La Prose du Transsibérien Re-creation
Size of binding
368 x 102 x 67mm (14.5 x 4 x 2.64 in)
Handmade vintage watercolour paper, Japanese tissue, Liquitex acrylic paint, Evacon-R glue, wheat starch paste.
From the Collection of Elaine Nishizu
Description of binding
My response began with thinking about the visual and structural qualities of the concertina text-block and how to go about creating a structure that would enable a particular reading experience, one that would actively present the poem’s narrative and Sonia Delaunay’s accompanying pochoir images.
The sculptural structure also functions as a book cradle, so that wherever the reader has reached, the concertina is supported by the curved outer covers adopting varying angles in response to the weight ratio of the concertina on each cover. Colour appears only in the open void of the front and rear cover to echo the colours within the book and to highlight the open structure.
Tracey Rowledge studied Fine Art at Goldsmiths’ College, UK and Fine Bookbinding at Guildford College, UK. Tracey’s practice combines elements of both fine and applied art. She exhibits internationally and her work is held in various private and public collections. Awards Tracey has received include support from the Crafts Council to go on the 2008 Cape Farewell Expedition to Disko Bay, Greenland, and funding in 2019 from Arts Council England, for ROOM, a collaboration with Silversmith David Clarke, exhibited at Collect Open, London UK. Tracey teaches gold tooling and is a founding member of the international bookbinding group: Tomorrow’s Past.
Prospective buyers: please contact Kitty Maryatt at email@example.com. Books purchased will be delivered to the purchaser at the end of the touring exhibition.