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

Icarus III

A third retelling of the Icarus myth. Told from the boy’s side who wants his father’s love more than deliverance.

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

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

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

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