Silk Thread for Asian Bindings – General Talk, Pictures, and Call for Applications

I have started to work with the book “Japanese Bookbinding. Instructions from a Master Craftsman” by Kojiro Ikegami already in 2014, five years ago. If you don’t know it, you should at least try to take a look at it at your local library. By many it is considered THE book about Japanese bookbinding.

Like many books about a craft, it starts off with a section about tools and materials. There you can read that an important part is played by binding thread and cord. And about them he writes:

A variety of threads and cords are used in Japanese bookbinding, including flat cord, silk bookbinding thread, silk buttonhole thread, unbleached hemp thread, and natural hemp fibre that can be twisted into cord. Flat cord is used instead of thread in Yamato bindings and also serves to secure rolled handscrolls. Silk bookbinding thread (approximately equivalent in size to a #5 pearl cotton thread) is preferred for most stitched books, but since the lighter-weight silk buttonhole thread (sizes #16 and #17) is more widely available, this can usually be substituted. Because buttonhole thread is only half the weight of bookbinding thread, it should be used doubled when stitching larger books. […]

excerpt from “Japanese Bookbinding” by Kojiro Ikegami
The quoted passage in the book

You’ll notice that linen thread is not mentioned anywhere. Yet, when we in the west bind our notebooks in a Japanese or generally Asian look and style, we usually use linen thread. I think there is nothing generally wrong with that: It’s the thread we use for other bindings, and so it’s what we have at hand, – and it does the job. Yet: If you want to make a Japanese binding in the true style you need a different thread.

Last year’s silks and trials

In spring last year I introduced first silk threads to my shop. Dyed in a varigated pattern from a family business in Southern England, the different sizes and types that I stock give you plenty to try and experiment with. You can find them in my shops on Folksy or Etsy. I also wrote about the different threads in more detail at the bottom of this page. But this spring, I searched further.

Traditional Japanese Bookbinding

The humble start: making rice starch paste

I sought out several new sources of silk threads that might work as a binding thread and ordered a lot of samples. And then, this summer, it was finally time to get to try them in a real-life situation.

By the way, if you want to try it yourself, you still have a chance to become of of my test-users (influencer). If you have been binding books for a while, but never used silk thread, you are very welcome to drop me a line, and I’ll consider you. I’ll send you a bunch of samples, you use them, and then report back what you think!

After making paste, the first step in all bookbinding it seems, I chose some papers to use for covers. Some of them were fairly thick and I figured they didn’t need backing. But among my chosen papers were some beautiful Chiyogami and according to Ikegami’s instruction I backed them with more Japanese paper. (I tried different ones. It probably shouldn’t have come as a surprise that my favourite backing paper is the same that I also use for backing fabric.)
Other than when backing fabric, the paste is applied to the decorated paper directly, the backing paper smoothed on top. Then turn around, paste up the edges, and let dry with the paper side facing out.

making paper cord for the inner binding

While the paper was drying, I prepared the inner bindings. First, paper for the pages is folded and stacked. I chose some Japanese calligraphy paper for some of the books – and I folded those according to Ikegami’s instructions. For other notebooks I used my usual go-to sketching paper. It is great for all kinds of applications, writing and sketching alike, and since the book is to serve as a notebook, it made sense to me to use that paper. This is thicker, however, and I decided not to double it.

Then the inner binding is made, using paper cord that I twisted out of left-overs from the backing paper.

the inner binding

The inner binding helps keep the book block together both while finishing the rest of the binding, but also beyond if anything should come apart.

Unfortunately I failed to make more pictures while I finished the books. But here are the next steps for short:

  • Fabric corner pieces are added to the tail and head on the spine of the book block.
  • The covering paper, wider than the text block, is marked with the text block’s dimensions and the edges folded, corners cut.
  • The first (and subsequently last) page is stuck to the front edge of the cover.
  • Punching sewing holes.
  • And finally: The sewing itself.

As see, a Japanese binding done properly is far from the quick notebook I often made for a scribble notepads. Here are my results for different threads:

The Silk Threads and the Bindings

Super Spun 5/2 silk thread

This is a “leather” paper and one of those that I decided not to back. It was also the first I made of the batch, and to my shame I have to admit that the corner piece is not quite the right size. Please ignore…

comparison between 5/2 silk on bottom, perle 5 silk in the middle, 4-ply linen thread on top

From the silk threads I decided to take on for now, this is the thickest. It is a bit thicker and rougher than the dyed perle 5 that I have in my shop already, both of which are thicker than Crawford’s 4-ply linen. I thought it would be a good match for this relatively coarse covering paper.

