the books

 
 

under construction 2019


2018

“the earth will expose the blood shed on it
and conceal the murdered no longer”

details; codex; a triptych of single segment folios between plywood covers, relief prints & letterpress on Awagami kozo, plywood, felt, 52 x 68 cm (open) variable edition of 3 artists books, with one artists proof book

exhibitions; the Residents, New England Regional Art Museum, Armidale, NSW, 2019

made in conjunction with the print triptych
on a windy day towards ben lomond in the new england tablelands

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ep’s

2018, single segment case bound codex, pulp printing and silkscreen on recycled cotton paper, plywood, felt, 52 x 68 cm (open) unique artists book

exhibitions; Libris award 2018, Artspace Mackay, Mackay, Qld Australia, 2018
IMPACT 10, open folios, Santander, Spain, 2018.


2017 & 2016

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trumped up empathy &
directed smooth space

details; these two offset printed artists books were produced in collaboration with
Brad Freeman on the JAB press at Columbia College Chicago.They were included in Vol’s 40 & 39 of JAB respectively.


2014

Kanage Pholu Wanda

from the archipelago of remnant gardens suite of books

details; 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

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

collections; Stanford University Libraries Special Collections, Stanford, USA
Australian Library of Art, State Library of Queensland, Australia
Bibliotheca Liborum Apud Artificem, Sydney, 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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touching rainforest

from the archipelago of remnant gardens suite of books

details; 2013, single segment case bound codex, relief prints (rainforest plywood) on awagami kozo, curved folding folio, rainforest plywood, felt, 34 x 78 cm (open), variable edition of 4 books, with one artists proof book.


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given

from the Sangre de Christo Isles suite of books

details; single segment case bound codex, relief prints (rainforest plywood) on Awagami kozo, curved folding folio, rainforest plywood, felt, 44 x 122 cm (open), unique artists book


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with a kiss

from the Sangre de Christo Isles suite of books

details; single segment case bound codex, relief prints (rainforest plywood) on Awagami kozo, curved folding folio, rainforest plywood, felt, 44 x 122 cm (open), unique artists book


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for given again

from the Sangre de Christo Isles suite of books

details; single segment case bound codex, relief prints (rainforest plywood) on Awagami kozo, curved folding folio, rainforest plywood, felt, 44 x 122 cm (open), unique artists book


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the book of tears

from the haptic atolls suite of books

details; 2014, single segment case bound codex, relief prints (rainforest plywood and linocuts) on Awagami Kozo, rainforest plywood, felt, 35 x 32 cm (open) a series of four unique artists books.

collections; Carleton College Library, Artists Books Collection, Northfield, Minnesota, USA,
& private collections


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tears the see

from the haptic atolls suite of books

details; 2014, single segment case bound codex, relief prints (rainforest plywood) on awagami kozo, curved folding folios, rainforest plywood, felt, 36 x 35 cm (open), a variable edition of 8 artists books, one artists proof book.

collections; Bibliotheca Liborum Apud Artificem, Sydney, Australia

exhibitions; re/membering touch, white gloves room, State Library of Queensland, 2014


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privileged by blood

from an insoluble difference suite of books

details; 2014, single segment case bound codex, relief prints (rainforest plywood) and stencils on Awagami Kozo, rainforest plywood, felt, 70 x 105 cm (open), unique artists book.

collections; Australian Library of Art, State Library of Queensland

exhibitions; re/membering touch, white gloves room, State Library of Queensland, 2014


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coloured by touch

from an insoluble difference suite of books

details; 2014, single segment case bound codex, relief prints (rainforest plywood) and stencils on Awagami Kozo, rainforest plywood, felt, 70 x 105 cm (open), unique artists book.

collections; Australian Library of Art, State Library of Queensland

exhibitions; re/membering touch, white gloves room, State Library of Queensland, 2014


