A Catalogue To Accompany An Exhibition Of New Work .
A catalogue to accompanyan exhibition of new workinspired by medieval booksand manuscripts from theBodleian Library.Bower Ashton Library 19 April – 29 June 2018Bower Ashton Library, UWE Bristol, Kennel Lodge Road, Bristol BS3 phs: Oxford, Bodleian Library, MS Ashmole 6; Jill LauristonWith the kind support ofThe Bodleian Libraries,University of Oxford
contentsBackground.3Caroline Hack.24Inspiration.4Helen Hayman.25Responses.5Susan Hufton.26WinnerSue Doggett.6Runners-upPaul Johnson.7Kathy Sedar.8Sarah Jarrett-Kerr.27Jill Lauriston.28Candis Litsey.29Peter Malutzki.30Jennifer L Mansfield.31Roy Willingham (with Mike Sims).9Linda Parr.32Special CommendationsAngela Callanan.10SALT SHAW.34(Paul Salt and Sue Shaw)Nesta Rendall Davies.33Shay Hamias (with Anthony Bale).11Julie Shaw Lutts.35Jules Allen.12Emil Siemeister.36Orly Amit.13Tom Sowden.37Mavina Baker.14Penny Stanford.38Tanya Bentham.15Ruth Sutherland.39Kate Bernstein.16Elizabeth C. Teviotdale.40Lizzie Brewer.17Carolyn Trant.41Susan Brown.18Makiko Tsunoda.42Lisa Davies.19Lizzie Waterfield.43Jeremy Dixon.20Corinne Welch.44Lizanne van Essen.21Carola Willbrand.45Imogen Foxell.22Linette Withers.46Sandie Gent.23Gilly Wraight.47We are very grateful to all of the artists for their participation.Many thanks are also due to Madeline Slaven, Jennifer Varallo and Ellen Hausner at The Bodleian Libraries,Professor Daniel Wakelin and Sarah Bodman for all of their support for this extension of the original exhibition.All introductory text by Daniel Wakelin, the Jeremy Griffiths Professor of Medieval English Palaeography at Oxford.Book descriptions are the artist statements which accompanied the original competition submissions.Catalogue compiled and designed by Corinne Welch.
BackgroundAnd out of olde bokes, in good feyth,Cometh al this new science . . .Oxford, Bodleian Library, MS Rawlinson D. 939.So says Geoffrey Chaucer, an English poet of the1300s, in The Parliament of Fowls: from old books,we get new knowledge, new inspiration. Is it true?Can we still learn from the books of the past?Although we can no longer read their wordseasily, might they nonetheless inspire us?In December 2017 the Bodleian Libraries in Oxfordopened Designing English, an exhibition of its medievalmanuscripts – books made, copied and illustratedentirely by hand from the 800s to the early 1500s.To accompany it, the curator invited contemporaryartists and craftspeople to take inspiration from theseolde bokes. Some forty artists, in media from embroideryto video, attended workshops to see and handle thosemedieval books. They and others received a designbrief with a portfolio of images of those books, andwith excerpts of medieval texts gathered by the curator.In response, fifty-six artists made new books – oralternatives to books – inspired by what they saw,for a competition and display in the Bodleian Library.That display is reprised here.Oxford, Bodleian Library,MS Duke Humfrey d. 2, fol. 21rPhotograph Daniel Wakelin,courtesy of The Bodleian LibrariesThe pieces made show how we might be inspired bymedieval book design, in the crafts, arts and digitaltechnology of our own age. Books outlive people, andthrough them the conversation of past and present staysopen. We just need to keep reading and looking closely.I wok, and othere bokes tok me to,To rede upon, and yit I rede alway.Oxford, Bodleian Library,MS Rawlinson poet. 223, fol. 183r.3
inspirationUntil printing in English began, in Belgium in 1473/4,books in English were made entirely by hand. This is theorigin of our word manuscript – from the Latin ‘writtenby hand’.Given this medium, medieval people had to be graphicdesigners every time they wrote or carved their words.While the printing press is handled by professionalsand makes multiple copies, handwriting is like digitaltechnology: medieval people used their hands to makebooks for themselves, and each copy of a text could beredesigned afresh. The carver and philosopher David Pye(1914–1993) called writing and carving the ‘workmanshipof risk’: when you put pen to paper, anything can happen.You might improve the plan each time you copy; aproblem prompts an improvised solution; you ‘take a linefor a walk’. The people making medieval books, copyingand illustrating medieval English, were designing andredesigning as they went along.Moreover, books in English – Old English, beforethe Norman Conquest, and Middle English after it –were less prestigious than ones in French and Latin, sooften look rough or ‘homespun’. But these conditionssometimes forced, or even freed, their makers to work inunconventional