I used all the silks without adding any wax but that’s something I might – carefully – try. It does have a fair amount of “fluff” this thread.

spun 12/3 silk thread
12/3 silk – same thread as above

The next thread I tried is a spun 12/3 nm thread. It is a bit thinner than the first, and a bit firmer. It seemeed to do well with the slightly less rough paper, and compares very well to a Perle 5 thread, maybe a tad thinner.

The “super” spun 8/2 thread I tried next is about the same in thickness, but has additional spin and is a bit sturdier.

Those three are the threads that I all deemed very suitable and decided to order in a larger batch. They are all available through my shops on Etsy and Folksy (from September 16th).

I tried more threads, though, and I still wonder….

The book above was bound with a 16/2 thread. It does its job here, and it could always be taken double, as suggested by Ikegami himself. However, I figured it was maybe a little bit too thin, and the other threads preferable.

This pink silk thread – I think it is very beautiful. The colour is very lightly variaged and ranges from a strong vibrant pink to orange here or there. It might have to be taken double, although for this book with only Japanese paper, also for the book block, I thought it served it well.

And those two, finally, were bound with a thread which I bought under the same “silk thread”, but I am fairly sure it is not pure silk. (Should I decide to take it on, I’d have to investigate further.) It *is* a Japanese thread, though, produced for and used in Kimono embroidery. It hink it went especially well with the paper that already has some gold accents.

My new Silk Stock in comparison with familar Perle 5 and Linen thread

What do you think? Add any of the other threads? And would you want to see buttonhole/finer thread added? I am looking at a range that would be available in colours, but it’d had to be doubled at least…

Call for Application

I’ll keep on trying different threads. Would you like to try some yourself and have a say? Get in touch before the end of the coming weekend, and I’ll consider you as a test-user. I’ll send you some samples (of course for free) and you’d send me your opinion. I’ll send more detailed information to all who would like to try, so let me know!

Interview: Clare Morgan (Curious Inky Me)

Clare Morgan with two of her prints

Clare and I first met at the Derby Print open in May this year. When I entered the front room at Banks Mills Studios together with the rest of my family, it was she who greeted us, made us feel welcome, and helped us around.
Her work is as inviting as she is, her prints burst with colour and action. They show women jumping, falling and dancing. At first glance I took them for line etchings or lithography because they had this hand-sketched feel and look. When I asked, she was more than happy to explain her process, and it turned out I was looking at photo-exposed screen prints.

Once I got aware of her work, I saw her prints everywhere in Nottingham. It didn’t take long for me to ask her for an interview and for her to say “yes”. We decided to meet at Green Door Printmaking Studio an open access print studio where she is a member. When I arrived she was busy hanging her prints for an upcoming exhibition.

Hilke: Hello Clare, thank you for taking your time to meet me again, and for being open to my questions!

Clare: Of course! I am glad you came.

Hilke: Do you exclusively work here or do you also have studio space somewhere else?

Clare: I feel so lucky to have my own little space at home, hidden away in the attic – even if I can only stand up in the middle of it. [laughs] That’s where on Sundays I draw, develop colour ideas and prepare acetates ready to expose my screens. On Mondays I then come to Green door studio here at Banks Mills and print. The rest of the week I am dedicated to being a teacher at a secondary school in Nottingham.

“Flux”, screenprint by Clare Morgan. All copyright with the artist

Hilke: [looking around at the prints Clare is hanging] Preparing for this interview, I of course read what you write about yourself and your art on your website. I can indeed spot circles in almost every one of your prints. – You mention that they are related to your medical history. Can you tell me more about that?

Clare: I first introduced them when I wanted to illustrate the bubble you can feel like you are in when you are seriously ill. You can become quite locked out when people feel they don’t want to bother you with their worries.
I used circles to separate the main subject from the rest of the image. It [the circle] is also about protection, and growth.

Hilke: May I ask what kind of diagnosis you had? – And are you alright now?

Clare: Yes. I had non-hodgkin’s Lymphoma. I am very open about it and now volunteer for Lymphoma action which is a charity that really helped me through. I had a donor stem cell transplant two years ago after getting into remission through a regime of intensive chemotherapy. The transplant is to give me the best chance of staying disease free. It is amazing that this kind of treatment is possible, and I am so thankful that my donor joined the Anthony Nolan bone marrow register. It really has given me a restart. For two years now I have been cancer free.
In the process of diagnosing my Lymphoma, it also became apparent that I had a rare immune disorder called CVID.
When you have something like that from an early age, you kind of assume that it’s normal to feel so tired and have repeated infections. Now that I have treatment I feel more energetic and healthier than ever before.

“scatter”, screenprint by Clare Morgan

Hilke: So you have done all this work in the past two years?!

Clare: One and a half years, really. [laughs] It’s maybe a bit surprising, but that’s just how I am. During treatment I only stopped my job for as briefly as possible. During chemo, I kept on working, even through the hairloss. The students were great and loved the headscarves. Working helped me to not focus solely on being ill.
But I couldn’t do art during that time.

