I am a third year BA(Hons) Fine Art student at Saint Martins in London.

I make books and artists’ books, and get rather excited by anything to do with books; string, wax, book cloth, and maybe even a particularly interesting type.

Jamie Shovlin, Susan Hiller, John Baldessari, Dieter Roth, Mark Dion, the Boyle Family, Mark Manders. These are the people that intrigue me at the moment.



I am writing these blogs in retrospect, and so the order is slightly incorrect. The big move happened last week. The move from studio to degree show space was a momentous one.

Spaces were cleared, rubbish was piled up against every available wall, and we were briefed rather amusingly, and ever so slightly patronisingly on how to pick up a chair without doing damage to our bodies. The year was divided, and we were assigned a part of the building to move tables, chairs and lockers from.

The move was surprisingly quick. I didn’t expect it to be done in the two hours that it eventually took.

My space, as I have previously mentioned, is in the meeting place of five corridors. Watching people slam through my space bashing into walls, and chipping paint did nothing to stop the growing paranoia of the difficulty of working in that particular location. I am already becoming irritated by people dumping rubbish in my space not realising that it is indeed a degree show space.


2008 update

Writing a blog for Degrees Unedited was a cathartic experience. It allowed me to step out of my context for a second, and summarise my own progress using written word. It gave me a sense of perspective, pride and destination in my own work. As a direct result of the blog, I have continued writing about my practice. It is an endlessly useful reference to one’s decision- making processes.

After leaving St. Martins, I asked myself questions prompted by my writing. Where am I going? What am I trying to say? What do I need to say? For a time, I ignored them and didn’t create at all. I was terrified. Instead, I immersed myself in books and exhibitions that were never mine.

New York was a welcome release for my mind. I worked at Printed Matter, Inc. for two months, and helped to organise the 2007 NY Art Book Fair. I came back to London, and became an intern for the upcoming V&A exhibition, Blood On Paper: The Art of the Book. These experiences allowed me to greatly enjoy processes of gallery and museum curation. I have been accepted onto the MA Museum Studies course at UCL, which a year ago, would have been an unexpected choice. I can’t wait for September and am looking forward to combining my practice, with the theory and history of the course.

The Touch This Press is currently developing, beginning to question actions involved in an individual’s ‘personal curation’. I am creating artists’ books that describe a display of people’s personal belongings in a domestic setting. The work is presented as a report or inquiry-more voyeurism than exhibition piece; intrigue. They look at people’s manners of display, secrets, collections and systems of order. A certain amount of narrative is still heavily implied, which always excites me.



I have finally finished my books.

10 Jörg Raab books9 Lisselotte books8 MR. books.

I can’t believe that they are completed. They look different now from how I had imagined, but I don’t think that is a negative thing at all. Each one has a completely different character and feel, as well as colour and size. Each one has a different problem to it, of which I hope I am alone in noticing. At the moment, my main concern is keeping them flat and clean. I have become somewhat of a nazi when it comes to touching my books. This is so ironic. I need to get over this if I am to call the fictional press, the TOUCH THIS PRESS!

I have built plinths for each book, all of which are a different size.



It has been 8 days since we have moved into our spaces.

In this time, I have done a lot of planning, but frustratingly, almost no work. In my space, were five huge noticeboards that had been screwed to the wall. I was told that the boards were to come down sometime within the next week, and so waited, and waited, and waited for something to be done. After a week of waiting, and being told not to take them down myself, I took them down myself.

Since Wednesday, I have been painting like a demon. I have almost finished painting now, and the space is beginning to look completely different simply due to the change in colour. The colour is Dulux’s Feature Wall ‘Teal tension’. As I opened the can for the first time, I was horrified! The soft, subtle blue I had imagined, had become ‘community swimming pool blue’. Nightmare! I began to paint, and LUCKILY the paint dries darker. It narrowly avoids ‘fake-gastro pub blue’, but only just. I can’t wait to see what it will look like with the flooring. I am going to start that, and the attaching of the vinyl lettering this weekend.

Yesterday was the day of the BA Fashion catwalk show. I was informed the afternoon before that there would be models walking through my space all day for the 1pm, 2:30pm, and 4pm show. I wailed, sighed, and then thought to myself that I would not be stopped from painting my wall for anyone.

In order to try and minimise any threat to the models and their clothes, I taped off areas for them to walk through. I had painted two walls by the time they began mincing/stomping through the room, and almost everything was dry. They were rude, obnoxious, and frankly a shining example of why a large number of Fine Art students dispise them. I was told or overhead, at least twenty comments of "what a great day to start painting!" They really believe the whole world revolves around them. I prayed that they would fall on the catwalk.

n.b I am not a negative person at all.



I have re-shot the potraits of the four artists. This is mainly because I decided I wanted to show an A4 photograph of them alongside their respective press release.

I will have an office space in the corner of the gallery, complete with a table, chair, pens, paper, mug etc. On the walls will be the portraits, press releases in wall mounted holders, and a holder containing business cards for the Touch This Press.

I am wondering whether I should include a plant and/or an old computer for the office space? I could probably find one on ebay, but it would have to be one that is so obsolete that nobody would want to steal it, which defeats the purpose of replicating a gallery space.