2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Patty Hudak

The final artist of in the interview series of Art Byte Critique’s 2017 Tokyo Art Book Fair participating artists is  Patty Hudak.

From: USA
Time in Japan: 2 years
Education/ Occupation: Artist

How many TABF have you participated in?
This will be my second Tokyo Art Book Fair participation.

How long have you been making books?
I have been making books for almost 2 years.

What is your favorite kind of books to make?
I like to make books based on digital drawings.  I feel very free in the digital world to manipulate drawings without considering physical scale or the limitations of media. In this way, the process feels close to thinking.

Do you have favorite materials to use?
I like laser printing on tracing paper.  The paper reveals marks below, adding dimension to each drawing, and allowing them to react to each other., mimicking the feeling of memory and imagination, as things fade in and out of consciousness.

What is the biggest challenge for you when you make a book?
The biggest challenge for me when making the book is in the binding.

What kind of books are you making for this fair?
This year, I have created two books, both made with tracing paper and laser printing.

Tokyo Notes is based on lines and shapes drawn from ukiyoe prints.  I am abstracting the shapes of the drawings into a standardized image, with a similar relationships to the page they fall on. The shapes do not directly represent any kind of object, but reference natural forms in lines that echo some kind of Japanese esthetic.

Space Junk represents the near future as an environmental fantasy.  We have placed so many satellites and materials into our atmosphere and beyond; pieces of these materials orbit around our planet.  I imagine a technical and organic swirl, where materials and molecules begin to morph into some kind of accidental design.

What did you learn from last book fair? What are you doing differently for this book fair?
I was not prepared for the amount of enthusiasm that I saw last year at the Tokyo Art Book Fair.  The artists are earnest people, eager to share their ideas, and do not necessarily create for profit. It made me think about how accessible books are to people, and how they can affordably communicate ideas and concepts in a beautiful and direct format.

This year, I am concentrating more on the imagery than making a precious work of art.  I like the exchange aspect of the art fair, and how the fair itself becomes an exhibit of conceptual ideas, which are not always fleshed out in their most perfect form.

How did working with Art Byte Critique help you prepare your work?
Art Byte Critique’s artists have been participating in the TABF since 2014.  I got so much practical advice about such things as glues, formats, bindings,  but, most of all, ABC artists inspired me to join them in the book making experience.

Do you have any advice for people who want to start making books?
Just do it!  It doesn’t need to be complicated, don’t be afraid to express your ideas, even if imperfectly.  Allow the book to be a work in progress.

What would you like people to know about your books?
I would love for someone to respond to one of my books by making a book.  That would be great.

You can see more of Patty’s work at:
www.pattyhudak.com
Instagram: hudakpatty
Facebook: Patty Hudak
Canvas: Patty Hudak
Linked In: Patty Hudak

Photos courtesy of the artist.

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2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Louise Rouse

This is the fifth in a series of interviews with Art Byte Critique members participating in the Tokyo Art Book Fair which runs from October 5 to October 8th. This is Art Byte Critique’s fourth appearance at TABF and we are all really excited.  Louise kindly too time to do a Q&A series and provides some images of her projects.

Name: Louise Rouse
From: UK
Time in Japan: 9 years 336 days as of today. Plus 4 months before that in 2006. Plus 2 weeks before that in 2003. Plus 3 weeks before that in 1998.

Education/ Occupation: MFA / Adjunct Professor for Printmaking & Drawing, Art Program, Temple University Japan Campus

How long have you been making books?
I don’t think I could pinpoint when I started organising ideas into bound paper objects of some kind. I can remember doing that forever.

When I was in middle school I even made my maths coursework which was a large part of the final grade into a ringbound zine with elaborately designed pages printed out on our home inkjet printer. I cannot speak for the quality of the maths though…

My middle school social studies teacher liked my zine assignment submission on the subject of local church history and paintings so much he wouldn’t give it back and was still showing it to other classes the last I heard… I’m still a little mad he didn’t give it back.

At age 15 I went on a work experience placement to a teen girl magazine in London and told my class I wanted to be a magazine designer as an adult.

