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Artist’s Books
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INTRODUCTION I produce limited edition hand made Artist’s Books, Zines and single images, many of them satirical, under the brand name of Damp Flat Books (Est.1997).
X My illustration and art practice brings together a range of investigation located around; art-zines and bookarts; independent publishing; artist as social commentator and drawing as a means of immediate visual communication. The range of artist’s books explores obdurate boundaries between journalism and authorial illustration often using satire to reflect notions of ‘Britishness’. I am particularly fascinated with our uncomfortable and constantly changing relationship with technology.
X My approach is experimental, incremental and reflective focussing on both the microcosm and macrocosm of living in the UK. Visual humour is developed throughout as a vehicle for change, combining techniques such as pastiché, parody and socratic irony. The ‘anxiety of the individual’ is a running theme throughout my work with many reoccurring protagonists and antagonists soliloquizing their notions of ‘Das Unheimliche’. Broadly speaking - who are we as ‘humans’ and what are we supposed to be doing all day?
X Typography and images are juxtaposed to create new narrative possibilities. Language is explored using different ‘voices’ such as anecdotal, colloquial or profane.
I enjoy reading and often use literary sources as inspiration for new bookarts, for example Read was inspired by Our Mutual Friend by Charles Dickens. I use my own photography, illustration and hand drawn type within my books along with composing the narratives, designing, printing and binding - I enjoy the fact that within bookarts the artist can control each stage of the creative process through to its ultimate expression. I am also researching changing technologies with regard to notions of ‘the book’ with online versions of many of my titles available.
X My artist’s books are held in many permanent collections such as theV&A Museum,Tate Britain,The Getty Institute in Los Angeles and the Joan Flasch Collection, Chicago. I am featured on the V&A Website as an example (one of 6) representing U.K. Book Artists. I make limited editions that vary between 10 and 50 depending on the complexity.
X My serial art-zine Future Fantasteek! is on its 17th issue and is widely exhibited and collected.
X I have attended conferences internationally to present my artist’s books and to talk about art-zines and illustration. I am also exploring the possibillities of new artist’s books and zines for ipads, e-readers whilst having fun exploring printmaking and collage for artist’s books alongside single image illustration. Jackie Batey
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BE
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Leporello constructed from a single A3 sheet folded to make 16 pages. 80mm X 100mm with separate grey card folding cover with silver lining and silver ‘pipe’ on front. Red and white ribbon is bound into the book to resemble builders’ hazard tape. Brighton 2014, edition of 20 - numbered and signed plus embossed with Damp Flat Books’ logo. Micro Artist’s Book celebrating the major building works that have become a regular feature of Berlin. After visiting Berlin in 2006 I was amazed at the scale of building works and in a return visit in 2013 it was still just as frenzied. A walk round the city made me feel as if I was in a real-life ‘Sim City’ that was constantly being knocked down and rebuilt around me, I took lots of photos of the pink pipes, cranes, hazard tape and false facades. Berlin is a dynamic place to be and there’s a strange feeling that if you turn your back the building behind you might not be there when you turn around again. It’s 25 years since the Wall has come down but the transformations seem to be constant. The title of the book is from a quip my uncle Harry used to make when we came across building works in London (or any city) - “London, be nice when it’s finished”. I love the idea that one day Berlin will be finished, - maybe I’ll visit in another seven years and have a look.
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BE•NICE
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T’S•FINIS
HED•BER
LIN
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135mm x 190mm, containing 12 pages and printed endpapers. Single-section sewn binding with red book-cloth bound hard cover with lasercut lime acrylic title: READ. Bound into the book is a small red acrylic lasercut magnifying glass that slots into a small wage slip envelope tipped-in to the back inside cover. READ was inspired by Our Mutual Friend and takes the first 20 pages of Charles Dickens’ novel but hides within them a quote from him, about the act of reading. The quote describes reading as being like a code, whereby the initiated can open the world of books. The quote is hidden word by word on each page in pale turquoise that can only be seen clearly when viewed through the red lense of of the magnifying glass. The endpapers are images of monochrome violent waters since Our Mutual Friend begins and ends with a drowning. This book was created for the exhibition Beyond Dickens. This exhibition of international artists’ books was held in Portsmouth in November 2012 as part of the Charles Dickens bicentenary celebrations. The book was exhibited at the Dickens’ Birthplace Museum, Portsmouth U.K.
