↑ Recently I have been working on a series of rubber stamps for a book of hours project in development with the Morgan Museum & Gallery, New York.
See my news section or Facebook for further information on how the project is going, and other news.
The Whistling Copse series of books on the portfolio pages concern an incident near Bath where a gamekeeper was shot by a poacher in the early years of the twentieth century. The books Twelve O'Clock Wood, Under the Wire and Safely Infer use images to explore notions of property, food and folk customs, and the epistemology that informs both the evidence of ownership, and the proofs offered thereby to prosecute theft, or, as is the case here, murder.
Different notions of place and use inhere in the worlds of poacher and owner, and in the truths offered by forensic epistemology and folk history.
The Whistling Copse books are my attempt to work with these ideas, through images of the landscape, its inhabitants, creatures and products, and through imagery adapted from contemporary newspapers and catalogues of hunting and shooting equipment.
An ongoing project, Whistling Copse raises themes that will continue in my work for some time to come.
Welcome to www.andreweason.com. I make artist's books. I write about them too. You can view lots of my work on this website.
I have also included resources including a large links directory, and a calendar of book art events that you can subscribe to.
Essays, reviews and other writings are available here.
Find out more about artists’ books through my extensive links directory.— æ —
I graduated with a Ph.D. in 2010 on the subject of artists' books, enititled Becoming What the Book Makes Possible: Aspects of metaphorisation of identity and practice in artists' books, examining aspects of how the practice of working with artists'books affected artists' creativity and ideas of the roles they were playing in the artwork's creation. (You can download the thesis here)
I subsequently graduated with distinction from an Information and Library Management MSc in 2012, gaining a professional qualification in the libraries field that brought together aspects of my interests in artists' books, mediation and creativity, and the history (and future) of the book. (My MSc thesis was about the use of artists' books in libraries and how users encountered them, relating to how the disruptive 'surprise and delight' artists' books offer can help engage library users' critical awareness and information literacy.)
I have been employed in libraries in various settings since 1998, taking every opportunity to develop workshops, fairs and other integrations of book arts into the library scenario. In 2012 I was engaged as a research consultant for the SWRLS library consortium in the West of England, reporting on provision of foreign-language titles across the region. Most recently (November 2015) I was appointed Head of Adult and Young Adult services at Springfield Library, New Jersey, where I hope to develop opportunities for local literacy, book and book-art-related events and culture, and opportunities for visual artists. I continue my own artistic practice alongside this, and teaching workshops at the Morgan Museum & Gallery, NYC, and the New Jersey Visual Arts Centre, based in Summit, NJ.
Earlier today – 10th November, 2015 – I was appointed Head of Adult and Young Adult services at Plainfield Public Library in New Jersey. This is going to mean a lot of changes in my habits over the last year – I have been largely employed on a freelance basis for over a year now, and I will need to reacclimatise to full time working.
The truth of the matter is that this represents a set of new challenges for me. I’m looking forward to it, and I want to try to make certain I do the best job I can of it. I hope that I will also have the chance to help create opportunities for others too; whether in the traditional library spheres of reading, literacy, research and the world of the written word, or in its expanded universe of the book arts, visual culture, and culture as a whole (very much including digital media). I couldn’t be more excited about it all, and I want to bring all my enthusiasm, energy and commitment to my new role; at the same time, I want to steer towards synergies with my own practices and experiences, taking the chance to create book arts opportunities when I can, and building relationships and networks along the way.
You can read all my latest news, links and writing on Adminicle.
A wind-miller has the duty to grind the meal so that the people living nearby can sell the produce they give him to grind and, indeed, so that they can earn their daily bread. Having had no wind to work with for weeks, and suddenly having some chance to do his work, he is tempted, even though he fears a storm. Should he risk the powerful machinery he is in charge of against the unknown? It may destroy him and the mill in the process.
In Turndust, I was able to use the windmill as a complex metaphor to discuss this in depth. Linguistically, wind-milling offers a range of interesting terminology that help give the writing texture and a specificity that helps me to distance the explicit description of visual events, cloaking them in language. Visually, the structure of the windmill itself is full of wood, beams, gears and a sense of a structure built to withstand enormous forces. A windmill is “built like a tank”. But the windmill also contains the means of its own destruction.
Every month I will feature an artists' book in this column. At the moment I am featuring my own. If you would like me to feature one of yours, with a very brief review/description, please get in touch.