I think I have always used something like graphic design (even before I knew what that was) to organise my thoughts and to actually understand the world.

I instinctively tidy disparate thoughts into sequential sections that are visually easy to look at and somehow the information gets traction where otherwise it would get lost and unprocessed in the sea of un-designed chaos out there in the world.

There is almost nothing that consistently pleases me as much as beautiful images and lettering on paper that I can hold in my hands and flip back and forth through my fingers.

What is the biggest challenge for you when you make a book?
The biggest dilemma is to counter any and all inclinations to complicate an already large engineering challenge. In other words, making the book the simplest form of the idea you want to achieve because once you start editioning books you really discover the limits of one human’s time and labour.

This year I’m making a set of more elaborate books than I have in a while so we’ll see if I can actually adhere to my own hard-learned principle.

Do you have any art book heroes?
I’m indebted to Jonathan Ward who taught at my undergrad in Bristol. He told me romantic stories of his youth, carrying a suitcase of artist books around on the trains of Europe and selling them for a living. This seemed totally normal at the time, like “oh yeah, make money from artist books while traveling on trains, I dig it”.

He owns a small fine-art silkscreen press on the Isle of Weight now so it must be possible.

Also at the same university is Sarah Bodman, a dedicated book arts researcher and champion of this artform based in the Centre for Fine Print Research. Her passion and dedication to the community is inspiring. You can subscribe to her newsletter here: http://www.bookarts.uwe.ac.uk/newsletters.html

How did working with Art Byte Critique help you prepare your work?
Art Byte Critique consistently supports all members and everyone seems to really feel it at the end of each meeting. Normally as an artist, it’s very easy to feel like your work is an island of no relevance to any living being but I feel the exact opposite of that in the company of these incredible people. The combined output of our collective is like a living organism. Maybe like a wild wisteria… A bit invasive…. and sprawling…. but hella pretty.

What would you like people to know about your books?
This year I am presenting a book series of four titles, Kinjo, Tsukin, Tocho and Kabukicho (Neighborhood, Commute to work, Tokyo Metropolitan Government and the red light district of Kabukicho) Each book is made with wooden casings which are carved with the title. The wood used is all native to Japan and reflects the character of the area, the paper is also hand made paper from Japan with connotations about those locations. Inside are frottage rubbings taken by using the streets and surfaces of the city as “wild printing plates”. Creating the work itself is a very public performance and a lot of interactions occurred between me and fellow Tokyoites who caught me doing this unusual thing in public space. It has been a very engaging project to work on and given me a lot of new thoughts and ideas each day working on it and I’m looking forward to presenting the works and the diary of making it to people at the book fair.

Do you have any advice for people coming to the book fair?
Last year I found a Japanese-run stall that imported a range of small edition linocut illustration magazines from a specialist German publisher, that was a great find. Around 40 pages of full color or 2-color linocuts, carved by artists and printed by this publisher, maybe ¥9000 or so which is a steal considering. Also some unexpected finds from totally unknown young artists who should be charging a lot more for intensively loved and crafted art books and fine-printed zines.

In between all of this magic, take lots of breaks for refreshments.

You can find out more about Louise and her work at the following:
instagram.com/louise.rouse.art

instagram.com/louises_love_letters

facebook.com/louise.prints.art/

louiserouse.com (empty at the moment though but for posterity… when i get it back up)

Tokyo Art Book Fair is at Warehouse TERRADA
2-6-10 Higashishinagawa Shinagawa-ku Tokyo

Preview/Reception and Hours and Admission
October 5th (Thu) 15:00-21:00(Tentative)
Admission: 1,000 yen

Free Admission and Hours:
October 6th (Fri) 12:00-20:00
October 7th (Sat) 12:00-20:00
October 8th (Sun) 11:00-19:00

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2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Nick West

Our fourth interview in our Tokyo Art Book Fair 2017 with Art Byte Critique artists is Nick West.

Name: Nick West
From: Brighton, UK.
Time in Japan: 7 years.

How many TABF have you participated in? 
TABF 2017 will be my second artist book fair that I’ve participated in. In both years I showed my work with artists from the collective Art Byte Critique.

