Dialect Exhibition the Upright Gallery

Upright Gallery | 3 Barclay Terrace, Edinburgh, Edinburgh EH10 4HP | 0131 221 0265

 

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DIALECT

By Gen Harrison & Chris Sleath
Words: Ray French
Audio: Zoë Irvine

Standard English is as much a dialect as any other variety, though one to which society has given extra prestige
David Crystal.
How do we define our identity? During this period of national self-reflection, the writer Ray French wrote In Praise of Dialect, which dealt with our rich and colourful British regional dialects. French argued that the voices we use to express ourselves are a central part of our identity, and if those voices are seen as less worthy then we feel demeaned. He was concerned that while American and Caribbean English were often seen as ‘exotic’, British regional dialects were not. In response to this, French was approached by Upright Gallery to submit a series of short texts to celebrate the dialects of the British Isles that could, in turn, be brought to life by artists Gen Harrison and Chris Sleath.
Private View: Thursday 24 October, 6–8pm
The exhibition runs from 25 October until 15 November, 11am-5pm (excluding Sundays)

 

 


PRINT YOUR OWN DIALECT
Saturday 2 & 9 November 2019

 

 

 

Show of Hands

Very privileged to know that my ‘Workshop Manifesto No. 2: Don’t think, just ink‘ is part of this wonderful exhibition at Bath Spa University. Thank you Tim Jollands for all your amazing efforts! It is on until 19 October 2019… still time to see it (just) but the exhibition will be travelling on to York at some point in the not too distant future!

 

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Art Walk Porty

 

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‘Souvenir’ began as a growing community-making project involving the postcard form, papermaking, and memories of visiting and living in Portobello. Starting points came from the research into the Portobello Paper Mill which once operated from Bridge Street and the tradition of ‘sending home a postcard’ when on your holidays. Within the 2018 theme of ‘Pleasure Ground’, the project sought to explore individual responses to begin to build a collective memory of the heritage of this seaside town. This was achieved via a series of drop-in workshops at Bellfield and on the Prom over the weekends of last year’s Art Walk. This is an evolving body of work and the results, thus far, will be exhibited as part of this year’s Art in Shops programme at the Cancer Research Shop, 208 Portobello High Street (Venue 32).

It always comes back to the inky joy of the word-work and making. The Book Arts permit explorations beyond and between the words and becomes a place to start, continue and re-visit conversations that got lost along the way.

Bookwork and prints on show will include pieces from ‘Souvenir: Wish You Were Here?’ made in response to last year’s Art Walk Porty.

 

During the Art Walk this year, I will be printing postcards with the public from my own c{art}. We will be responding to the theme of ‘Land Mark’ and Portobello’s industry history, particularly related to the Paper Mill which once operated in Bridge Street, as well as the tradition of  ‘sending home a postcard’ when on your holidays.


@typochondriacs

@artwalkporty

http://www.artwalkporty.co.uk

 

Fishing for Compliments

poster-blogI cannot quite believe it but our MA Multidisciplinary Print Show is up!

Building on the work I have completed for Souvenir (which will be exhibited as part of Art Walk Porty this September) and Word on the Street (which was exhibited as part of the Concrete Collective in January), I will be showcasing an interactive piece called Fishing for Compliments.

I would love to try and send a bit of joy out into the world, but I need your help to do it. I have spent time gathering some of the best compliments people have received (and thank you to everyone who was kind enough to share theirs with me!). I have printed a limited edition of each one and these will be the starting ‘prizes’ in my ‘fishing’ game.

You are invited to come and fish for a compliment at the Arnolfini on Friday 7 June, 6–9pm at our opening event. If you cannot make it along, there will be other opportunities on Saturday 8 (2–4pm), Monday 10 (2–4pm), and Wednesday 12 (2–4pm). We do not always get the compliment we want, but my hope is that you will take the compliment and pass it on to someone who you really think deserves it. All I ask is that you ‘return the compliment’ so I can print it, to keep the show going.

