untitled - artists' book

Some last minute magic happened last night and I finished my #areyoubookenough project in time. The November theme was ‘Translation’ and this time the theme was something I wanted to take very literally since I work with text all the time as a poet. My poems are usually very long and fragmented, so I chose to work with the one new text I have that is neither, and is in a quite different style all in all. The poem is a love poem for a painted lady who shall remain unnamed - we have a significant age difference of some 100+ years, and she’s accustomed to a far more luxurious lifestyle than I, but we’ll try and make it work…

Translating this poem was a strange experience, especially since I can’t even say the Finnish version of the poem is finished - the text lives and is free to change at least until it finds its way into print. So, you only get to see the translation, as the original is still holding on to its right to turn into something entirely different. Not the way translations usually work, I know!

The book plays on a structure of joined accordions, and it’s housed in a modified vintage compact case.

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case: 6x9x0,9cm / 2.4”x3.5”x0.4”

book: 6,7x4,3cm / 2.6”x1.7”

You can view a video of this book here.

lost&found&forgotten&found

Wow-just-wow. My mood lately, that is. Letting things sink in. The book fair went really well, but of course it’s a bit exhausting to wander in the record-breaking crowds and to be on stage with a million other things competing for the audience’s attention. Before I get deeper into my personal wow stuff, I want to share with you my latest artists’ book I made for the #areyoubookenough bookbinding community challenge.

The October theme for the challenge was ‘Found’ and for some reason I struggled against using just some random found stuff (of which I have more than plenty of even in my own home, so it wasn’t because of any lack of material). In the end I narrowed down my approach by thinking more about items that are lost rather than found. Everyday objects constantly not where you expect them to be. Items that have actually become worthless with time and wear. My father passed onto me a tin filled with random old things put into safe keeping most likely by his parents or grandparents - a few pairs of rusty scissors, keys, buttons, nails, pins, razor blades, and the like. Absolutely worthless and useless stuff for most people these days, but I’m not most people. So, I turned my lost&found&forgotten&found items into a triptych.

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Typewritten title on the case. To me the enclosure of an artists’ book is just as important as the book itself - I want them to really go together. Since my triptych items are small domestic items, I drew inspiration for the case from matchboxes and created a very simple sliding case for my book.

These ornate scissors have long ago been replaced by better ones, but saved just in case, maybe because you just don’t throw away stuff like this. The buttons were saved despite their massive wear and tear. The keys were saved and now no one knows what they once opened - the lock permanently lost in time. All these easily lost items were most likely forgotten as soon as they were stuffed for safe keeping into the tin where I found them. The tin was forgotten. The tin was found. Time had unexpectedly turned these items into something worth something, once again. It’s my turn to keep them safe and celebrate everyday items.

Back to the wow-just-wow: I won the book award I mentioned in my last post! My poetry book Koko meren laajuus was awarded for being the best second book by an author, and I got this beautiful wood and metal award that weighs a ton and is just waiting to be featured as a murder weapon in a novel! I’ve gotten so used to being in the margin as a poet that the win was an absolutely unexpected one for me - the award’s been handed out five times now, and my book was the first book of poetry to win, which makes me even more delighted over the jury’s decision. I’ve been beaming with happiness and will continue to do so for a while longer…

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 Photo by  Jasper Kaarna

Photo by Jasper Kaarna

My book has been received so, so wonderfully, I can’t really believe it. It was a risk to write poetry about the sea and love/sex/intimacy/whatever, since those themes have been written about time and time again. I’m glad I dared to do it. I’m glad my readers have found my poetry fresh yet timeless. I actually see a clear connection between my aesthetics in writing and bookbinding. Things seemingly simple have surprising layers and a massive professional dedication behind them. I’m glad I dare to do me in all I do.