How long have you been making books?
I have been making books, on and off, since about 1998.

What is your favorite kind of books to make?
I’ve always been drawn to the physicality of books so I like to make books that emphasise their sculptural characteristics.

Do you have favorite materials to use?
I like to use simple materials. Just paper, thread and glue.

What kind of books are you making for this fair?
Actually, I’ve spent some time working on an installation in a gallery in the UK this summer.  This work entailed making 26 circular-bound books cut in shapes that approximate letters of the alphabet. Although there isn’t room for the whole work at TABF, I’ll be exhibiting some images and an example book from this project alongside a separate blueprint.

Nick West, A-Z² (2017)

 

 

What did you learn from last book fair? What are you doing differently for this book fair?
The best thing I saw was that the delight that people take from thumbing through books. I hope to give visitors a more tactile appreciation of my works this year.

Do you have any art book heroes?
Not art book heroes, as such, but I’ve long been interested in a French group called Oulipo. Roughly translated, ‘Oulipo’ means ‘the potential for literature’. They aren’t so well known but they were a group of writers during the 1960s who devised various ways of writing using constrained techniques. One novel, ‘A Void’ was even told without the letter e.

Do you have any advice for people who want to start making books?
Make the book you want to read.

Do you have any advice for people coming to the book fair?
There’s always loads to see at TABF. Give yourself plenty of time to get lost in the books on display.

You can find out more about Nick West and his work at:
https://www.facebook.com/nickweststudio/
Twitter – @nwestmeetseast
https://www.canvas.co.com/creatives/nick-west

Photo courtesy of the artist.

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2017 Tokyo Art Book Fair Interview Series of Art Byte Critique Artists: Yuko Kamei

The third interview of the Art Byte Critique’s 2017 Tokyo Art Book Fair participating artists is with Yuko Kamei.

From: Japan
Time in Japan: Most of my life except 5 years in U.K.
Education/ Occupation: MFA Fine Art & BA Dance Studies
Yuko works full time while continuing her practice

How many TABF have you participated in?
This year will be my second time participating in TABF.

How long have you been making books?
My first art book came out in 2009 as part of “on concrete” exhibition which I organised together with Jörg Obergfell and Sebastian Stumpf. Working with a graphic designer in Leipzig, Germany, it was a fun collaborative project from conception to materialisation. I worked on a similar publication in 2013 with Hikaru Miyakawa along with the show titled “Platonic Obsession”. For this one I took all the initiative from the layout to selecting paper, ink color, and binding methods.

I began to take book making more seriously recently especially after my first TABF in 2016. I think I will produce more in the coming years.

What is your favorite kind of books to make?
I like books with a feel of somewhere between DIY and mechanical reproduction, which might explain why I employ photography as a main medium.

What kind of books are you making for this fair?
The new book is called “The Great Stillness”, and it is based on a photo series which I have been working on since 2012. Each picture was taken to be printed in a large size so that one can see both the whole scene and details, but for turning them into a book I wanted it to be a handy pocketable size while keeping the in-and-out movement of picture viewing. This is gradually determining the book structure, and I would like to be playful about combining different methods of printing. Like music, this will be the first remix of the ongoing project, and there could be many more versions to come.

What did you learn from last book fair? What are you doing differently for this book fair?

Picture of Yuko Kamei’s work in progress.

The great thing I learned last year was that people who will buy my book exist. Someone I don’t know took my book in his/her hand, flipped it through, liked it, and brought it home. My idea somehow clicked their mind, and I think that is very special. Because of this I am approaching this year’s TABF little more confidently. I hope it happens again this year.

How did working with Art Byte Critique help you prepare your work?
ABC for me is a serious yet inclusive place where I can be myself and fuelled to do what I do. Going to the monthly get-together helps me to get back on track and be productive.

What would you like people to know about your books?
Making books is like creating a framework to perch upon for the ideas that float inside my head. It is becoming an important medium for me apart from photography.

You can see more of Yuko’s work at:
http://yuccak.net

Photo courtesy of the artist.
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