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Damp in
Ditchwater
Postcard souvenir booklet. First edition of twenty - Brighton UK Heavy yellow card cover with shaped edge, printed in either, dark-orange or pale-turquoise. Introduction page followed by 10 detachable heavyweight colour postcards with tissue interleaves. One card contains a tipped-in stamp and handwritten salute. "A charming history - told through postcards - of the philanthropic, family-run Damp Industries’ partnership with the sleepy town of Ditchwater-by-Sea. Damp Industries’ self-appointed mission, is to strive until culture, learning and suitable products reside in the South." In this sequence of ten postcards the intriguing relationship between Damp and Ditchwater-by-Sea is slowly revealed. What happened on the opening day at the Damp Museum? Who wears the Cod-Sash? Why is the curator missing? This book has grown out my fascination for less-than-exciting museums. I particularly enjoy the secondhand mannequins with scuffed noses and displays that have been gathering dust for years. I make a point of searching out the least-popular tourist attractions, in the hope of finding a display of manky plastic fruit or - my favourite - a historical family diorama. The trend in swish, technologically interactive museums are fine for children, but the creepy dank interiors of the deserted local museum are my delight. I have been recording these museum interiors for a number of years in the hope of celebrating these fast-disappearing gems. The second-rate displays often reveal an 'any old rubbish for the tourists' attitude that is sharper than any deliberate satire. The narrative behind Damp in Ditchwater is the story of an unscruplous company that, hounded out of its own country, has started over again in England. The clash of values, along with the townsfolk’s desperation to 'be put on the map' reveals itself through the comments on the reverse of the postcards. Starting slight but getting more and more vocal until there is little room to actually write a message on the postcard. The Damp employees and Ditchwater townsfolk have an uneasy alliance, where both are grittedly out-for-themselves.
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Damp in
Ditchwater
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Battered
95mm x 215mm wih 22 printed, folded pages. Yellow fly leaf and end paper with maker’s emboss. Japanese account book binding in red silk with PVC table cloth cover. Book packaged in white food bag printed with orignial 2-colour lino print. Each book comes with its own wooden chip fork and miracle fish. All books in this edition of 20 are numbered and signed. Made in Brighton 2009. This book has a dual message; on one hand it’s a celebration of British chips but on the other it’s a lament to the declining cod. The book is called Battered to reflect these two sides, both the cooking and the over-fishing. The Atlantic cod is a fish in crisis, stocks have suffered heavily from overfishing on both sides of the Atlantic. All stocks are classified as being overfished or at risk of being harvested unsustainably. The sequence of pages details a packet chips being eaten, next to an image of slowly disappearing fish. The reverse pages show photographs taken over a number of years in the U.K., Gibraltar and Spain of chip shop ‘A’ boards - celebrating our culture of fish n’ chips. The book is covered in PVC table cloth material, bound in the style of a Japanese account book with folded pages. It is packaged in a chip shop bag that’s been printed with an original 2-colour lino cut, it also comes with its own wooden chip fork and ‘miracle fish’.
Jackie Batey
jackie@dampflat.com
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Notebook 57 The book measures 160mm x 137mm Stapled binding, containing 20 pages, with a red card cover to resemble an exercise book, 16 pages Handmade in editions of 5, First Edition produced in 2003
This book was inspired by researching into alchemy and chemistry. Old medieval illustrations reveal the belief that a human servant could be conjured-up from ancient recipes.The fabricated human was an exact replica except that it had no soul.The replica was called a Homonculous.The book represents a notebook kept by someone who not only believes Homonculi can be made, but sees them everywhere in the form of shop and display dummies, then documents them in the form of notes and photographs. The paper-clipped pages are actually printed within the book as are the ink spills and typewritten notes. There are some elements added by hand such as a punch cut, rubber stamp and drawn marks. The main pages are printed on 130g cartridge.
