See below for some images of my beautiful hand made books that I call my ‘Leaf-Books’. In fact they are both one-off/unique copies from the Clay Jug project. In each of them are six original etchings that I did plus one woodcut taken from a Tibetan woodblock. The etchings were made to illustrate six ‘poems’ I wrote about six men who contributed a lot to building our humanity.
So. I wrote, in preparation for a work I hope to develop thru 2016:
“07.21 hrs 21st February 2016 One hundred years and six minutes ago the German bombardment for the battle of Verdun Erich Georg Anton von Falkenhayn’s concept that attrition would bleed the French dry meant he used, ‘total, ruthless methods to achieve a limited aim,’ losing many Germans in the process of annihilating the French who tried to defend it. The scale of German losses brought Falkenhayn much criticism. Indeed the failure to capture Verdun ultimately resulted in Falkenhayn’s removal as Chief of Staff.
I am saying this not because I glory in war stories, on the contrary I abhor them. I have spent much of my life advocating an end to all wars and my series of books based around my Clay Jug theme are testimony, not so much mine as that of six equally anti-war men, about my point. The six men I chose all made their peace with man’s inability to stem wars. Each of them in some way made a significant contribution to ideas which promote peace and harmony. Even Joseph Beuys who was in the Luftwaffe spent much of his post war days trying to bring about a unification of what he called Eurasia. Like the Dadaists after WW1 his strange antics were anti-art-establishment actions which were designed to upset the status quo and allow for a more universal acceptance that the old ways of using bronze and marble could be ousted and any material can be used in ‘sculpture’, including the artist’s body.” Ironically the ‘art world’ adopted his work, sucked it in to the ‘establishment’, like they do with all the rebels they cannot tame- see sir mick jagggger abart that- they hike the prices up and now you couldn’t afford to buy one of Beuys half eaten marmalade tarts unless you were a Trump from Trumpingtown.
And that’s where I come in. In my Performance Art (PA) my body and its movement become the artwork, the living sculpture.
I did a big blog about my rightful place in the pantheon which also mentions Beuys and a ‘talk’ I did at the Minories, Colchester in 2013 which, for those interested in my Performance Art, you may like to visit, here tis:
Later this year I am planning on doing a piece of Performance Art about the Somme but that’s a big one and it’ll have to be designed for a specific venue, so if you have one where you’d like to see it let me know, especially if you have a venue that could be used
. I think it’s very relevant to remind folk about the futility of war. All wars have to come to an end sometime and there’s rarely any ‘winners’. The debacles in the Middle East in the past 20 years show that is still true.
Right now am working twards a small 15 minute piece (part 2) of Performance Art for the Society of Bookbinder’s bookart day.
Pina Bausch’s dance company came to Sadler’s Wells and I saw them on February 14th. I was there because of the Wim Wender’s documentary which galvanised my interest in their work and I was not disappointed. I was watching and I decided to add some moves into my planned PA piece for March 5th at Kentish Town. I have been working up this idea of telling the history of the book since clay tablets in Ur and I’ve managed to design a sequence of moves in which I mime the different processes with some small dance moves joining up the sketches.
Before I do my piece I shall be showing several of my own books in part 1. Here’s some images from them, as you can see my work is unorthodox
Front cover to Leaf Book Two
Intro to Leaf Book Two. You lift the tabs to see the woodblock print
Gurdzhiev page in Leaf Book Two
Leaf Book One
The pouch keeps the six etchings neatly together in Leaf Book One
Intro to Leaf Book One
Silesi page in Leaf Book One