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Posts Tagged ‘shift-lab’

  1. Book Artist of the Month: Sarah Bryant

    December 29, 2014 by Erin Fletcher

    Shift-SarahBryant

    Sarah Bryant is apart of the five-person collaborative group Shift-Lab, which she discusses more in-depth below. The image above shows the full spread of their first collaborative project, Shift, which was created in 2014 in an edition of 20. Each of the five artists created a small letterpress printed book that reflects a shift in perspective as well as a matching print. Both the books and prints were displayed at the San Francisco Center for the Book in 2014.

    The books are housed together in a custom drop-spine box shown third from the left with a printed title label.

    ShiftBaldwin-SarahBryant

    detail of Katie Baldwin’s book

    ShiftTreacy-SarahBryant

    left: detail of Tricia Treacy’s book | right: detail of Denise Bookwalter’s book

    ShiftChadwick-SarahBryant

    detail of Macy Chadwick’s book

    Can you discuss the collaborative group Shift-Lab. Who are its members and what type of projects do you work on together?
    Shift-lab is made up of myself, Katie Baldwin, Denise Bookwalter, Macy Chadwick and Tricia Treacy. We started as a group in the summer of 2013 and since then we’ve produced a book project (Shift) for an exhibition at the San Francisco Center for Book Arts, staged a pair of printing events (I had to be a remote participant, unfortunately,) and met for a week in North Carolina to print a project together. We will be exhibiting together at the Codex Book Fair in February, and are working on plans to meet for a skill share/book project next summer. You can find us all at shift-lab.org.

    Shift is a set of five books all with the same theme. Each of us created an edition of 20 books of the same dimensions. These five books are housed together in an enclosure. The books vary in content, Katie’s is an exploration into the different diggings of the Erie Canal. Tricia was interested in the shift key on a keyboard. I was having trouble sleeping while I was working on this project, and so my book evolved into a body shifting and moving in bed.

    ShiftInPosition-SarahBryant

    For your book Shift in Position, how did you monitor your sleeping behavior and then transfer the imagery into a print?
    I was spending a good portion of each night around this time rolling and repositioning myself in the hopes of getting to sleep. I didn’t monitor this activity, exactly, but took dozens of photographs of myself as I repeated the familiar movements I was doing each night. These photos were taken against a white background. I traced the shifting line of my body over and over again and layered these lines, creating the basic imagery for the book. The “book” is actually a series of panels that can be rearranged. Some of the imagery locks in together, some doesn’t. Text related to shift and change printed on the top and bottom of each panels always locks in to make some kind of sense. I wanted the process of rearranging the panels to be reminiscent of the kind of non-restful process dreaming that I was slipping in and out of at night.

    ShiftInPosition2-SarahBryant ShiftInPosition3-SarahBryant


  2. Book Artist of the Month: Sarah Bryant

    December 8, 2014 by Erin Fletcher

    Biography-SarahBryant

    In 2010, Sarah Bryant completed Biography, which explores of the alternative roles played by the chemical elements found in the human body. Each element is represented as a specific colored rectangle, which are used in various diagrams throughout the book. As you progress through the book the diagrams become less clear and are interrupted with blind stamped organic shapes. Biography won the 2011 Minnesota Center for Book Arts Prize in addition to receiving the Award for Artistic Excellence at the Pyramid Atlantic Book Arts Fair in late 2010.

    Printed in an edition of 75 using letterpress techniques from polymer plates on Zerkall Book, Biography was bound as a hardcover drum leaf enclosed in a clamshell box. Numbers one through ten are bound as a deluxe edition (pictured above), which include additional prints from the book, as well as a ghost print creating during the printing process. The deluxe edition comes in a larger clamshell box designed to house both the book and set of prints.

    Biography4-SarahBryant Biography3-SarahBryant Biography5-SarahBryant

    In The Bonefolder article Evolution of an Artist’s Book, you mention that Biography took 2 years to complete. The inspiration led to extensive research and preparation before embarking on months of printing. Is this an average amount of time needed to complete a project?
    Most of my big books take about two years. Dave and I first conceived of Figure Study in January of 2013 and I have set a release date to coincide with the Codex Book Fair and Symposium in February of 2015. I started working on Fond when I was at Wells College in early 2011 and released it in the fall of 2012. Two years seems to be my average these days. But in the background there are other things emerging. While the larger projects are proceeding at their slow pace, I am working on quicker, smaller things. A book I printed with Shift-lab, a collaboration between myself, Katie Baldwin, Denise Bookwalter, and Tricia Treacy took me about six months in 2013. Simulations on a Two-Dimensional Grid, a book I created for the Ideation by Chance show at the Seager Gray Gallery in Mill Valley, California, took me a few months. Those books were done in smaller editions and in response to external collaborations and deadlines.

    Since I’m not a printmaker, the printing process behind You are part of something larger than yourself is puzzling to me. Can you walk me through the printing steps for this particular print?

    Biography2-SarahBryant

    Aha! Yes I can. And, in fact, if you really want to know more about it, a lecture I gave at Wells college several years ago contains a detailed description of that process, with photos! Thanks to Peter Verheyen, you can find it on youtube here:

    My description begins at 29:09 and ends about three minutes later.

    That spread and one other in the book toward the end, (described in the above video,) are pressure printed against a polymer plate of the periodic table grid. I inked the press in two colors (for a color shift) and printed the first run, then cleaned the press and inked it again in the reverse and so on so that there are many layers and colors at play. The blob-shaped forms are generated by paper cutouts that I have attached to the impression cylinder of the press. So the printed imagery is coming from the combination of the traditional, inked relief surface (the grid in the bed of the press) and the uneven pressure created by the paper shapes on the cylinder.

    BiographyProcess-SarahBryant


  • Visit My Bindery
    My name is Erin Fletcher, owner and bookbinder of Herringbone Bindery in Boston. Flash of the Hand is a space where I share my process and inspirations.
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