The letter 'C' is also – conveniently – for 'contemporary'.
As in. . .
This weekend I will be pleased to visit the swinging hub of Northern hipster-ishnesses that is The Tetley, Leeds.
I'll be setting up my stall at the 20th International Contemporary Artists' Book Fair therein, ready to exhibit, fraternise and flog my wares from my Ensixteeen Editions Back Catalogue.
Glad that – despite the absence of my esteemed partner in crime and book arts Mette Ambeck, with whom I have attended many similar events organised by the marvellous Chris Taylor and John McDowall over the years – I can fly the flag once more for such a significant milestone event.
Check out the site (link above) and please do recommend that any local chums drop by to release their wallet moths!
Have at it! PS - There's also a comprehensive exhibit of my series of 'bio auto graphic' books included in the current 'Future Legacies: Collections, Collecting and Artist's Books' at the Stanley and Audrey Burton Gallery, University Library, University of Leeds – until June 10th. Here's a slightly grainy flavour of it, courtesy Mister Taylor:
Here's a contribution I've made to an upcoming publication that will chart the still, sinister waters of Loch Ness – towards which a book artists expedition mounted by Sarah Bodman, Stephen Fowler, Nancy Campbell and other chums is soon heading. . .
Click on the image for full splendour thereof.
The tome will feature a variety of works inspired by the Loch's most famous dweller and the project's part of the annual Centre for Fine Print Research activities circling World Book Day later this Spring.
After the festive bloating, a following of familiar frost-crusted paths.
Across crunch-grass fields, through gates and up towards the modest heights of School Knott.
The tarn waters hard from the day, barely touched by sun.
Windermere below, the north western fells beyond.
The day's first cloud oncoming, even as it passes the baton to the falling night.
Just a pop cultural note to say how pleasurable it is to see the new series of 'Endeavour' awaiting us all on Sunday evenings, ITV at 8pm.
Once again, the first episode delivered the goods in terms of layered, nuanced performance driven by a thoughtful and evocative script from Russell Lewis.
My childhood was the 1960s and the series captures a version of our society at that time that rings true, re-created with care and compassion; the tightly bound codes of human activity that separated lives in public and private, in the battered country beyond the last world war.
Beyond the fashions and styles of 1967, the synthetic fabrics and colourful hoardings, there's a darkness away from the greens and waterways of Oxford, where the vestiges of old power still taint the optimism of a cultural revolution happening in Swinging London.
The eloquent silences within the fractured home of Fred and Win Thursday (the superb Roger Allam and Caroline O'Neill) – as he and his wife mourn the loss of their still absent daughter – were beautifully done.
Though all about the past the series remains a strangely fresh concoction, shot with a delicacy that allows the viewer to see close textures and scenes within scenes within the larger composition.
Shaun Evans once again plays Detective ConstableEndeavour Morse with conviction and quirk – one of those actors that is essentially watchable – in a foreshadowing of his older, bleaker self in the series with John Thaw.
It is fascinating to see modern sensibilities and filming techniques applied to an 'older' version of such a well-loved fictional world – especially in what is the 30th anniversary year of the original show.
No sign of Morse creator Colin Dexter in a cameo - or did I miss him?