landscape

The past week has gone not like I planned. Canceled performances, meetings and trips, but also a lot of work I hadn’t expected to get done in weeks to come. I wish all colds were like this - a high fever followed by days of feeling not quite right but so bored out of your mind, you turn into a paper folding machine, and have stacks and stacks of books ready for the next steps. I had been so worried about not having enough books in my shop for the holiday season so quickly approaching, but after the last few days I’m confident I’ll get great things done in the following weeks. Taking most of the year off bookbinding - or at least neglecting it - in favour of poetry was something I needed to do, but now bookbinding can be my priority once again. I hope you’ve been patiently waiting for my return to this focus and will continue to support me, especially when you’re picking out presents this year…

This week I’m presenting you with some unique - as always - notebooks. These large landscape format books were made using the sewn boards binding technique, which results in covers that remain flexible despite their thickness. Here I’ve used board that’s a bit stiffer than the one I usually use for this technique, as the last thing you want with a landscape format notebook is covers that don’t provide enough support for writing or sketching in situations where there isn’t a table in front of you. The end product is still really nice and light to handle. If this piques your interest, you can find these two in the Paperiaarre shop.

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Apart from folding paper like one happy robot, I’ve been working on my entry for this month’s #areyoubookenough challenge. The theme is ‘Found’ and I’m focusing on some really common domestic items that seem to be going missing all the time. I have actually finished my triptych, but I’m letting the ideas for an enclosure take their time while I work on some bullet journals and watercolour/mixed media sketchbooks. The next steps on those involve a lot of cutting and elbow grease, so I think I need to give myself a few more days to recover before I grab my knife and plough, and work up a sweat. Yeah, bookbinding isn’t always simple and easy and light. Sometimes when you don’t have a lot of big equipment, you use what you’ve got - and I’ve got some sad, neglected muscles and some sharp blades.

See you next week when this thing should be no longer in pieces!

harakka - an artists' book

July was a month of only two books - one case bound journal, to be shared with you soon-ish, and one artists' book for the #areyoubookenough bookbinding community challenge. I had actually given up on hope of getting anything bookbinding related done - the heathwave seems to be neverending and it's wearing me down, and so is living between two major construction work sites. Haven't spent much time at home for obvious reasons and spent the month looking for cooler and quieter locations suitable for writing. With less than two days left to finish my book for the challenge I found myself back home with barely an inkling of an idea. Sarah of Ink and Awl wondered how I came up with something this refined and finely made so quickly, and I decided it was time I wrote about the process behind a finished piece. First, let's see what I'm talking about:

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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!

a human forest - an artists' book

After a rough and busy week it's nice to focus on something beautiful. The June theme for the #areyoubookenough bookbinding community challenge was "boxed in". Being boxed in, either physically or mentally, has much to do with factors that restrict or limit your actions. I enjoy restrictions when it comes to creativity; I enjoy this themed challenge that gives me both a starting point for a new artists' book as well as a deadline. What I don't enjoy are the inner restrictions that sometimes come from the conflict of having an actual self that always differs from the ideal self. Life is messy. We're not always as strong or perceptive as we'd like to be. Being more than just okay with who I am is something I work on every day, and a big part of that process is accepting all sides of myself, all emotions, all quirks, and all my neuroses. This artists' book is about all that, and it's called "A Human Forest". I'm not just birches, I'm pines and willows and aspens and all - and it's a fact that some of those make me weep.

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The vintage tin measures 8,2x4,2x2,5cm / 3.2"x1.7"x1" and each page measures 7,9x3,5cm / 3.1"x1.4". I've once again used glass microscope slides and transparency prints of digitally edited cut up poetry. When viewed as a stack, the variable order of the pages creates a peculiar sense of depth to the piece.

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A human forest:
All pleasures and all pains,
the excitements of silence
whatever it is, it's mine

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As promised, I randomly picked a winner for the book giveaway, and now the amazing Collage Ideas Book is on its way to @kreativesdurcheinander who recommended @lovewalkinginsnow as a collage artist worth getting to know. There were altogether 50 entries with more than 50 recommended artists listed, so if you're looking for inspiration and new-to-you collage artists, check out the comments on my previous post, and more importantly, the long long list of artists tagged and mentioned on my Instagram post. Thank you all for your participation - I'll probably spend weeks going through the list of recommendations to make it last as long as possible!