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Notebook 57
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.20 o N Y T E OCI S T E R C A SE G N I N N X RU
The book measures 18cm x 12cm with a brown & orange manilla cover Stapled binding containing 12 pages on 130gm cartridge paper and fly-leaf Each book contains a turquoise chart, small envelope with a secret password and ‘match’ to burn the book Produced in editions of 20, First Edition produced in 2000
I am fascinated by secret societies, especially the bizarre rituals that the members indulge in, in order to be recognised by one of their colleagues but unnoticed by non-members.This book purports to be a manual for running your own secret society.There are sections on ‘secret handshakes’, ‘how to remain unnoticed’ and a loose card ‘courtesy hand-markings recognition chart’ as well as a free ‘computer enhanced match’ to destroy the book after it’s been memorised.The introduction explains how it is better to be the only member of your society in order to remain secret in this nonsensical artist’s book.
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No.20 Y T E I C ET SO R C E S GA N I N N U XR
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we’re sorry_
30 page book measuring 110mm x 135mm. Heavy card cover held shut by hazard-tape wrap. Endpapers are a pattern of apologies. Main pages are printed in black on blue paper, sewn into the book in two sections in an unusual binding. Photographic ‘mobile’ images are printed on sticker paper then perforated and stuck into the book. Produced in an edition of 10, Brighton 2005 - also produced with in a white cover. Have you noticed that the more life apparently gets better, the more things seem to break down? Vending machines, ticket machines, cash machines and computers all conspire to refuse us their automated service - spitting-out notes and stealing change. It doesn't end there, public toilets are locked or broken and automated turnstiles simply refuse to let us pass. Surprisingly this mechanical entropy seems to have gone unnoticed. However, through the course of a few months armed with a camera phone I recorded the mechanical revolt that is gradually gathering pace all around us. This book is a salute to brokenness and the signs that announce it.
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we’re sorry_
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Anxious Homes
The book 190mm x 125mm, pink stitched binding The cover is satin card backed with pink patterned paper, containing 18 pages on 130gm cartridge paper Produced in editions of 10, First Edition produced in 2001 Anxious Homes, is the antidote to all the 'Life Instructions' that surround us. Far from being outraged at the patronising tone of 'How to do it' books, I have always found them funny.This book provides a step-by-step guide of how to appear like you're doing everything properly and contains explanations in detail of how to get away with it. It is a manual for people with better things to worry about than housework. There are sections on anxiety and the home, nearly cleaning floors, the bathroom and kitchen, washing clothes, dealing with emergency visitors, and a chart of serenity and anxiety. Anxious Homes seeks to take away the homemaker's feeling of inadequacy by promoting shortcuts as if they are perfectly normal.
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Anxious Homes
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My Favourite Souvenir or Cenderahati Kegemaran Ku
This book is dual language and is available in two colours within the edition: Red cover (English/Malay) or Blue cover (Malay/English).The book is hardcover bound in bookcloth. The book measures 200mm x 200mm when closed and 200mm x 600mm when fully opened. The book unfolds once to reveal the first sewn-in 14 page section, it then unfolds again to the left to reveal the second sewn-in 14 page section.The main body of the book is printed on 130gsm cartridge paper with colour images printed on 260gsm photographic paper tipped-in. Both sections have patterned endpapers.
A white card band holds the book closed, it has the title printed on it, which is either: Red: MY Favourite SOUVENIR Blue: CENDERAHATI kegemaran KU Handmade by Artist, made to order in either red or blue, total edition limited to 20, Brighton 2005
This book was created as a response to the many souvenirs that are available at popular tourist destinations. In this case a journey of six and a half thousand miles (about 10473km) over 12 hours bought me face to face with the same snow storms I had left behind in my home town - even though snow is not a familiar sight in tropical Kuala Lumpur. Popular attractions were visited and many plastic souvenirs were collected such as, key rings, fridge magnets, spoons, shot glasses, pens, plates and of course snowstorms.The souvenirs were all branded with the image of Kuala Lumpur's ultra-modern Petronus towers. I had noticed that my home town of Brighton seemed to sell itself by pasting images of the Royal Pavilion on snowstorms, ironically the Pavilion's indian architectural style is also prevalent in older areas of Kuala Lumpur. I photographed a set of souvenirs concentrating on close-ups to capture the garishness and build quality. I then collected and contrasted these with photographs of the same souvenir objects bought in Brighton, my home town. I focussed on the colour red to sithemselves were easy to find and I soon had like for like, but with a different building stuck on the magnet, so to speak.