ways. And capturing the everyday tongue,English, and the everyday experiences it expressed wasalways an experiment – at times, as counterculturalas graffiti.Make-do-and-mend and delight in novelty: these things arepalpable in medieval manuscripts in English, and indeedin many other languages. Though the English spelling andscript are unfamiliar, and some of the writers’ ideas arealien or anathema today, we can sense the ingenuity andimagination in their craft processes of design. And someof the design solutions in the handmade books of thepast are ones we still recognise and use today.Designing English:Graphics on the Medieval Pageexhibition at the Bodleian LibraryPhotographs Greg Smolonski (Photovibe),courtesy of the Bodleian LibrariesA medieval girdle bookOxford, Bodleian Library, MS Ashmole 6.A contemporary interpretationof a girdle book Jill Lauriston4
responsesThe works for this competition capture the creativityand cleverness found in manuscripts centuries old.Asked to bring to life unfamiliar books and stories,the artists responded with similar inventiveness. Justas medieval scribes had to make space for English,how do modern artists make room for the world todayin imitation or in dialogue with the Middle Ages?The thread is unbroken: many artists showed that craftsdating back centuries such as calligraphy or embroideryare still thriving today. They can be used to make worksof poignancy – bloody violence told in fine lettering, onanimal skins stitched with red thread; they can be used withself-referential humour. Several reminded us that medievalexperimental formats – calendars, concertina books, rolls– are common in artists’ books now, but are used to telldifferent stories: medieval saints in calendars are replacedwith modern heroes – Rosa Parks, Ella Fitzgerald.Others turned to new media which might suit medievalliterature: the role of the dice of medieval Fortune suitsthe chances of the board game; the scrolling screen ofanimation unrolls a pilgrim’s guide better than a book might.And people showed a medieval spirit of improvisation byadapting new materials to new ends. Recycled junk mailforms a palimpsest for a book in Esperanto, which mightreplace English one day; a smartphone turns out to fitsnugly inside a medieval ‘girdle book’.And several artists responded to the medieval books – andthe way they are cherished by institutions like the BodleianLibrary – with humour or friendly critique. Is it wrong torelish medieval manuscripts made from animal skins, as mostwere? Can the experiences of women, so often obscured inmedieval books, be brought into focus by adjusting wordsand images?To open the books of the past is not to be cowed by them;it is to start a conversation.5Redesigning The Medieval Bookat the Bodleian Library Greg Smolonski (Photovibe),courtesy of the Bodleian LibrariesCompetition winner: Sue DoggettThe 2018 Almanac forthe Modern Medievalist
WinnerThe 2018 Almanac for the Modern MedievalistDigitally printed with addition of drawing ink, coloured pencil and rubber stamps.The cover is suede and nylon fabric, with machine and hand embroideryThis Eco Almanac is a primarily a calendar but is so much more. A multi-purpose year-planner,diary and daybook, it aims to be of use to people of all creeds, sexual orientation, sportinginterests and those with a keen eye on the weather and the future. For those who enjoy travel,it contains a handy month by month celestial sat nav. Additionally, this almanac is of particularinterest to those who are bored with historical gender-bias and fancy a bit of a change fromtraditional saint’s days and holidays. And, if that wasn’t enough, the luxurious, hand-sewncover doubles up as a handy game board for everyone’s favourite, Nine Men’s Morris – withthe option of three-men and twelve-men at no extra cost.The content of this convenient, multi-purpose and easy to carry aide-memoire has been chosenby the publisher. Whilst we aim to be inclusive, we are inevitably biased. In age-old tradition,we the publishers make no apology for this; we have our own agenda. However, we havethoughtfully included space for you to add your own historical events and persons of note.This almanac is guilt-free. It is re-usable and each one is made entirely from recycled materials.This edition is made from an old pair of suede boots and an apron. The almanac itself isconstructed from old artists’ books and off-prints, including Boccaccio’s Lives of Women.The only new materials are the sewing thread and the printing ink!Sue DoggettLondon6