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textured by sight

from an insoluble difference suite of books

details; 2014, single segment case bound codex, relief prints (rainforest plywood) and stencils on Awagami Kozo, rainforest plywood, felt, 70 x 105 cm (open), unique artists book.

collections; Australian Library of Art, State Library of Queensland

exhibitions; re/membering touch, white gloves room, State Library of Queensland, 2014


from the deep

from an insoluble difference suite of books

details; 2013, single segment case bound codex, relief prints (rainforest plywood) on awagami kozo, curved folding folio, rainforest plywood, felt, 32 x 76 cm (open), unique artists book.

 private collection

exhibitions; re/membering touch, white gloves room, State Library of Queensland, 2014

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2008 - 2013

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the Confluentés Sea

2013, four ephemeral books exhibited at the Webb Gallery, Queensland College of Arts,


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codex event 8

Sarah Bodman's Do Not Enter, Paul Laidler's Record, Tim Mosely's The Burden of Privilege and Privileging Burden, Monica Oppen's A speck of dust, Tom Sowden's Smooth My (striated) Urban Bitch

codex event 8, 2011, involved a collaboration between, Sarah Bodman, Paul Laidler and Tom Snowden from the Centre for Fine Print Research, UWE, UK,  Monica Oppen from the Bibliotheca Librorum apud Artificem, Sydney and Tim Mosely from the Griffith Centre for Creative Arts Research. The five books produced from codex event 8 (illustrated above) are held by the Bibliotheca Librorum apud Artificem

reception; Bodman, S. L. “Views across the pages”. In: Béchard-Léauté, A. and Oncins, V., eds. Le livre d’artiste depuis 1980 en France et au Royaume-Uni. France: Université de Saint-Étienne, pp. 45-56. ISBN 9782862726588, 2015

exhibitions; Codex Event 8, artists books an Australian/British pulp-printing collaboration, Manly Library, NSW, 2014
Codex Event 8, POP Gallery, Griffith University, 2011


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three books of blue

2011, 3 single case bound pocket books, assembled tracing paper,
found images and relief prints, 30 x 12 cm, three books produced for the
Al-Mutanabbi Street Starts Here touring project.


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white as snow


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byregard2

details; 2010, single segment case bound codex, pulp printing and wet sheet collage on hand made papers, unique artists book


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lookback

details; 2009, single segment case bound codex, pulp printing, on hand made banana paper, unique artists book


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sheet music for a jabberwocky quintet, d, e, f, g, & a

details; codex event 5 - 2008,  Taryn Eales, Louise Irving, Sarah Jones & Tim Mosely, a suite of five accordian books produced from one large sheet of pulp printed hand made paper, five unique artists books.

Codex event 5 was initiated with the simplest of ideas, text as substrate. To establish the substrate a large sheet of handmade paper was formed on a wall that while still wet was pulp printed with randomly found texts, signs and symbols. As the work emerged the random marks took on the appearance of notation and music staves were introduced to the image. The final work took on the form of a curious musical score. Once dry the sheet of paper was torn into five strips, each of which were folded into a concertina and given hard covers. The resulting five books were titled d, e, f, g & a, and the suite titled, sheet music for a jabberwocky quintet. The five books were acquired by the State Library of Queensland’s Australian Library of Art. The four collaborators however consider the work is yet to be resolved, and anticipate at some stage the five enigmatic scores might be performed as a piece of music by five musicians adventurous enough to interpret them.

collection; State Library of Queensland, Australian Library of Art, Brisbane, Australia


2002 - 2007

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given

details; 2008, single segment case bound codex, pulp printing, wet sheet collage & relief on hand made paper, variable edition of 7 with one artists proof book

collections; State Library of Victoria, Rare Books, Melbourne, Australia
Bibliotheca Liborum Apud Artificem, Sydney, Australia


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volatile actions

details; 2007, single segment case bound codex, relief prints and hand made papers, variable edition of 8 with one artists proof book.

