanship.  Expertise in materials, techniques and skills comes with time and practice.  If you don’t want your Artist’s Books to have all those glue marks all over the spine and covers perhaps it’s time to rethink how you arrange your workspace.  If you like clean well-laid corners and insets as much a I do, spacious unmarked margins, tight strong bindings which really support the weight of the book block, then it’s important to explore and practice ways of achieving this through workshops, experimentation and experience.

A ‘connoisseur’ is literally ‘one who knows’.  This idea isn’t restricted to the highest levels of making and achievement.  One who knows is acquainted with a subject across a broad range of styles, methods, materials and outcomes embracing a vast range of effects and results, from the clean and pristine to the wild and woolly.  Through practice, vision, intent and connoisseurship does the artist achieve artworks of perfection.