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My Favourite Souvenir or Cenderahati Kegemaran Ku
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Headroom
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290mm x 110mm Folded dark stationery card cover with cut-out title revealing metallic barley pattern covering. Leather tie, metal spiral binding. Graph paper trace fly-leaf. main body of book printed onto accounting paper folded back upon itself. 14 pages with ending with edition number, signature and maker's emboss. The book is a visual response to the drive to fit more and more people into an ever diminishing space. The U.K is under pressure to find more housing and every patch of land, including gardens, are being built upon. New housing is tightly packed with little concern for the environment or the needs of the new residents, leading to a breaking down of community spirit. New housing does not seem to be designed with people in mind and ironically this can isolate individuals - even when they are so close to everyone else - Do you know your neighbours? Increasingly in cities we do not, choosing to keep ourselves to ourselves - fearful of others. Whilst reading Roget's Thesaurus, I noticed the thematic listing of words was taking on a poetic significance for me. I used the word lists in the order they appeared in the Thesaurus to convey a sense of melancholy amongst the crowds.The book is printed on accounting paper to show financial pressures, the drawings are a mixture of my photographs of buildings and drawings of imaginary future towers unintentionally imprisoning their tenants.The text is rubber stamped. Loss of identity and community are the main issues in this book.
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Headroom
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Which Filter Works ?
The book originally produced in an edition of 7 printed on 130gm cartridge paper, now on its third edition. The cover is yellow card and the cigarette cards are printed on glossy card. 3D Glasses accompany the book. The book measures 190mm x 120mm. The book Which Filter Works? began with the series of six cigarette cards, each one based on an existing factual diagram found within U.S. cigarette advertisements from the ‘fifties. I felt the re-drawn diagrams needed to be placed within the context of a collectors book, the book was planned to parody the science and technology, of Filter-Tip cigarettes. My invented brand Lemorette was the focus, as if the book was a promotional item to introduce a new brand.The name Lemorette is mentioned as many times as possible.The tone of the book is instructional but rather patronising assuming the consumer is childlike in intellect.The consumer's children are encouraged to participate. 3D glasses are included in the front of the book. It was intended that viewing the book via the glasses should feel a little ridiculous. This book was originally created for my practice-based PhD submission at the University of Brighton. It was included with my thesis and 8 other artist’s books and multiples as a boxed-object. Completed in 2003
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Which Filter Works ?
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Menthol Daze
The booklet is 107mm X 150mm.The inside page unfolded is 297mm x 420mm The cover is on white card, the inside spread is black & white on 130g cartridge paper There is space for 14 collectors cards. Each edition comes with 9 cards pasted into it Produced in editions of 7. First edition produced in 2002
This multiple is a fold-out page containing spaces for collected cigarette cards. The booklet is produced under my own invented brand Elysian's Cigarettes. The images are manipulated collages from Salem cigarette ads and details from Sierra Club publications from the 'fifties.The cards are numbered and 9 are pasted into the booklet.The cards show a clichĂŠd image of the countryside, often used in selling products.The text that accompanies each image however gives reasons to be scared of the countryside.Threats in the natural environment range from nuclear testing contamination to annual lawn mower injuries.The intention of this multiple is to satirise the inflated claims made for nature in advertisements.
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Menthol Daze
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Evil Eyes
Softback book bound in oatmeal-coloured card. Horizontal format measuring 190mm x 110mm. Title is bound in beads into the spine and closed with a green elastic band. 21 printed pages with tipped-in photos. Photo pages are date stamped. Second edition of 20, Brighton 2006 Whilst travelling to work it was noted, by certain keen individuals, that the world appeared to be full of beings: other than the everyday. With the assistance of an adapted mobile phone camera these ghosts, animal spirits, numen and peri that crowd around us can now be revealed. Mostly captured during regular days – frequently when rain was in the sky. So far we have managed to identify only a few of them – what we know is here, along with our clearest photos and some of our thoughts.