 collections; Bibliotheca Liborum Apud Artificem, Sydney, Australia 

exhibitions; Behind the Personal Art Library: Collectors Creating the Canon, The Centre for Book Arts, NY
5th International Paper & Book Arts Triennial, Columbia College, Chicago,


hope/hate

details; 2006, single section case bound book, pulp printing, wet sheet collage and relief prints on hand made paper, 2 unique copies  

collections; State Library of Queensland, Australian Library of Art, Brisbane, Australia

“how do we reconcile the differences between our beliefs and our experiences ? “

This book is based on a passage from the book of Romans. Starting with the unusual phrase “ What if GOD … “ the passage describes the ubiquitous conflict between our beliefs and our experiences. Within the context of deep doubt the artists responds to this often contentiously interpreted text, identifying a hope stronger than the deepest of hates. The book incorporates manipulated text as a metaphor for interpretation, and uses pulp printed text as a substrate on which a visual narrative is printed.

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pflight of the Paper Balloons

codex event 4 - 2006, Sarah Bowen, Darren Bryant, Liz Deckers, Rebekaj Evans, Louise Irving,
Joanna Kambourian & Tim Mosely

details; 2007, single section case bound balloon books, hand made paper balloons, pulp printing silk screen,
cardboard, a suite of 14 unique artists books

collections; Harry Elkins Widener Memorial Library, Harvard University, Boston, USA
Bibliotheca Liborum Apud Artificem, Sydney, Australia
State Library of Queensland, Australian Library of Art, Brisbane, Australia
Southern Cross University Library Artists Books Collection
private collections

reception; Bodman., S, “Codex Event 6”, Printmaking Today, Spring 2009

exhibitions: New Treasures, Talbot Family Treasures Wall, State Library of Queensland, 2010
LIFE’S JOURNEY: Artists Books from Queensland Collections, Redland Art Gallery, Qld, 2012
The Silent Scream, Sir Louis Matheson Library, Monash University, Melbourne, Vic, 2011
pflight of the paper balloons, Tweed River Regional Art Gallery, NSW, 2007


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icons of a bush ranger

details; 2006, single section case bound book, pulp printing on hand made paper, two copies  
collections; Bibliotheca Liborum Apud Artificem, Sydney, Australia

 reception; Bodman., S, “Black Books: The Use of Colour in Artists’ Books”. Art in Print, September – October 2013, pp 4-7


the Kelly books

details; 2006, set of three books, single segment case bound codexies in a single slip case, relief and rubber stamping on fabriano, variable edition of 3 with one artists proof book.

The Kelly gang wrote themselves into Australian history and folklore with an enduring image of the armour they fashioned for themselves. Made from stolen plough moulds the four gang members wore their armour only once in a shoot out at Glenrowan with the Victorian Police. Leading up to that fatal event Edward Kelly, who was awarded for bravery in his youth, documents the abuse his family was put under by corrupt police in his “jerilderi letter”. The treatment of his mother, sisters and other families involved plays a significant role in his defense of his subsequent course of actions. The Kelly Books juxtapose the armour of Dan Joe and Steve, the landscape of the bush where their story was played out and extracts from the jerilderie letter written by (n)Ed Kelly to a local paper. The books also expose other subtler narratives in the (n)Ed Kelly Story but no less significant than the bushranger, narratives such as mother & son, police and families, landscape and violence. 

collections; Bibliotheca Liborum Apud Artificem, Sydney, Australia

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aesthetic distance

details; 2007, single segment case bound codex, pulp printing and relief prints on hand made paper, variable edition of 4 variable, one artists proof book

Aesthetic distance is a term from the vernacular of the theatre referring to the “physical or psychological separation of an audience from the dramatic action, regarded as necessary to maintain an artistic illusion .. “.

