I live in easternmost Hampshire in a benighted corner between Arts Council regions. My practice tends toward conceptual photography and I feel sharply the lack of like-minded artistic interests. As one female colleague put it acidly “arts round here means rich ladies who paint”, though I do admire the work of some of those women. The truth though is that there is more money than good sense round here,
Over the past viral years I have discovered the possibilities for community building through collective publication. While group exhibitions could not go ahead we could make a call for contributions, get a critical essay together, print each artist;s image and supporting text, typeset, and bind it nicely. My contribution was the compilation, production, and a free copy to each contributor; sometimes people subbed up for additional copies to use as publicity or personal gifts. My reward was a developing community of artists worldwide, and an expanded knowledge of them and their situation.
This could be my mission statement
My childhood delight in reading and a physical book must have been the awakening stimulus for my career as an artist and though my training as an engineer may have seemed to lead me away from my present life I record that my first job was in the team designing two of the first photo-typesetters — the Linotron 505 and the Harris Intertype FotoSetter. This built on my school days’ experience of hand composing lead type for a treadle driven 14-inch ‘Arab’ press.
This marriage of the digital computer and the optical composition chain educated me in the details of hyphenation and page design. I became a lifelong convert to Donald Knuth’s TeX software for its resolute commitment to the beauty of the printed page.
In the preparation of any book – whether for my own authorship or in a project joined with fellow artists – I strive for these qualities of beauty and the generosity of the printed book as a potential gift.
As to my practice as an artist and photographer, I experience a great deal of isolation in the countryside where I live: I have resolved to contradict this isolation in this process of building community with artists worldwide who share my interests and to use some of my resources in the cost of production. I rationalise this to myself when I remark that any over-run in the printing still takes up much less physical space than framed photographs or sculpture.
bear with me, I’m working up the call for another book publication and I will need your contributions — you’ll get a free copy