FRANKENSTEIN'S WOMEN - a progress report

Lino blocks for Frankenstein's Women, 20 x 15 cm (each block)

The blocks for Frankenstein's Women, my forthcoming artist book, are almost ready for the next stage, namely, printing.

For those who have been following the development of this project since it began life at Melbourne Athenaeum Library during a residency for Melbourne Rare Book Week 2018, here is an overview of the work to date. (Click on images to enlarge).

As noted in my last post, the block for the title page of Frankenstein's Women (pictured third from top) was new and hadn't begun to harden. As a result, the surface was very brittle. In what turned out to be an ill-starred combination, my linocut tool, a Speedball with an interchangeable No. 1 cutter, was also new, but far from sharp, causing areas of the lino to crumble away during carving. For many   years, I've found this particular cutter indispensable for producing very fine lines. Sadly, however, the current Speedball cutters are poorly made; they are blunt, rusty and frankly, shouldn't even be on the market.

There is hope for the future, however, thanks to my friend Paul Compton, who recently presented me with a most thoughtful and generous gift - the elegant linocut tool pictured directly below. I've never seen one like it before. According to the accompanying label, it's a 'TRAD SANKKAKUTO Vee Gouge'. Some of the blocks could use some minor tweaking; this tool cuts through them like butter.

FRANKENSTEIN'S WOMEN - frontispiece in progress

As promised, here is the recently completed block for the frontispiece to our imminent artist book, Frankenstein’s Women, followed by a series of earlier views that chart its progress.

The lino is considerably newer than the block on which the cover art was carved (see previous post). That had had time to harden a little and was far less inclined to crumble during carving. By comparison, this lino was far too soft and the areas that involved fine cutting, particularly the two lines of text at the base of the image, were inclined to chip away.

A handful of Frankenstein’s Women will be selectively hand-coloured in red - for example, the decorative comb and droplet on the necklace featured in the cover art and the earrings and upper text in this work.

The ten linocuts that make up the suite will be paired with texts by my ‘collaborator’ Mary Shelley, all of them chosen from her gothic novel, Frankenstein, first published on 1 January 1818 and every bit as relevant today.

Cover art for FRANKENSTEIN'S WOMEN

During the past week I've been working on the final two lino blocks for Frankenstein's Women, an artist book that has been under development since last year. The project, which focuses on the women in Mary Shelley's gothic novel, Frankenstein, had its genesis during a residency at Melbourne Athenaeum Library for Melbourne Rare Book Week 2018.

Directly below are a series of progress views of the cover art, followed by two details of the work. Cutting the lettering was a particular challenge.

Selected progress views of the block for the frontispiece to Frankenstein's Women will be published in our next post.

Frankenstein's Women: title page and cover art

My dreams were all my own; I accounted for them to nobody; they were my refuge when annoyed — my dearest pleasure when free.

(Mary Shelley’s introduction to Frankenstein; or, The Modern Prometheus, 1831).

Pictured above are progress views of the blocks for the title page and cover image of Frankenstein’s Women, a forthcoming artist book focusing on the peripheral female characters in Shelley’s enduringly influential gothic novel. 

The project began last July when I undertook a residency at Melbourne Athenaeum Library as part of Melbourne Rare Book Week 2018.

With the end of the project firmly in sight, I’ve been feeling a little like Lewis Carroll’s Alice in Looking Glass Land as I add text to the lino in mirror writing. (Click on images to enlarge).

Biblio Art Prize: Opening Night

Pictured above and below are some snaps of the lively opening of the 10th Annual Biblio Art Prize at Blarney Books and Art on Saturday, November 3. There are some remarkable works in the show, and we enjoyed chatting to several of the makers, including Carmel Wallace and Mel Kerr (seen directly below with her terrific Edgar Allan Poe-inspired work). Congratulations to Biblio Prize winner, Mandy Gunn. (Her work Pillars of Wisdom  is displayed on the table, centre, in the second photo below).

I have two works in the show, an archival pigment print inspired by Sylvia Plath’s The Bell Jar, (see top photo) and was Highly Commended for Progeny, my hand-drawn, stitched and lettered artist book inspired by Mary Shelley’s immortal Frankenstein, or, The Modern Prometheus. As someone who failed sewing in high school, I’m thrilled with the way Progeny is displayed. Strategically directed lighting causes the stitches/sutures, to cast short, sharp shadows, throwing the blood-red threads into low-relief.

For more about Progeny, visit Deborah Klein's Art Blog HERE.