Runner-upSerenade to ChaucerPaperHow would medieval binders and illuminators respond to the availability of pop-up paperengineering techniques? This book, which was nearly three hundred hours in the making,attempts to address this question. It integrates the architecture of the Bodleian Library witharguably Chaucer’s most uproarious Canterbury tale.Front cover – entrance to the Divinity School.Back cover – a compilation of the doorway and window above the entrance in thequadrangle.Spine (base) – entrance from Radcliffe Square.Spine (top and section over cover and clasp) – The Tower of the Five Orders (excessivelyelongated like an image in a distortion mirror) realised as a fairground big dipper on whichChaucer and his fellow pilgrims ride.Clasp – Canterbury Cathedral (outside), Bodleian Library (inside).Book contentsChaucer’s The Miller’s Tale abridged to four pop-up spreads that also illustrates the fourseasons and major festivals of the religious calendar. Each spread contains an envelopeholding diary entries describing the making of the book, chronologically, and recordedconcurrent events in the life of the book artist.DisplayThe book can either be opened to a 360-degree carousel, or releasing the final spread fromits (hidden) paper clip attachment pulled out as an accordion book. It is possible for almostthe whole book – covers, spine, clasp and pages to be seen from a frontal viewpoint. As thebook is completely hollow it is surprisingly light in weight.Paul JohnsonCheadle Hulme, Cheshire7
Runner-upThe Peterborough Chronicle MCXXXVIILamb Nappa leather mdf, hemp cords, linen thread, bronze D-rings, brass pins, vellum,embroidery thread, Fabriano Artistico Satinata paper, black japanese stick ink, vermillionstick ink and metal pensThis terrible account was obscured for centuries as an addendum to the well known Anglo SaxonChronicle. My intent was to give these words their own space in the most authentic setting thatI could manufacture. The underlying aim was to enhance and acknowledge the power of the wordsrather than to make them secondary to any anachronistic modern decorative technique.Despite their age, these facts were new to me, so I made this accurate Carolingian style bindingusing residual modern materials from other projects, thus representing a physical afterthoughtto mirror the original literal afterthought. Guidance on binding was drawn from the research bySzirmai on typical mediaeval binding styles, Carolingian being the style prevalent at the inceptionof the Chronicle.I wrote the original words (provided in the brief ) in contemporary script in separate paragraphson vellum scraps using stick inks and metal dip pens. The scraps are silk sewn onto thumb sealedthrow-out Fabriano paper wrappers; each inscribed with the translation of its enclosed words intomodern English in a stark sans serif (grotesque) script. These sections are sewn herringbone styleon hemp cords attached to tunneled and grooved mdf boards. The lamb nappa leather is a modernalternative to the hair-sheep skin that was the medieval binders’ material of choice.The resulting volume lends dignity to the commentary and allows a measured and purposefulreading of this important account, revealing physically each stage of the narrative enclosureby enclosure.Kathy SedarLeicestershire8
Runner-upRestrukturanta La Mezepoka LibroBook: Recycled paper, Kozo tissue, wheat starch paste, Plaka casein paint, watercolour, graphitepencil, silverpointCover: MDF, unidentified Japanese paper, PVA, wood dye, Plaka casein paint, shellac varnish, wax,acid-free paper and board, double-sided archival polyester tape, polyester cordI have adored the look of manuscripts since I first came upon them in the British Museumas a teenager. Since I do not have the skill that scribes acquired over years of patient practiceI decided to produce a rudimentary and idiosyncratic version using basic materials and relyingon my own abilities.I have allowed the processes used in the production to show in the finished piece and whereverpossible tried to accommodate errors and accidents. Most rulings and under-drawing have beenleft visible, as have indications of paint application. One of the things that delights me aboutmanuscripts is the very unique quality that comes from their being made by hand so I wantedall the brush marks, stencil edges, variations in ink density etc. to be part of the work.The subject matter has been the production of medieval books itself and I became particularlyinterested in the possibility for different page sequences before a book is bound. Informationabout some of the ideas has been incorporated into the text of the book. The medievalwillingness to experiment with text layout was also a strong influence on the final design.I wanted the book to feel as if it had already had previous uses and was building up layersof existence, finally being appropriated for the addition of the poetry which takes over themargins rather than the main text blocks.Roy Willingham (with the poet Mike Sims)London9