Hilke: Was there a definite moment, some kind of trigger that got you going again after?

Clare: At some point during treatment I was forced out of school because the risk of infection was too high, and I suddenly had a lot of time on my hands. I went to a portraiture session to draw from a sitter, and that experience changed something for me; I regained my enthusiasm for creating.
As my future started to feel more certain, I felt this was the best time to embark on a body of work to reflect on my experiences and hopefully create something positive to leave in the world – almost like a legacy.

Clare Morgan, working on a screen print

Hilke: And you also picked up teaching again. You mentioned you are working in school right now.

Clare: Yes, I am a passionate teacher. I love my work at school!

I don’t keep a sketchbook[…], all is experimentation.

Hilke: You said you kept on working through cancer treatment. – You really must love your work. But I am curious how you do it! From talking to others I know I am not alone in feeling that planning lessons is consuming all my creative energy. And then there’s the marking and all the many small things a teacher does for their pupils… How do you cope and keep on working on your own projects?

Clare: I made the decision to work part time on my return and to reduce responsibilities in school in order to find better balance and nurture my reignited passion for creating. Being a teacher can easily be all consuming. When I am in school, I give my pupils 100% of me, and I love it. But when I am out of school, there is this switch in my head – and I am off work and can work on my art.

Hilke: Do you feel your pupils and the work in school give you something that then manifests itself in your prints?

Clare: No, not really. I think it is rather the other way around: Because I am active as an artist, I have a better feeling and understanding for what I ask of my students. They profit from my practise that way in the end.
You know, it’s a bit funny but, although I require that from my students, I don’t keep a sketchbook or something similar. I turn my sketches right into screens, use ink to paint directly and intuitively onto acetate. There’s no in between stage, all is experimentation.
So although my students have to do that to document their progress, my work gives me that understanding that free practise and experimentation is something that has to have its place, too.

We can be broken, taken apart, and then reassembled. And […] there is beauty in that.

Hilke: Let’s talk a little more about your art work again. You said your practise changed from before the diagnosis. Do you see development in your prints since?

Clare: Yes, definitely. I can see three connected series of prints. In the beginning when I picked up my work, all my figures were falling to illustrate the lack of control and uncertainty. They explode with colour as I see opportunity for growth in embracing change. Their bodies are not whole: in motion they leave fragments behind. They show how we can be broken, taken apart, and then reassembled. And that there is beauty in that. The bright colours are integral to that concept and this is where the circles started to appear.
As time went on, as I got to a better place myself and grew stronger, my figures take more active roles: they jump and leap, taking control and radiating energy.

“Let Go”, screenprint by Clare Morgan

When I had the chance to watch a circus aerial acrobat training session, I thought their bodies might appear to fall, so I could use images from that session to develop the falling series further. But I was surprised to see how comfortable they were, sitting high up on hoops, wrapped up in the silks. The photos that I took developed into my third series: You can still see the circle, in the hoops and wrapping, but these women are no longer falling.

Hilke: Can we expect something similar from your prints in the future, or do you think you’ll choose something radically different soon?

Clare: Moving forward for me is often in little steps: I keep some elements that I like and change some other factors. I think I’ll stay with the idea of portraying women in action, but I’d like to find a different kind of motion. There are some ideas floating in my mind, but all still a little vague. I am thinking of dancing maybe, and my thoughts also linger on aspects of multiple exposure photography; definitely lots of layering and hopefully a much bigger scale!

Hilke: Oooh, that sounds very interesting. I’d love to see it when you have first results! – Do you have any exhibitions planned in the near future? Or where can we see your work?

“Transience”, screenprint by Clare Morgan

Clare: I have some work at venues in Derby such as Banks Mills, elements café and Artcore. I will also be doing a number of open studios and art trails over the autumn, and last Friday the “Loovre” opened with my work at Surface Gallery.

To keep up to date please go to my website www.curisousinkyme.com.

Hilke: Thank you so much for your time today. And good luck with your upcoming exhibition!

Clare: Thank you!

A final tip from me, the author: If you are curious about her artwork do go and have a look at her instagram feed. There she shares work in progress, quick sketches, and newly finished prints.

All images in this post have been used with kind permission of Clare Morgan.

Codex Binding with an Asian Look

This year I am participating in Sommerpost (summer mail) a swap project for which I am to make a single signature exercise book, well, 7 in fact, and send them to other participants. I’ll end up with 7 myself, from which we are then binding a book. Because my work will be further used in that way, it has to be a pamphlet bound in the fold.

But, since for the decoration I have quite a lot of Asian inspired imagery, I thought that a stab stitch would look nice. And so I it in my mind to develop a binding that would functionally be a western bound pamphlet but look like an Asian stab bound book.