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Evil Eyes
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Reboot - Limited Edition of 10, Brighton 2008 400mm x 170mm, a double spiral-bound pair of books each of 20 pages The cover is clear acrylic closed with magnetic catches Hand-cut rubberstamp icons are added to final printed pages Several real capacitors and fuses are threaded into two of the pages This is the largest book in my collection, both in scale and number of pages. This is a book about computers. Do they really hate us? Why are computers so indignant when you want to open files, rewarding your impetuousness with spinning balls and hourglass icons.This is a book about technological brokenness.We rely more and more on technology and computers, ignoring the fact that there seems to be a mechanical revolt gradually gathering pace all around us - soon the only tasks left for us will be hand-drawing the Out of Order signs to hang on the machines. Over a period of time, I’ve been recording technology failures photographically as well as drawing the language of brokenness, cryptic messages such as, disc error and are you sure you want to shut-down? I've combined my photographs and drawings into this pair of books, added to this hand-cut rubber stamps of familiar computer icons - hourglass, watch, cursor arrow and older legacy icons such as the floppy disk. Scanned legacy peripherals such as scsi leads and old network cables tangle across the pages, to remind us just how fast technology is moving. The books work as a pair and should be opened and read simultaneously.
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& Null
This small book measures 100mm x 100mm Folded concertina binding, 17 pages printed in black & white with spot red Produced in editions of 17, First Edition produced in 1999 This book was built up from research into numbers, specifically how to visualise them. The concept of nothing or zero is fascinating - for instance, the pyramids were built using mathematics that knew no zero. This book pulls all these concepts together, some faintly true and others obvious inventions. The book is full of puns on language - mainly the words we use to describe nothingness or voids. The tone is partially informational and partially humourous, if mostly bogus.
Void
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& Null
Void
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Confidence
This small book measures 95mm x 95mm Stitched binding, 12 pages printed in black & white with a pink centerspread Each book contains elements tipped-in by hand, such as tickets, cards and rubber stamps. Produced in editions of 25, First Edition produced in 1997 This book was inspired by the idea of cheating.There are pages on how to cheat at various games such as monopoly, cards, rolling dice as well as bigger cons such as winning a raffle through to the lottery jackpot.The book itself however, is as fake as the cheats it describes, obviously written by a fraudster. This book comes with a slipcase belonging to a different book (sporting themes), in order to hide Confidence on the bookshelf - The slipcases all have unique titles.The tone is humourous targeting the gullible who believe you can really, get-rich-quick.
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Confidence
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Surely Not !
The book measures 102mm x 202mm. Stiched binding, containing 8 pages, a central gatefold on orange card with an orange card cover. Surely Not was produced in a limited edition of 7 in 2003 (Now in its third edition, later editions feature varioations in paper and colours) This book was inspired by the notion that, when looked at closely, smoking a cigarette is a strange activity. The Bob Newhart monologue 'The Introduction of Tobacco to Civilisation' is a case in point. Smoking is not a basic need such as eating or drinking but rather a skill that, once the fundamentals are learnt, requires practice and patience to develop. The "believe-it-or-not" strategy was based loosely on Ripley's regular feature in newspapers and collections from the 'fifties, but the images were developed from cigarette advertisements from the U.S. between 1938-72 and then redrawn to place emphasis on the absurdity of the activity. Grubby marks on the illustrations were enhanced to give the feel the images are 'dirty' as printed. I wrote the text in a style aiming to satirise the short-snappy 'Amazing Facts' tone of children' comics or encyclopedias. Texts aimed at younger readers often seem to convey the anxiety that the reader will tire of a subject should the copy spread to more than 5 lines. I have made sure that the concepts in Surely Not jump breathlessly from theme to theme at high speed never allowing the reader to dwell on one story for long. The font chosen was one resembling a style often employed in comics to give the feeling that the text had been hand written. 'Comic Sans' is heavy and stolid but its informal structure tries desperately to imply jollity. The central gatefold shows the Smoking Beagle, hopefully reminding the reader of the vast number of beagles that were used to test cigarettes (to public outrage in the late eighties). The gatefold was designed to sit on orange heavy weight paper, along with the cover. The main pages were printed on 130g cartridge paper. The orange and white colours are reminiscent of the colours used in marketing a regular cigarette of the period.
