You can view a short video of the piece on my Instagram page. The book measures 8,2x8,2x5,8cm / 3.2"x3.2"x2.3" and it has six pages.
The theme for the July challenge was 'treasure'. My process started from the thought of what sort of things I consider as treasures. Important things about treasures: they're precious in one way or another, they preferably have a connection to a bygone era, they're found (or stolen), and in finding them one feels delight or exhilaration as one instantly recognizes having found something of value. Then I thought of what kind of people could have somewhat actual treasures: rich people, historians, collectors. I then widened my perspective and thought of magpies, who collect and steal all sorts of lovely, shiny things to decorate their nests with. I enjoy shiny things, but even more I enjoy lovely, tiny things, like buttons. And so the idea to create a book titled 'Harakka', the magpie, was born.
I always try to have some kind of personal angle in the artists' books I make, be it through words, images or materials. I personally have always had an eye for beautiful buttons - and so have all the women that have become before me in my family. I’m a collector of buttons, and a keeper of buttons as well as their stories. So, for this book I have picked six buttons I have considered as treasures from the moment I first saw them. The first button comes from the very first button box I ever had, the others from a special flea market find, my paternal grandmother’s round button tin, my maternal grandmother’s much larger button drawer, the tiny mourning button was found from the attic of my paternal grandparents, and the final one is a button I have always imagined having once been my great grandmother Saima’s. It was given to me by my maternal grandmother a long, long time ago. I have no way of knowing if it was Saima’s or her sister’s, but I have always thought this one as Saima’s. She passed away long before I was born, but I feel a special connection to her and her beautiful little things that have been passed on to me.
This book is a book of my personal treasures, so to keep things personal, I chose to stick to my mother tongue this time. It would be strange to try and translate the different names I have for my grandparents, even though those particular names are only meaningful to me. Still, I felt translation would create undesired distance in this case. Partly because I had very limited time, partly because I'm a fan of minimalism, I decided to only have very brief notes about the origins of each button.
After coming up with the idea of creating a book around a handful of special buttons, I needed to figure out what book structure would work with three dimensional objects. Concertinas expand as needed, but having just made a concertina book a brief while ago, I wanted to go with something else. Also, the concertina binding is one of the most basic book structures, and one that is really often used in artists' books. There's nothing wrong with it, but I like to add variety to the field whenever possible. So, the next step was to decide how I would embed my buttons to the pages, and what structure would allow me to use thick pages. Board book structure was the first thing that came to mind, you know the kind that is used to make books for babies and toddlers. I first thought I'd make all six pages the same thickness, with the thickness determined by the thickest button. This however would've meant my book would've gotten very, very fat, so I made each page only as thick as necessary and managed to avoid creating a cube. The pages were built up in thickness with strips of book board glued together and sanded smooth. Buttons were sewn in place, and the sides were covered with white paper before I linked the adjoining pages together with hinges made out of book cloth. Once this was done both front and back of each page was covered with watercolor paper, on which I had printed the text. The first and last page were hinged with a piece of book board on which I then built the covers using a technique adapted from the sewn boards binding structure. This let me work on the covers while they were already attached to the book block - this included lining the book spine and board edges with teal blue ingres paper, adding a paper spine finished off the block, and covering the boards with black paper. The colours of this book are of course the colours of a magpie - black, white and teal.
All in all, I think I must've spent at least 16 hours by my work desk during those two days, so this wasn't really a very quick book to make. Cutting all components by hand is time consuming, and sanding all those bits of board is a pesky job. If needed, I'm quick to come up with a concept, and to figure out what kind of technical requirements it sets to the structure, but the execution still takes time. I think it's just routine that brings along with it the self confidence and knowledge required for quick decisions - I can see the finished piece in my head really early on, which is a blessing and a curse. Working without a clear vision of the finished piece encourages improvisation, but yeah, I've never been very good at that...
The August theme for the challenge is 'listen' - I expect to see books that make a noise, I expect to see books about sounds, I expect to see books that ask us to stop what we're doing and listen to something that's important. What I'll create, I have no idea, but even though this is a busy month (my poetry book launch party is coming up, and so are big deadlines!), I hope to start my next artists' book a little earlier on in the month!