Many thanks to Biblio judges Justine Hyde, Director, Library Services, State Library of Victoria, Vanessa Gerrans, Director, Warrnambool Art Gallery and the indefatigable Jo and Dean of Blarney Books and Art.

Click on images for a clearer view.

FRANKENSTEIN'S WOMEN, an artist book in the making

Pictured below: selected progress views of the fifth of eight linocuts for the forthcoming artist book Frankenstein’s Women, in this bicentennial year of its primary point of reference, Mary Shelley’s groundbreaking novel Frankenstein; or, The Modern Prometheus.

For progress views of the sixth linocut in the series, visit my Art Blog HERE.

The 10th Annual Biblio Art Prize

In recent news, two of my works are finalists in the Biblio Art Prize 2018.

Once essentially an altered book competition, its parameters have expanded to include a wide range of media, with the only proviso that the completed work references a specific book of the artist’s choice.

Progeny, 2018, one-of-a-kind artist book (detail), pigmented drawing ink,
gouache and hand stitching with cloth binding, 16.5 x 91 cm (open)

The first of my shortlisted works is Progeny, a one-of-a kind artist book made during my recent term as artist-in-residence at the Melbourne Athenaeum Library during Melbourne Rare Book Week 2018 (see also Blog Post Sunday, July 15).

Its point of departure is Mary Shelley’s Frankenstein; or, The Modern Prometheus, which also celebrates a significant anniversary this year - the 200th anniversary of its publication. The artist book's title originates from an extract from Shelley's introduction to the second edition of Frankenstein: "And now, once again, I bid my hideous progeny go forth and prosper”.

Bell Jar, 2018, archival pigment print, 42.5 x 32 cm,
edition no. 1/10

My second shortlisted work is Bell Jar, an archival pigment print inspired by the eponymous semi-autobiographical novel by Sylvia Plath.

‘I thought the most beautiful thing in the world must be shadow, the million moving shapes and cul-de-sacs of shadow. There was shadow in bureau drawers and closets and suitcases, and shadow under houses and trees and stones, and shadow at the back of people's eyes and smiles, and shadow, miles and miles and miles of it, on the night side of the earth’.

― Sylvia Plath, The Bell Jar (1963)

The exhibition runs from 3 November - 2 December. 

Biblio Art Prize 2018

Blarney Books and Art

37 James Street,

Port Fairy

Victoria

In celebration of the competition's tenth anniversary, the show will travel to Tacit Galleries in Collingwood, where it will be on view from 5 - 16 December 2018. 

All 2018 entry fees for the Biblio Art Prize will be donated to the Asylum Seeker Resource Centre.

FRANKENSTEIN'S WOMEN: an artist book in progress

In a week that included the birthday of Mary Shelley (on 30 August), work continued on my current linocut, one of several intended for an artist book based on the women in her masterwork, Frankenstein; or, the Modern Prometheus. The second of these progress views shows several adjustments and changes that were made to the original drawing.

2018 also marks the 200th anniversary of the publication of Frankenstein.

The Rare Book Week That Was

Melbourne Rare Book Week has ended, but not, I’m delighted to announce, my residency at Melbourne Athenaeum Library. I’ve been invited to extend my stay, so I’ll be in again this coming week. I know that all good things must end, but in this case, I’m happy it won’t be for a little while longer. Meanwhile, directly following are selected highlights from the fabulous week that was.

Throughout the week, work continued on Progeny, my artist book inspired by Mary Shelley's Frankenstein.

There was a great turnout to my artist talk on Wednesday evening, July 4 and I couldn’t have wished for a finer audience. Thanks to everyone who came and to inestimable Melbourne Athenaeum librarians Tom Coleman and James Baker for ensuring it all went without a hitch. 

Tom Coleman introducing my artist talk

Audience members browse my books and zines

Among the particularly steady stream of visitors on Friday, July 6 were distinguished personages Louise Jennison, Gracia Haby, Elaine Haby and Vicki Fowler, accompanied by second-time visitor Jill Kellett (not pictured), who took the photo of Vicki and I. Then, as the long, but especially memorable, day drew to a close, I was joined by Ewan and Heather Barker.

Louise Jennison, Gracia Haby and Elaine Haby

With Vicki Fowler (left). Photo credit: Jill Kellett 

Ewan and Heather Barker

Saturday, July 7, was the last official day of my term as Artist-in-Residence. It was literally a red-letter day, as the hand-lettered red text was added to Progeny, taking it another step closer to completion. The text still needs some tweaking before the final stage (aside from binding): hand-stitching selected areas of the image with matching red embroidery thread.