kanage feature.jpg

kanage pholu wanda

from the archipelago of remnant gardens suite of books

2014, single segment case bound codex,
relief prints (rainforest plywood) on Awagami Kozo
rainforest plywood, felt, 52 x 68 cm (open)
variable edition of 11 books, one artists proof book.

“Books, and artists’ books in particular, must be handled to be fully appreciated. This is especially the case with Tim Mosely’s Kanage Pholu Wanda (Australia: Silverwattle Bookfoundry, 2014), which is displayed behind glass in the exhibition in teasing defiance of its essence and purpose. To truly experience this book composed of torn and layered multicolored relief prints that reference the rainforest, Mosely instructs, the reader must be able to touch it, employing the term “haptic touch” to describe “feeling over, across, and around surfaces to become acquainted with content that the eye cannot sense.””

Becky Fischbach - Stanford Libraries

reception;
Bodman, S. L. (2014) “Paradise lost: The compassionate and haptic nature of Tim Mosely's Kanage pholu wanda”. Printmaking Today, 23 (4). pp.

collections;
Stanford University Libraries Special Collections, Stanford, USA
Bibliotheca Liborum Apud Artificem, Sydney, Australia
State Library of Queensland, Australian Library of Art, Brisbane, Australia,
Gympie Regional Gallery Art Collection, Gympie, Australia
Private collections

exhibitions:
New on the Shelf, rare books & contemporary artists’ books, Green Library, Stanford University, 2018/19
the Takesada Matsutani. drop in time, Book Lab,Artists' Books at Hauser & Wirth Somerset, UK, 2018/19
A Point of Inflection, Gympie Regional Gallery, Qld, Australia, 2017
INFLECTION, Centre for Fine Print Research, UWE, Bristol, UK, 2016
Libris award 2016, Artspace Mackay, Mackay, Qld Australia, 2016
The Contained Narrative: Defining the Contemporary Artist’s Book, Minnesota Centre for Book Arts, 2015
re/membering touch, white gloves room, State Library of Queensland, 2014

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