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Surely Not !
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BOOKS in SPECIAL COLLECTIONS and LIBRARIES
Damp Flat Books in the UK
Seattle Public Library, Seattle, Washington
The V&A Museum, London
Fine Art Library - The University of Texas at Austin, Texas
Tate Britain,The Hyman Kreitman Research Centre, London
University of Kentucky Libraries, Lexington, Kentucky
Modern British Collections, The British Library, London
Brian MacKenzie Infoshop, Washington DC
Stuart Hall Library, Iniva, London
Dry River Collective, Tucson, Arizona
Chelsea Library, London
Warehouse 21, Santa Fe, New Mexico
Manchester Metropolitan University, Manchester
POND: Art, Activism & Ideas, Zine Library, cambridge, Massachusetts
The Old School Press, Hinton Charterhouse, Bath
Idaho State University Library, Pocatello, Idaho
The Culture Archive, Brighton
Kansas City Public Library, Kansas City, Missouri
St. Peter’s House Library, Brighton
Linebaugh Public Library - Zine Collection, Murfreesboro, Tennessee
Center for Fine Print Research, UWE Bristol
Newark Public Library, New Jersey
Eton College Library, Windsor
Reed College, Portland, OR
Zineopolis, University of Portsmouth
Zinelibrary, Olympia WA
The Women’s Library, London Metropolitan University
Special Collections, University of Iowa Libraries, Iowa City, IA
Knights Park Library, Kingston-Upon-Thames
Booklyn Artists Alliance, Brooklyn, NY
The Ministry of Books, University of Portsmouth
SLIS Library, University of Wisconsin-Madison, Madison, WI
WLYB Archive, Northampton
Shadek-Fackenthal, Franklin & Marshall College, Lancaster, PA
LCC Library, Elephant and Castle, London
Long Beach Public Library, California
Howard Gardens Library, University of Wales, Cardiff, South Wales
Forsyth County Public Library, Walkertown, NC
Salford Zine Library, Manchester, UK
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Damp Flat Books in Canada
Damp Flat Books in the USA
Toronto Zine Library, Toronto, Ontario
Joan Flasch Artists’ Book Collection, Chicago, Illinois
Sheridan Zine Library, Oakville, Ontario
Artists’ Books Collection, Getty Research Institute, Los Angeles
Anchor Archive, Halifax, Nova Scotia, Canada
The Arthur and Mata Jaffe Collection, Boca Raton, Florida
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Golda-Meir Library, UWM LIbraries, Milwaukee, Wisconsin
Damp Flat Books in Australia
James Branch Cabell Library,VCU Libraries, Richmond
Field Study Archive, P.O.Box 1838 Geelong,VIC 3220
Rare Books, The Yale Centre for British Art, Connecticut
Octopod Association, Newcastle NSW 2304
San Diego State University Library, San Diego, California
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Book Arts & Special Collections, San Francisco Public Library, CA
Damp Flat Books in New Zealand
Barnard College Library, New York, NY
Wellington City Libraries, Wellington, New Zealand
Colorado College Special Collections, Tutt Library, Colorado
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BCPL Collection, Baltimore County Public Library, Towson, MD
Damp Flat Books in Europe
Aboveground Zine Library, Carriere, Mississippi
La Fanzinoteca Ambulant, Barcelona, Spain
Browne Popular Culture Library, Bowling Green University, Ohio
Biblioteca Municipal Josep Badia i Moret, Barcelona, Spain
City Library, Salt Lake City, Utah
{Disarmed}, Bedeteca de Lisboa, Olivais, Portugal
Sallie Bingham Center, Duke University, Durham, NC
LA FANZINOTHÈQUE, Poitiers, France
ZAPP Zine Collection, Seattle, Washington Civic Media Center, Gainesville, Florida The Denver Zine Library, Denver, Colorado The Independent Publishing Resource Center, Portland, Origon 100 Library, Michigan State University, Michigan Hot Iron Press, Artist’s Book Collection, New Orleans, Louisiana Mansfield Library, University of Montana-Missoula, Montana Papercut Zine Library, Cambridge, Massachusetts
DAMPFLAT ONLINE
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