a Flash in the Pan
or Walking with Duchamp: digital print on Rothmill white card
edition of 25
Commissioned for the exhibition “iamnotdead” held over various venues during Herne Bay Festival 2013. The book is in the form of a postcard book (ie a leporello) commenting on the fact that Duchamp spent several months in Herne Bay in 1913 just prior to producing his Large Glass and the famous urinal in the gallery.
EGYPT: watercolour on mixed papers, digital print, photograph.
Cover: papyrus, watercolour on card
A personal album of small watercolours, prints and photographs
Facsimile version available: Digital print on album paper
NB Printed copies of all paintings available on Prints page
EVERYTHING: 100 haiku, letterpress on acetate
edition of 25
GIFT: photographic images on mixed papers
edition of 15
Snowy Landscape: letterpress and digital print
edition of 25
A Case for Staying: letterpress and digital print, cover: letterpress on rexine edition of 15
Love Story: digital print and linocut, cover: letterpress on vellum paper, satin ribbon, edition of 15
A poem for two different voices in a passionate affair. The story reads both ways; the voices take time to get involved, coincide at the moment of deepest passion, and thereafter drift apart.
Mothering is Cool edition of 250
A repetitive haiku for singing, in the form of a Mother & Baby book, wondering what all my serious reading meant to me when I had my first child.
LEGEND: one-off watercolours, seven unique books, each
Seven unique books of small watercolours on mixed watercolour papers. At the heart of each book is a journey, of colour, of mark making, of mood. In the separate paintings one can find a story, and follow the changing states of this story from page to page.
THREAD I: watercolour and digital print on silk paper (Tate Gallery Library)
Three different books, of a poem written in response to a radio programme about Nushu, the secret language used only amongst certain women weavers of China. Nushu was spoken, or woven into keepsakes or clothing for each other. Knowledge of it was passed through the female line only, and due to economic changes in China, it is beginning to die out. In order that it should not be forgotten, there is now a museum dedicated to it in the local Province.
THREAD II: gold dust on hand-dyed and painted silk, gold thread; padded silk cover (Tate Gallery Library)
Made jointly with Mark Nelson. Thread I & II were made of expensive materials, and very long (18 ft), to symbolise the precious messages that Nushu carried, and the length of time it has been in use.
THREAD III: digital print and watercolour on silk paper
edition of 5
books were very small versions of Thread I, like keepsakes.
THREAD paper mini: digital print and watercolour
Find a strong fibre Spin a thread without a tangle Plot your chart carefully
Knit together the yarns and embroider them well
Weave a tapestry with a fine seam Reverse to admire the purls
Pay attention to the warp The weft will look after itself
Before casting off
Knot the loose ends
Tie and dye
SUNNY: linocut and cutwork (for Womens' Book Project 2000)
A book made for the Womens' Book Project in 2000. We were all sent an identically-sized book to remake as we wished. The books then joined a travelling exhibition, which has been added to on the way.
Watermark: watercolour on mixed papers
Hand painted book exploring the qualities of water with paint, some deliberate, some accidental.
SEA I: gouache on cartridge paper roll, laminated
so easy the sea
The first in a series of day-long paintings of the sea, on a continuous roll of paper. Painting one an hour for nine hours, I tried to capture the changing moods of light and dark, sea against sky; early morning light through midday and the afternoon, into early evening. It was surprising how many people were inspired to join me.
SEA II: gouache on cartridge paper roll, varnished
Postcards from Kent : cutwork on tracing paper, cover: handmade paper,
three unique books, each
Commissioned for an exhibition called Postcards from Kent at the Drawing Room Gallery in Sandwich. One of Kent 's oldest industries is paper-making, and exquisite tracing paper is still made locally. I used this to show the many other things Kent has to offer. The covers are hand made from old bills and bank statements, which are printed on newsprint, also manufactured in Kent.
The Book of a lightbox: tracing paper on Perspex in card, lightbox
The story of the possible pilgrimage of “a?to the great shrine at O; a life journey as a museum exhibit? Commissioned work for Canterbury Museum and Library for an exhibition to celebrate the 400th anniversary of Chaucer's Canterbury Tales. The exhibition travelled to Citaldo in Italy which is the birthplace of Boccaccio. The catalogue is my celebration of a's courageous awakening.
The Book of a catalogue: tracing paper, computer paper, card cover
conversations with eve: ash, tulle, cotton, wool, silk, paper, tissue, watercolour, on handmade paper, cover: leather with tooled lettering, in presentation box
Unique book of small intaglio prints tipped into hand made paper pages. The book is to draw attention to the texture of the delicate materials which I used daily, by juxtaposing them differently.
making books: digital print
catalogue: digital print
all about eve: images on mixed papers
edition of 150
EDEN : digital print on Fabriano paper
edition of 150
a small book of hours... “I am Beauty, I am Truth"
LYRE: digital print on Fabriano paper
edition of 200
a sound poem, concerning communication over space and time, a meditation on the linking of nature and the manmade. The Lyre is the oldest known musical instrument. It was sacred court object, for transmitting tribal knowledge.
The STRAW BOOK:
For Vincent van Gogh, wounded in the cornfields three days before his death. The text is as follows:
“MAN is born to trouble as the sparks fly upwards
Theo please send
in the wind
to have drawn the short
that broke the back
Pastoral: digital print on mixed papers
TREE: digital, wood, and screen print on mixed papers
Dear Mrs Little
I couldn't get my computer to print these out any bigger, but I guess you'll be able to enlarge it. X is read as “name of word" and it really means the A blossom or A tree which is obviously more artistic and probably the one most likely to feature in a work of art. Y's also read “name of word" and refer to A blossoms or A trees, but are written as children would write them more suitable if your art work is for children or about childhood. Z's read as “different name of word which is the fruit of the A tree or the colour, not something which would figure in (a country) artwork as such, but is the more exact way of writing ‘A'. (Quote 1)
M also mentions “an Asiatic language". However, the Asiatic language may have been the Indo-European Thraco-Phrygian. In sum, a number of morphs in half a dozen stocks are identical or close in meaning, and partly correspond in form. They may go back to a pre-PIE morpheme with the shape K(e)r n -, referring to several “A's”….(Quote 2)