special commendationInvisibleSomerset Satin paper, greyboard, bookcloth, hand carved rubber stampsThe first thing I was drawn to was the medical remedies and charms.I knew very quickly that I wanted to work with the charm – To BeInvisible. Looking at the mood board I loved the folding books andalmanacs. The simplistic drawing and limited colour palette wasreminiscent of rubber stamp printing. I wanted to use a medievaltypeface and began researching Blackletter. I used a font called OldLondon which was the closest I could find to it. However, I did notlike the letter V. I found a piece of text from a Latin Bible dated1407 which is in Malmesbury Abbey, and used the V from there.Taking the structure of medieval folding books and the typeface I began working with thesetwo elements. I also looked at block books and realised that as difficult as it was for me tocarve the typeface in rubber, how difficult it must have been to carve this in wood.I had a lot of elaborate ideas to start with, but wondered what it was about the almanacs thatwas so beautiful? A Ben Jonson poem came to mind: The Grace of Simplicity, particularly theline “Than all the adulteries of art; They strike mine eyes, but not my heart”.This made me realise, with all the progression in digital technology something that is simplybeautiful can be more striking. I wanted my interpretation to be faithful to the grace ofsimplicity, hopefully I have achieved this.Angela CallananCardiff10
special commendationThe Matter of JerusalemAnimationThis animation is inspired by William Wey’s manuscript(Bodleian , MS Bodley 565). This is both a journal of Wey’stravels and a guidebook for others – following his Jerusalempilgrimages in 1458 and 1462.Our animation project focuses on pilgrimage and visualmovement, and seeks to reimagine medieval manuscriptsand ideas of visual storytelling with a contemporary take.We combine sources and media in order to explore medievalways of seeing. If the medieval page is really ‘alive’, as scholarshave suggested, can contemporary digital animation engage ina stimulating encounter with the often strange but beautiful images and texts we find in medievalmanuscripts? Our methodology is ‘medieval’: the project is constructed entirely from things wehave read in medieval texts or found in medieval visual culture.We put ourselves in a similar position to the medieval artist, who was imagining things basedlargely on received stories and depictions.This kind of hybridity of styles, levels, and registers is itself something we have taken frommedieval manuscripts.The submission is the first part of a short animation called ‘The Matter of Jerusalem’ (after Wey’sbook). We follow Wey’s route from Venice to Jaffa to Jerusalem. We use the opening lines ofWey’s poem about Jaffa (note, for example, the hens that Wey advises one should buy in Venice).Shay Hamias is an animation artist and film-maker with experience on a diverse range of films.His work insistently explores the creative visual possibilities between design, motion, and narrative.Shay Hamias (with Anthony Bale)London11
The Pilgrim ShoeLeather, artificial sinew, watercolour and acrylic paint, calligraphers ink, wood. paper,metal studs, starch paste and waxGuided by the Anthology of possible Texts, the ‘Pilgrim Shoe’ was made in response to‘The Canterbury Tales’ by Geoffrey Chaucer, inspired by following points in the brief:· Where and on what should you write if you seek ‘to do things with words’?· Does form always fit function? Does a function only have one form?· Is looking more sensuous than reading?I approached the project from the perspective of a Medieval Cordwainer seeking to attractwealthy customers and found that although it was common practice to decorate shoes byengraving or cutting patterns into the leather, other forms of decoration were rare duringMedieval times.An inventive Cordwainer might have thought of personalisi
A catalogue to accompany an exhibition of new work inspired by medieval books and manuscripts from the Bodleian Library. Background . In response, fifty-six artists made new books – or alternatives to books – inspired by what they saw, for a competition and display in the Bodleian Library. That display is reprised here. The pieces made show how we might be inspired by medieval book .
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