ath'wart press at Codex 2019

A rhythm of weather effects—light blinding rays offset by gray belting hail and rain. A spectacular and felt side show as my table was located on the aisle closest to the industrial sized windows of the Craneway Center in Richmond at the Codex International Book Fair.

I enjoyed every minute of this event. Where else can one experience a gathering of book artists from all over the world? Over 200 exhibitors from more than twenty-five countries shared their quality books along with engaging conversations on their creative processes.

The international focus this year was Codex Nordica and artists from Iceland, Norway, Sweden, Denmark and Finland were represented. Special to me as I have been traveling to Iceland for artist residencies since 2012. Last summer I taught Book Iceland at the Gullkistan Center for Creativity and met two of the artists as they presented the work of Airkir (www.aikir.wordpress.com), to the class. Eight from the group came to Codex. I invited them up to the NBLA shop in Sebastopol after Codex. They accepted. So, two days after the closing, we hosted what mushroomed into a delegation of ten artists: six from Iceland, three from Norway and one from Sweden. The whole afternoon was charmed. There was a lunch next door, then a showing of each other’s books, and finally sitting down with coffee and cake to talk about how we might collaborate or at least stay in touch. It was a wonderful ending to a week of non-stop conversation and contemplation on the medium of artist books.

The San Francisco Center for the Book is currently hosting the Nordic letterpress collaboration exhibition, Posted/Unposted. The exhibition opened before Codex and will run to April 29th.

I have been invited to present a talk during this exhibition on Book Iceland, a class I taught last summer at Gullkistan Center For Creativity in Laugarvatn to artists from the United States, England, Germany and Iceland. I will report back on my experiences there in the talk I have titled, Land & Texture: Exploring Iceland For Content in Artist Books. Inspired by the natural energies which shape Iceland’s landscape, the participating artists explored materials, tools, and processes, forming the content for their artist book projects.

The talk is scheduled for Tuesday, April 2, 6–8 pm at the San Francisco Center For The Book on 375 Rhode Island Street in
San Francisco, CA sfcb.org

Mark your calendars.

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BACK TO ICELAND 2018

Ready to leave, now that I know that my boxes of supplies have arrived safely.  I am returning to Iceland this week to teach the workshop, BOOK ICELAND at Gullkistan Center for Creativity in Laugarvatn.  This will be my fourth trip to Iceland and my third visit to Gullkistan. I am excited to put my ideas in this form for others.

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BOOK ICELAND  workshop materials have arrived.

BOOK ICELAND  workshop materials have arrived.

More about BOOK ICELAND:

It's a rare visitor who is not touched by Iceland's natural energies and diverse landscape. A wild island of the north with massive glaciers exposed to wind and ocean currents, is located on two tectonic plates with a fault line running at an oblique angle from its north to southwest.  Energies of wind, fire and water below and above its surface shape the landscape, leaving unique textures and colors not seen elsewhere on this earth: glacier ice fields and lagoons, rumbling volcanoes, waterfalls, vast lava fields--moss covered and raw, contorted basalt walls, geysers, thermal pools, deep gorges and fjords.

This land of extremes has also shaped its people and language. Steeped in a history of isolation and hardship, the Vikings who first settled this island in the late ninth century, recounted their stories in folktales, poems, oral histories and song.  Two centuries later, those stories were captured in writing--leaving handwritten manuscripts that are treasured and valued today.

The Icelanders' love for both their land and the book has inspired this workshop. We'll explore Iceland's varied landscape; we will look at how the natural processes have shaped it and explore ways to express those energies through artistic experimentation.  We will develop content for two books (from our field studies) and learn two book structures (drum leaf & coptic binding) to contain it.

Source: https://brookeholve/blog/2018/6/3/book-ice...

BOOK ICELAND 2018

BOOK ICELAND _ JUNE 18 – 29,  2018
Application Deadline: February 1, 2018
www.gullkistan.is/book-iceland

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BOOK ICELAND; TEXTURES OF LAND

& textures of BOOK

At Gullkistan Center for Creativity in Laugarvatn, iceland

Still 2 spaces available.  Apply Now for Feb 1st deadline:

www.gullkistan.is/book-iceland

Gullkistan Center for Creativity and I invite you to take part in this Book Arts seminar in Iceland during the summer of 2018. Participants will explore Iceland's varied landscape; look at how the natural processes have shaped the landscape and explore ways to express those energies through artistic experimentation.  Those experiments will be content for two book structures taught during the workshop - the drumleaf binding and coptic-bound cover book.

The workshop is for artists of all levels interested in exploring the book form and learning about Iceland, its book culture & history, weather, and diverse landscapes.

For specifics, check out:  www.gullkistan.is/book-iceland

 

 

 

 

 

here(t)here: another residency

 

 

 

 

 

 

 

 

Since May,  I've been away from my blog.  Back this month to report to you some of my summer and fall activities.

 

I'm off to Inverness (on Pt. Reyes peninsula in CA) later this month for another artist residency, this one sponsored by the Lucid Art Foundation.  And this time, intentionally close to home, for three weeks, solo without cell coverage and social media. So no reports during my time away but should have something to share upon my return.  Lots of prepping, finding that I will take more than I take to residencies afar and certainly a way to complicate an experience.

 

directions

 

When I have traveled to residencies somewhere else,  I am often surprised by what I learn about my home. Three years ago in Iceland, I was awed by its raw landscape that had been shaped by volcanoes, glaciers, weather and its location in the Northern Atlantic. There I realized its connection to California--both lands edging the North American tectonic plate with Iceland on one end and California on the other. I wanted devoted time to experience my own landscape with this in mind.  Inverness, though not situated on the North American plate shares the San Andreas fault which separates the No American from the Pacific.  And like Iceland, its land has been shaped by invisible forces of the earth.  At Inverness, I want to further explore this connection.

 

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P-NAP

 

I am also interested in exploring place--what it holds and what I carry to it. When I applied for this residency,  I wrote, "Using Inverness as a springboard, I will source possibilities for methods and materials from its history, stories and landscape. I will look at the archival remains--rocks and stones that hold the memory of the geologic forces that shaped the physical terrain. I will walk the terrain, feel its relief and make contour lines as I move through space. I will look at the scratches and markings of the rocks as well as their shapes.  I also will be on alert to ways of letting nature and synchronicity enter into my process. These will be my entry points to a 'process conscious' project working with themes of the archival and ephemeral."

"Language, materials and natural energies of and from the place will inform my process. Like the rocks and stones that reflect frozen moments in a changing landscape over time, I will work towards shaping moments and find ways and forms that express the movements 'between'. "

 

 

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