Tanks & Tablecloths
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H O M E
Welcome
Between Everyday & Arcane
Inside/Outside: A Book in Thirty Parts
The Essence of All Things
In Absentia
British Library Fellowship
Memorial to the Named & the Faceless
Once More, with Feeling
L I Z Z I E - R I D O U T
P O R T F O L I O
S K E T C H B O O K
M I S C E L L A N Y - S T O R E S
C O N T A C T
Women's Studio Workshop Residency
The Architecture of Conversation
Writer's Block / Writer's Black

 

Images, from left to right
1-3 Folio for Ways to Talk and Yet say Nothing or, Ways to Not Talk and Yet Say Everything
4 Accompanying letterpressed pamphlet
5 Excoriate (Laser cut)
6 Flee (Etching)
7 Surrender (Silkscreen)
8 Our Speech is Filled with Others' Words (Letterpress)
9 The Shadow of a Whisper from Beneath 1000 Pages (Relief print with white carbon paper)
10 Dialogue of the Deaf (Silkscreen)
11 Deleted Exclamation (Pressed silkscreen)
12 Soliloquy (Silkscreen)
13 Imbroglio ( Etching)
14-18 Various studio scenes


  Ways to Talk and Yet Say Nothing, or Ways to Not Talk and Yet Say Everything is part of a larger project entitled The Architecture of Conversation. The Architecture of Conversation began as a series of studies examining a collapse in communication between two people through the use of the universally recognised (and oft scorned) speech balloon. Later, however, the project became more focused on linguistic theory and semantics. Philosophers such as Mikhail Bakhtin with his theories on spoken and thought words and Jacques Derrida’s deconstructionist principles have particularly informed this body of drawn, printed and sculptural works.   Ways to Talk and Yet Say Nothing, or Ways to Not Talk and Yet Say Everything is a limited edition publication created in collaboration with the Women's Studio Workshop, New York, USA. It is a development of ideas created as part of a project called The Architecture of Conversation.


 

Throughout the duration of the 2-month residency the team at WSW offered invaluable technical assistance and expertise in the creation of the publication, which utilises intaglio, silkscreen, letterpress and lasercut processes and has been produced in an edition of fifty copies. It explores spoken and unspoken communication, in particular monologues, dialogues and colloquies via the speech balloon.

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Women's Studio Workshop is a non-profit visual arts organisation which was founded in 1974 by four women artists who were committed to developing an alternative space for artists to create new work and share skills. Today WSW is the largest publisher of hand-printed artists’ books in the United States. It also offers the only visual arts residency in the United States solely for women.


 

Since establishing the Artist in Residence (AIR) Programme in 1979, WSW has supported over 500 artists from around the world in paid and unpaid residencies. WSW’s residency programmes have had the continuous support of the National Endowment for the Arts since 2002.

 

Special collections of major libraries and museums around the world collect WSW's imprints, among them the Metropolitan Museum of Art, the Chicago Art Institute, MOMA New York, National Museum of Women in the Arts, J. Paul Getty Museum and the Tate Modern. Standing orders for publications created at WSW are held by repositories at Yale University Indiana University, Rochester Institute of Technology, University of Delaware, Vassar College, Virginia Commonwealth University. WSW also has publications held in over 200 other archives worldwide.

 

 

You can see how this project unfolded by visiting Sketchbook (my blog).

The publication and research trip was funded by an Artist's Book Residency Grant from the Women's Studio Workshop and Plymouth University through R1 funding.




 

Dimensions: 33.8 cm x 27.3 cm
Paper: Lenox 100
ISBN: 1-893125-79-3

Edition: 50
Price: $750

Please contact the Women's Studio Workshop for further information or to purchase a copy.




 

Exhibited at: Print Only Please, Roos Arts, Rosendale, New York, USA; The Architecture of Conversation, Plymouth University, UK