Top Shed

It was wonderful to be able to have the opportunity for a second residency at Top Shed in June. Away from distraction I was again able to develop new structures and ideas for my work, and I learnt the differences between dragonflies and damselflies!

Gwalia Gazette

Delighted to have been involved with United Artists and UWE to celebrate World Book Night through Dylan Thomas’s Under Milk Wood. The Gwalia Gazette is published today, brilliantined and bluebagged


My book OFFSET has been accepted for the yearly curated international and experimental artists’ book online exhibition ‘Offset 2018’ by Rejectamenta / we love your books

Offset is a strange word, it can mean both irregularity and balance at the same time. This work subverts the regularity of the book form, and yet the offset design is perfectly balanced. The inner pages are also offset, and fit suspended within the covers.

Book-cloth, board, paper and thread. Edition of five.

The Tetley

Version 2

The AMBruno Cover project was launched, despite adverse weather and chaotic travel, at the Leeds 21st Contemporary Artist’s Book Fair on 3rd & 4th March 2017

Twelve books had been selected by Dr Chris Taylor from anonymised submitted outlines.


MAMDP at Artbook Berlin 2017

Six of my books are travelling to Berlin this weekend; MA Multidisciplinary Printmaking students, staff and alumni are exhibiting at Artbook Berlin 2017. MAMDP is showing artists’ books and printed matter at the event in Kunstquartier Bethanien from Friday 17th – Sunday 19th November 2017. Participation in the event has been organised by MAMDP student Elena Zeppou, thank you Elena!

Artbook Berlin 2017, Kunstquartier Bethanien, Mariannenplatz 2, 10997 Berlin, Germany. More information on the event and exhibitors can be found at:


Bar ChartsThe colours in Candide take on vibrance and texture in this wool on canvas work.

56 x 56cm, framed 61.5 x 61.5cm

Colour is mentioned 61 times in Voltaire’s book, and here given a square format with 61 tufts for each colour adjective.


Redesigning the Medieval Book

I am delighted to hear that my submission has now been accepted for display in the Bodleian Library, to accompany the exhibition Designing English in December 2017.

Redesigning the Medieval Book – A modern book artist’s take on the books in this exhibition.

‘Experimental shapes : Things here and gone : Words and pictures : Laid out for use’

When these earliest and precious English books were demonstrated to us, it was a reminder that books come to life when the pages are turned. When displayed, only one double page can be seen at a time, like pinned out butterfly wings.

These books are the epitome of all the reasons why a library can never be digitalised – for reasons of access perhaps, but the physicality of the book can be as important as the content.

Our modern responses are to go into the glass-fronted display cabinet on the wall of the exhibition atrium. The folded medieval books inspired me to make a modern book where several of the pages could be seen at once, maintaining a simple codex format when closed but displaying the content when open on a shelf.

My book opens into four half-cube room-like areas. I used a medieval tile pattern for the ‘floor’ of the book, visually unifying the whole when open, and applying a medieval grounding.

The content then takes inspiration from The Canterbury Tales and Geoffrey Chaucer’s imaginary travellers, and my own journey to the Bodleian and the medieval world. It is a folded pocket timetable to and from the past, keeping information to hand for travel.

The journeying companions echo this, captured in petrified passport photographs with paired seventeen word descriptions.

Voltaire, Candide, 1759

Not only are these colour column widths proportional to the frequency of use of adjectival colour, but the size of the square is also proportional to the number of times colours are used as a descriptor.  Screenprinted, acrylic ink on paper  16.2 x 16.2 cm  18.v.2017