Turndust is finished.

It will be on sale at the Bristol Artists Book Event on 21st April for around £40.00 in a limited edition.

Of course, these are just lo-res versions of the images themselves, which I’m currently printing and binding.
I’m pretty happy with the general feel of it. The various transitions it’s been through, from  a made-for-print set of drawings, becoming the basis of a digitally-oriented design, and the final transfer to the paper print of that design has been a opportunity to watch my own deliberations about the developing form of the book. It’s also a chance to watch my work habits more closely. This was a sporadically-worked piece, but intensely-worked nonetheless. I think it’s to its benefit that I had to come back to it more than once to make it work. I’ll be showing the finished printed version at the Bristol Artists’ Book event in April.
So much for the process involved. There was also a process of evolving content which was intrinsically linked to the choices of physical production, but which has its own story to tell of the book’s development of its metaphor and iconography. It felt like I was finding out what it was about by working with it. There was a certain  sense of discovery. But also a definite sense that I had to activate the enquiry with an initial text, and a clear pathway that I could follow into the work. There was this initial guide, perhaps equating to a preunderstanding applied to the work. But not quite. I didn’t really know the shape I was discovering; I was making it up. Nonetheless, as I went through it, certain directions seemed to be ‘right’ or ‘wrong’. The sense of discovery is really one of a sense of creation. The thing which was discovered was actually invented.
One activates enquiry with a hypothesis. Could the original draft materials that formulate the initial structure of a project equate to an hypothesis of the work’s eventual structure? Hidden Fortress isn’t at that state yet. There are few candidate hypotheses around, in the shape of a rough storyboard that features some but not enough of the component parts, and a notion that I will employ said component parts. But they do not yet have a formulation that will form a template for my interaction. That will, in a sense, be a hypothesis for the work.
Note to self: a mindmap on materials, hypotheses and experiment and how they transliterate to art materials,  the intention/structure that initiates the work, and the work as praxis and reflection (as experiment that moves the understanding of the material on)
Technorati Tags: Turndust, BookArt, experiment

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