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lecture theatre 5013to be titledpoints of intersection

unexpressed grammarsdegree year journal




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introductions

Beginning my final and fourth year at Duncan of Jordanstone College of Art I thought it might be an interesting exercise to informally document the goings-on of the coming weeks and months. Vain posterity aside, weekly summations promise to keep me from meandering too violently and, quite honestly, I'm prone to forgetting all sorts of details as I trundle on so my hope is this proves a useful and restraining antidote to that.

The legacy of my previous year was an interest in the facilitating frameworks within which constituant parts forge a whole, and the linear nature of the navigation of both physical place and concious thought. I know I want to pursue these things, and so these are the rather nebulous beginnings of my degree year.




week one: beginnings

My claim on a studio space resolutely staked and the nest thoroughly feathered, I begin at the beginning. I had leanings towards toying with narrative

I was introduced some years ago now to the hexaflaxagon by a friend, who employed them as part of a pictorial project. Immediately though I was taken with their potential as a vehicle for randomised narrative. Certain faces materialise themselves more readily than others, and the order in which any given one might appear in relation to its compatriots is very much down to the reader. My intention then is an artist's book that eschews the the linear nature of a traditional book. That though is merely the medium; - throughout my university life ive had a rather flirtatious

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week two: prototypes

This week I have been concerning myself with the practicalities of refining the hexaflexagon from a paper-craft curiosity to something approaching the quality craftsmanship of a beautiful fine press book. The most unyieldingly stubborn obstacle that I can determine is the issue of thickness. In the interests of making my hexaflexagon book enduring I intend to engrave the text into copper triangular plates and attatch them to a backing of some sort of fabric. The trouble is that each face must be simultaneously page and cover, and is subject to a species of interaction a good deal more vigourous than that of an ordinary book.




week three: engravings

My claim on a studio space resolutely staked and the nest thoroughly feathered, I begin at the beginning. I had leanings towards toying with narrative

I was introduced some years ago now to the hexaflaxagon by a friend, who employed them as part of a pictorial project. Immediately though I was taken with their potential as a vehicle for randomised narrative. Certain faces materialise themselves more readily than others, and the order in which any given one might appear in relation to its compatriots is very much down to the reader. My intention then is an artist's book that eschews the the linear nature of a traditional book. That though is merely the medium; - throughout my university life ive had a rather flirtatious

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week four: presentations

This week I have been concerning myself with the practicalities of refining the hexaflexagon from a paper-craft curiosity to something approaching the quality craftsmanship of a beautiful fine press book. The most unyieldingly stubborn obstacle that I can determine is the issue of thickness. In the interests of making my hexaflexagon book enduring I intend to engrave the text into copper triangular plates and attatch them to a backing of some sort of fabric. The trouble is that each face must be simultaneously page and cover, and is subject to a species of interaction a good deal more vigourous than that of an ordinary book.




week five: riveting

My claim on a studio space resolutely staked and the nest thoroughly feathered, I begin at the beginning. I had leanings towards toying with narrative

I was introduced some years ago now to the hexaflaxagon by a friend, who employed them as part of a pictorial project. Immediately though I was taken with their potential as a vehicle for randomised narrative. Certain faces materialise themselves more readily than others, and the order in which any given one might appear in relation to its compatriots is very much down to the reader. My intention then is an artist's book that eschews the the linear nature of a traditional book. That though is merely the medium; - throughout my university life ive had a rather flirtatious

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week six: research

Reading week this week. Following the thinking of week four I. The history of the book as an object variously restrained and liberating. The book's x as an engine for the dissemination of knowledge has been, by turns, venerated and feared. quiet subversion. I'm reminded of the strictures placed by the mediaeval Catholic Church on the written . In somewhat later years they actively dogged and executed those who sought to translate the bible into their native languages. The retention/dissemination of knowledge.