This book interweaves multiple narratives present in the (n)Ed Kelly narrative. What appears to be the stage for one narrative can transform into the content of another drama on another stage. As a child Edward Kelly was awarded for his courage and bravery, characteristics that laid a platform for the bushranger narrative the Australian public grapple with. The multiple Ned Kelly narratives raise the question - what aesthetic distance does the Australian public need to embrace this bushrangers.

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red/read

details; 2006, single section case bound book, pulp printing, wet sheet collage on hand made paper, edition of 4, and one artists proof book

collections; Carleton College Library, Artists Books Collection, Northfield, Minnesota, USA
Bibliotheca Liborum Apud Artificem, Sydney, Australia


argadargada


Mixed Carton

details; 2006, Coptic bound books in slip case, found carboard, tape and thread, one of a suite of 4 unique artists books

collections; State Library of Queensland, Australian Library of Art, Brisbane, Australia

reception; Art Monthly Australia , March 2009, #217 Show Freestylin': .., Louise Leoneard

exhibitions; “baxter” in Freestyle Books, State Library of Queensland Gallery, Brisbane, 2008

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landing ground 209
wild cherry tin mine
London Tank

details; 2006, from the codex event 2 suite of books, single section case bound books in a slip case, pulp printing on hand made paper and silkscreen

collections; London Tank - Centre for Fine Print Research artists book collection, UK
wild cherry tin mine - Bukarts Artists Book Collection, Vilnius, Lithuania
landing ground 209,

exhibitions; Print Matters, Eugeniusz Geppert Academy of Fine Art and Design, Poland, 2019
Sense of Place in Artist Books, Architecture Library Gallery, Uni of Minnesota,2014
Seoul International Book Arts Competition 2006

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eight of them

details; 2005, single section case bound book, wet sheet collage on hand made paper, unique artists book

collections; Southern Cross University Library Artists Books Collection

reception; selected for aquisition at the SCU acquisitive artist's book award

exhibitions; SCU acquisitive artist's book award, Next Art Gallery, 2005


assemblage


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Offwithhisfavouritecows
& the Murphy’s place suite of 7 books

details; offwithhisfavouritecows 2004, accordian books, relief and silks screen on BFK reeves, edition of 7 with an artists proof book,

2003, series of seven accordian books, Murphy’s Place, 6 kids old, From a Waterhole,“Wheelies from the Shed Up”, Dry Paddock Hill, “me” (sam), 646,
relief and silks screen on BFK reeves, edition of 3 sets with one set of artists proof book,

Offwithhisfavouritecows is the final book in the "Murphy’s Place" series of artists books. The work demonstrates a sensitivity to both materials and subject allowing the nature of Murphy’s relationship with his farm to direct the making of the work. Using elements from the Murphy's Place artists books this work relies on the structure of the book to achieve both formal and conceptual resolutions. Poignant features in Murphy’s understanding of the farm become currents in the work. For example Dry paddock Hill is the location of an uneasy tussle between Murphy and his cows when he begins the separation of calf from cow. Cows hide their calves in the long grass and Murphy climbs trees or stands on his bike to spot the calves.

collections; Bibliotheca Liborum Apud Artificem, Sydney, Australia

exhibitions; Murphy's Place, Lismore Regional Art Gallery, Lismore, 2004


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emotionally & physically separated

details: 1998, intaglio on Hahnemühle, single section case binding
unique artists book


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the denial desire

details: 1998, intaglio on Hahnemühle, single section case binding
unique artists book


nightfall on the high plains

details; 1991, case bound codex, etchings on Hahnemühle, edition of 3 with one artists proof book

collections; National Library of Australia
State Library of Queensland
private collection


undocumented books

from the archipelago of remnant gardens - untitled
percussion book 1
the codex event 6 books
aesthetic actions
Kelly Murphy’s Deleuzian Folds
a.r.t.
Baxter
researching tears : nine actions
the codex event 3 books
Islands of St Yule
personal icons
unspoken places
snow on the buffalo
a place that aches beauty
on the high planes
chook book

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