As well as Fishing for Compliments the show will also debut the c{art}. This is my way of bringing print to the people and as such, I will be running ‘Adana on an Art Cart’ sessions on Sunday 9 (12noon – 6pm) and Tuesday 11 (2pm – 8pm), so you can come along and have a go at letterpress printing for yourself.

 

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I admit that I may be slightly biased but there is some absolutely breathtaking work on show from this year’s MA folk. It has been such a privilege to study and create alongside these wonderful and supportive people, so please come along and take a look!

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UWE MA Print Show

7th – 12th June 2019

Arnolfini, Bristol

PV Friday 7th June, 6-9pm

Saturday and Sunday from 10am – 6pm and Monday to Wednesday 10am – 8pm (no registration required). Maps and travel info can be found at: https://www1.uwe.ac.uk/whatson/degreeshows/creativeindustries.aspx

Souvenir: Postcards

souvenir

1.  a thing that is kept that recalls a certain place, occasion, or person; memento; token; keepsake; trophy; a relic

remembrance, nostalgia

C18: from French, from (se) souvenir to remember, from Latin subvenīre to come to mind, from sub- up to + venīre to come

‘Without the owner’s input, the symbolic meaning is invisible and cannot be articulated.’

Souvenirs as objects include mass-produced T-shirts, collectables, fridge magnets, mugs, bowls, ashtrays, fudge and of course, my favourite, the one you share with others, the postcard.

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Sent from Portobello August 1907

 

The first postcard was sent in the 1840s to the writer Theodore Hook in Fulham, London. It was a satirical poke at the Post office and it has been suggested that he sent it to himself. 

Postcards evolved from an existing tradition of envelopes with pictures printed upon them. Innovations in the fledgling postal system (such as the uniform penny postage stamps and the idea to charge by weight, not distance) quickly became popular allowing the sender to post these ‘postcard letters’ for a very small fee.

Austria became the first country to publish a postcard and the idea quickly spread across Europe. Images (before photography) came via the lithographic print and as the technology for mass printing of artwork advanced publishers experimented with special edition postcard sets.

The Post Office started selling postcards (without images but with stamp printed and included in the price) in 1870. Picture postcards featuring the holiday destination became increasingly popular across Europe. This led to the Royal Mail giving permission for publishers to produce and distribute postcards that could be sent through the post in 1894.

Picture postcards became very popular with the tourist market. Views of the sites were a great way of sharing your destination with those back home with a ‘wish you were here’. J. Valentine & Co. of Dundee became internationally famous as producers of Picture Postcards. James Valentine started his business in 1851 and by 1860 was selling topographical views. They gained huge success when they aimed their views to the middle and upper-class tourist markets.

‘The workforce grew from 14 in 1851 to one hundred by 1886 but this expanded tenfold consequent on William’s decision in 1898 to enter the picture postcard market. The effect on the business was to increase the few hundred new negatives added to stock annually to many thousand new views being recorded.’*

Aspects that could be associated with the leisure market were popular along with ‘stately homes, historic ruins, great open spaces, beaches, the grandeur and curiosity of nature and great engineering feats.’* Valentine’s often sourced their images from local photographers.

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Bathing Pool and Amusement Park, Portobello (with Paper Mill). Postcard by Valentine’s of Dundee

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Divided Back Postcard. Image courtesy of Portobello Heritage Trust

The early postcards saw people add their message to the front but from 1902 the Post Office allowed the introduction of the ‘divided back’. On the left the message could be written and the right for the address. This left the front free for the picture only.

Postcards were an ideal way of sending short messages. They became incredibly popular as they were cheap, reliable and with multi-deliveries throughout the day, a very quick and effective way of communicating.

