“Micro Pages” by Abigail Thomas…..
Leeds Metropolitan University…..
“Please wind the microfilm reader back to the start when finished”
While sharing a studio with a book maker, conversations about how her work may be presented occur on an almost daily basis. In micro form, however, has yet to be suggested…
“Micropages” is a unique, transportable exhibition which aims to raise a number of concerns surrounding the display of artists’ books; including creating the opportunity to discuss artists’ books and their display, encouraging engagement of public library users and promoting the traditional archival side of document preservation by using microfilm in a non traditional way.
A selected series has been turned into a reel of 35 mm microfilm and can only be accessed through specialist readers found in libraries and archival centres. Relating to the history of artists’ books and the future of preservation; the traditional handling of the books is eliminated. We get no sense of texture, smell or weight of the books; an extreme equivalent of placing books behind a glass case. The usual intimacy of the object has been removed, yet this has been replaced by the close inspection we must give in order to properly see these tiny images.
Our fingers become dangerous, potentially creasing, crumpling or smudging the pages, is the answer to flatten and silence the book through the removing of its function? Abigail Thomas has a new proposal; through a transformation of light. By converting the books to microfilm, a new mechanical function is needed to view them; the winding up of a machine replaces the customary page turning; while one element may be eliminated, a new one is established.
Selected Artists:
– Sarah Bodman
– Lucy Harrison
– Esther Yarnold
– Dorothy Smallman
– Pilar Cortes
– Kim Pilgrim
– Lynne Williams
– Annabel Ralphs & Tom Ralphs Laman
– Kate Gallon
– Csaba Pal
– Laura Guy
– Borbonesa & Emitron
– Lacey Prpic Hedtke
– Hanne Matthiesen
– Ann Willmott
– Abigail Thomas
– Kerri Cushman
Is it possible for the artwork and the blog to exist independently?
How can the artwork embody certain characteristics of the blog? And how can the blog become as significant as the art?
Where is its relevance outside the artist´s thinking?
How can the work be absorbed – or rather; can they be absorbed?
Is it necessary for the audience to also experience the work in real time?
I sit here typing while I project the blog in front of me, it feels like a dual action. I also sit with my back to the projected artwork; both pieces can’t be viewed at once. This could potentially be a way to overcome not being allowed two spaces (I’m thinking of a worse case scenario!) I’d have to make sure that the space was big enough, even the one I sit in now is too cramped, and the projection is not large enough.
A little bit pre-occupied with other things over the last few days….making books, attending a screen printing onto glass workshop, designing acetate and glass stacks, planning what to go in the degree show catalogue and most excitedly applying for the Sakaide Grand Prix.
I found out that my two laser cuts (images in an earlier post) have been successful and will be sent on Monday.
I managed to do a few hours of filming today and think I got some good shots, especially when shot from below; it meant that an image could be created that wouldn’t be seen in reality (unless somebody lay on the ground of course!) I also tried projecting an image from floor to ceiling, which meant that the lines created by the paper seemed to integrate into the architecture of the space, creating new lines.
Oh…and I think the battle for degree show spaces is on! I tried to apply for two spaces which I thought nobody would be desperate for, how wrong I was…..
The ambiguity, or the logic of language.
I want the text to be deliberately impenetrable yet visually poetic…the new alphabet I have created, by simply removing sections of my normal writing, suggests rather than signifies meaning. The viewers gaze becomes active in that they cannot help but try to read it. I also wonder whether the letters can operate on a purely visual level.
