Selected for KALEID 2016 Collection of European-based artists’ books with a curated exhibition and seminar in Norway at Kunsthøgskolen i Oslo (Oslo National Academy of the Arts), 11 – 13 May 2016.
Acquired by: British Museum Collection, London Brotherton Library, University of Leeds
Chelsea College of Arts Collection, London
MICA, Baltimore MD, USA
Tate Library Collection, London The Poetry Library, South Bank, London
Repetition & Recollection… is inspired by Søren Kierkegaard’s insightful dialectic from his 1843 book, ‘Repetition’and is the essence of this book.Repetition and recollection are the same movement, only in opposite directions: for what is recollected has been, is repeated backwards, whereas repetition properly so called is recollected forwards. Tactile words flowing in opposite directions across the folded pages echo the back-and-forth play between repetition and recollection. Recollection is confined to the past; or is it bringing the past into the present? Repetition, on the other hand, is in constant forward motion; or is it connecting the past to the future? Kierkegaard’s paradox remains. Double-sided concertina format 170 x 120mm; letterpress printed in Bembo; foil-blocked covers. Produced by Book Works, London.
Art in a Bookshell @ Milton Gallery26 February – 17 March 2015 A survey of artists working with and inspired by books. My work in the exhibition included Black on Black, Black Light book and prints, Line Journeys (Mourning Lines; Drift Lines; Ghost Lines) in slipcase and September: 30hours30days (right), large graphite drawing 152 x 106cm on 400gsm paper.
Black on Black
@ Arts Libris Barcelona, Spain
23–27 April 2014 @ 17th International Contemporary Art Fair Leeds, 8–9 March 2014
Acquired by: Tate Library Collection, London Chelsea College of Arts Collection, London
MACBA (Museum of Contemporary Art), Barcelona MoMA (Museum of Modern Art) Collection, New York Brooklyn Museum of Art, New York
Yale University, Art of the Book Collection, Connecticut
Skillman Art Library, Lafayette, Pennsylvania Clark Art Institute, Massachusetts
Selected for KALEID 2014 curated exhibition of 50 artists’ books from European-based artists by an international jury.
Black on Black interprets black as printed word and image through lists of black pigments and inks, paintings and drawings. Black is absorbing black on each page as text transforms into image, words are lost in the enigmatic images, lost in black. 24 pages; 15 x 10cm; black and white image and text; edition of 30; produced by Book Works, London
Dancing with Sirius: lines of light(series of prints and artist book, 2013)
In the high altitude of the Chilean Andes, the cloudless sky revealed a dazzling canopy of stars as night fell over the Atacama Desert, a stargazer’s paradise. Standing on the summit of the aptly named Cerro Tololo, ‘mountain in front of the abyss’, and surrounded by the imposing white observatories in the dark cold atmosphere, there was one star that captivated me – Sirius – the brightest star in the night sky, and visible in both southern and northern hemispheres. Hypnotised by its brightness and movement I spent most of the night with a handheld camera intent on following this one dominant star. The random choreographic gestures of my arms, like drawing in the air, created lines of light, ephemeral ghost-like threads danced across the sky as each one became suspended in time in my camera. Artist book: 48 pages; 160 x 210 cm; 28 photographs; edition of 30; produced by Book Works, London
Punctuations, Separations and Artists’ Books @ Eagle Gallery/EMH Arts, London
21 June – 19 July 2013
Books acquired by the Tate and the Victoria & Albert Museum, London
Selected ‘The Best Books for 2011’ by Elizabeth Tonnard for Photo-eye Magazine, USA
Separations exhibited at Eagle Gallery, London, includes 9 prints (33 x 33cm, Giclee printed on 300gsm Somerset paper); 8 special edition cloth-covered solander boxes with books and 11 s/s prints (17x12x2cm); and individual books (24pp, 15x10cm), produced by Book Works.
Elizabeth Tonnard writes: ‘A small, restrained book of tiny seascapes. At first they look like watercolors. The beauty lies in the fact that the photos more or less leave behind their representational qualities to become objects on top of the page. These objects are anonymous, empty, they exist in their color.’ Emma Hill, Eagle Gallery writes: A pared down, minimalist approach is apparent in the works of Jane Grisewood… Separations 2011 – 2013 is a book and related sequence of prints that were inspired by the vast tracts of water that separate the artist’s native New Zealand from Britain. Using the most basic of landscape indicators – the horizontal line, Grisewood has brought together a collection of haunting photographic images made from film, digital camera and mobile phone.’