With the advent of social media their popularity was declining but as with vinyl, they appear to be making a comeback… as with vinyl, for some they never went away…

 

 

*https://archiveshub.jisc.ac.uk/search/archives/33960f63-b144-398c-b4ba-92c670e39608

Papermaking: doing it myself

With the absence of my own personal Fourdrinier papermaking machine and celebrating the autonomy of the ‘do it yourself’, I decided to refresh my papermaking skills. I have done this in the past for projects and workshops with a ‘recycle, reuse, re-love’ remit. There is something satisfying (and therapeutic) in shredding old work administration ‘nonsense’, soaking it in water, blending it to a pulp and then making it into some new and beautiful.

The problem I have had with it is that the fibres are cut very short so that the ‘knit’ is not very strong so it can disintegrate quite quickly. This means that it lacks a bit a structure and is not robust enough when I have printed on it or tried to make more intricate folded books forms.

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In the new future, Dick Lucas’ cast-off t-shirt sleeves will be beaten to a pulp for me to make into paper (and I will be happy).

I was recommended to try Khadi dried paper pulp. It is made from recycled cotton rag pulp and is acid-free. It appealed to me because it is made from t-shirt cuttings and I have a fantasy that this could be where all the sleeves cut from t-shirts worn by punks end up…

It arrives as dry unprocessed pulp and you have to tear it and soak in water. It takes a while (and I did get frustrated and blitz with a blender to get rid of the final lumps second time around) for it to become the individual fibres that get added to the vat of water to make ‘paper soup’.

I made my deckle and mould from a couple of old Ikea photograph frames and also procured a slightly bigger one from a good friend (thanks Rachel!). The homemade mould was covered with a discarded fishing net I found abandoned on the seashore in Portobello. I stapled this onto one of the frames.

 

I am interested in watermarks and it seemed apposite to consider them in my thinking as Portobello’s success comes from the water that is the sea and the Figgate Burn.  Originally they were used as quality marks or security devices. I like the fact that these could be the ‘hidden’ treasure in a bigger piece of work. It could be a subliminal way to subvert, add layers of extra meaning. If you engage with something in a different way you find a different meaning… ‘take the gesture and hold it up to the light’.

 

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Foolscap Watermark: I heard a story (one that I hope is true) that a certain papermaker was fed up with the legal profession (for which he made most of his paper) being such erratic payers. To subliminally ‘snub’ them and provide some quiet subversion he introduced a ‘fools cap’ as a watermark on the size of paper they so regularly demanded (and forgot to pay for). Image: alembicrarebooks.com

 

To emulate a watermark I tried sewing into the mesh. This would have worked better, I think… if I was better at sewing… (sorry Great Grandmother… those genes have skipped this generation). It worked in principle though and other experiments have given me ideas for future exploration. I wonder now if there is scope to produce a form of ‘dandy roll’ that will emboss the paper rather than include it on the mould… further thinking/experimenting to be made… watch this space…

This summer has provided perfect papermaking weather. Utilising the garden and the washing line, production began. The pulp behaved really well, and even the thinner ones  (as the pulp was running out) remained strong when dry. The first batch was quite rough but had a good homemade texture.

It folded well, was good for sewing and was robust enough to go through the proofing press to print wooden and metal type. The typewritten text (possibly due to scale and pressure) was not as successful.

I addressed this with the second batch by blitzing the initial pulp very quickly to remove stubborn large lumps of pulp then  ‘super-calendared’ (by ironing) the paper after making and whilst still slightly damp. This produced much smoother results!

 

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Paper made with inclusions… in, on and under

As well as watermarks I experimented with inclusions. Either sandwiched between two thin sheets, added below (to read through) or on top of the wet paper before pressing and drying. Ideas are forming…

 

 

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Handmade paper, inclusions, letterpress and typewritten text… a work in progress

 

The advantage of this pulp is that it was robust enough to dry, print on and then build and fuse with new sheets of wet paper… it can be added to, overlaid, built… in a brick-like structure. That has great potential and this is a good starting point for the future work I am planning.