Oversize

Oversize because the book becomes a stage set; a world in which one becomes physically immersed. It takes effort to read oversize books; they can’t be read quickly; size increases the dramatic tension of turning a page. I like them as canvases because in the kind of drawing/print that I make, the marks need space. There is also a perverse part of me that just likes to make deliberately unwieldy things.

New Town - film

The video shows stages in the making of the book New Town made for The Lost Weekend - Bristol Artist's Book Event at the Arnolfini, Bristol; 2021.

New Town

Large concertina book, texts and roadmarks from Crawley; letterpress, woodcut and collage; 36 x 29cm; edition of 4; 2021

Averting Your Fate

Charms and keepsakes worn to avert an evil fate. Letterpress and woodcut with inset objects and etched blocks; Japanese binding; edition of 12; 62 x 35cm; 2012

Twelve Roman Poems

Loose sheets bound in a portfolio. I printed this directly after And This for You, with its mixed font aesthetic, in part to demonstrate (principally to myself) that I could still print conventionally. Screenprint and letterpress; the text was hand-inked and printed on Ken Sprague’s Columbia; edition of 12; 50 x 32cm; 2005

Ikarus

One of three Icarus books I have made, this one using three symbols – circle, line and cross to represent sun, earth and man respectively. Sewn soft covers; woodcut on Japanese paper; edition of 12; 44 x 28cm; 2001

And This for You

The ceramicist Nick Homoky, who owned This for Me gave me the title for its sequel. I used as a text a list of consolations written initially for my daughter Hannah. Letterpress and relief blocks; Japanese binding; edition of 12; 45 x 32cm; 2014

Three

A narrative carried by images, texts and symbols, divided into threes. Woodcut on Japanese paper; Japanese binding; edition of 3; 69 x 33.5cm; 2004  

Cush Man

In London we called it Vaynites -  a word to signify your safety in the game of tag; a friend from Northumberland told me that there it was known as Cush Man and these truce terms were the starting point for a book exploring how we keep ourselves safe in threatening circumstances.  Woodcut, screenprint and letterpress; edition of 12; 52 x 32cm; 2004

This for Me

A book of requests that could also be commands. Screenprint and letterpress including hand-cut letters. Edition of 12; 45 x 32cm; 2003

The Carrier

This was a book that I worked on for much of the 80’s (on and off). Images and texts both relief printed then worked into with a scalpel. Intended as a unique artists’ book, parts of this were published but not the complete work. c1984

Techné

Techné was published by the Pittville Press at the University of Gloucestershire annually between 2012-18. Edited by Kieren Phelps and Andrew Morrison with printing assistance from Mark Unsworth, Jen Whiskered and students. The aim was to reconnect artists/illustrators/designers with physical print process. This page, from Techne´4, shows a response to the poems of Lorca by John Barrett. Edition of 100; 35 x 24.5cm

Untelling

Intended as a sequel to The Carrier. I realised whilst making this that unless I started making smaller, more achievable things, I would be telling the same stories over and over again. 48 x 32cm; c1989