Ta-Da, here it is:

Asking social media, it looks like no-one has seen this before, so here’s a step-by step:

Cut and Fold the Covers

For a cover material I chose a blue, cotton rich cardstock. I cut them to A4 size, as we are required to submit A5 sized booklets for the swap.

re-enforce the spine when using paper

To emphasis this Asian look, I like paper covers with a fabric spine. With paper covers the fabric is indeed needed as a spine re-enforcement. However, if you are using a tougher material for covers, the choice of whether or not to add a fabric strip becomes an aesthetic choice rather than a necessity.

trim head and tail

Like with an Asian stab binding, you won’t be able to trip the head and tail after binding, so you have to do it before. I left the front edge uneven, for now, because like in any pamphlet, you can still trim that later.

The next step is to design a punching template. For this I folded a strip of paper the size of the fabric re-enforcement, and first drew my stab-stitch design on to there. You could do any Asian stab design, but I like this fairly simple one.

design on punching template (marked out for better visibility, I would normally just mark the holes)

Punch through the holes on the template where you would drill for an Asian binding. Then fold the strip open. You now have pairs of holes there on either side of the fold. Connect these pairs with a pencil line. I now have 6 (4+2 corners) lines crossing the centre fold. On four of them (I chose the 4 in the middle, but it could be argued, that including the outermost or maybe all of them would be preferable) I punched holes through the centrefold.
I marked all holes for you with a little arrow here:

the completed punching template
pre-punching the centrefold holes

Next comes the pre-punching of the holes. First punch the holes in the centrefold through the complete booklet. Then put away the inner pages, lay the cover flat, and continue to punch the “Asian” holes into the cover.

punching the “Asian” holes into the cover

And then we can proceed to sewing the first set of stitches. I used a silk thread of a lovely, ever so slightly varigated pink colour.

starting to sew

It is easy to measure the length directly if you really want to. Approximately you’ll need four times the height of the book plus 12 times the width of the fabric strip plus a bit for knotting.

starting the stitch

For these first stitches ignore the holes in the centrefold completely. The stitch pattern is essentially the same as for an Asian stitch. Start on one of the two middle holes on the inside of the cover. Now every time you’d normally go around the spine of your text block, switch to the other side of the fold and make sure you mirror the stitches already done on the other side. Make sure your pattern is “complete” both on the inside and the outside.

complete stitching on the outside
ending on the inside; knotting will make the pattern complete here

At this point, this stitching looks purely decorative, but we’ll use the spanning threads to hold our secondary stitches in place, and those in turn will hold these first stitches in place. Be careful for now with moving your cover, because the position of those threads is less secure than you might think.

now on to the secondary stitching

Put the pages back into the cover. If you all did correctly, the holes in your signature line up with the spanning thread from the first stitching.

Start on one of the outermost holes on the inside. Go through the holes onto the spine, taking care not to pierce any thread as usual.

first stitch

Then loop the thread around the spanning thread and go back inside the signature and pull tight.

Repeat with all the remaining holes. Now you have an end of thread dangling both head and tail, but the pages are securely in place. All that needs doing is to knot that thread.

I chose to wind the two ends around the stitches and knot them together. You could also just knot each end to itself if you prefer.
The sewn book outside view. The little spanning threads at the centre line are hardly visible at all, but help to keep the thread in place.

The final step now is to trim the front and you are ready and done.

last step: trim the fore edge

Now you have a booklet sewn throught he centrefold with a decorative Asian stab pattern.

Next I’d like to try with several signatures. It shouldn’t be hard to do the same with a thicker spine. Although it might become a little pointless, not to just simply do an Asian stab binding in that case.

Mhm, the general ethos for that swap seems to be, not to show finished parts before sending off. But just the cover won’t hurt, don’t you think? So what are you thoughts: Top or flop?

Finished single signature pamphlet with Asian Stab Stitch look

Interview: Sarah Roach

Sarah in her Nottingham Studio

In my last “feature find” I told you how I met Sarah Roach at various events here in Nottingham. She is a photographer and printmaker whose style is easily recognizable. I came across her work on various occasions in and around Nottingham. Most recently I saw her represented at the Derby Print Open at Banks Mill. Her minimalistic, often black and white prints combine crisp edges that stem from exaggerated contrast in photography with softening elements like blurring, layering or printing on a textured substrate.

Although I saw her and her work at various events, we didn’t come closer. After almost two years of first meeting her, I gathered up my daring and asked her whether she could invite me to her studio. To my delight she agreed.
And so it came to pass that on a sunny day in April I climbed a few steps, pressed the bell button and then stood there, anxious to see whether she’d open the door. – Of course she did, and I was greeted first by her two friendly (but to me huge) greyhounds, and then by her.

From the door we climbed up two flights of stair until we reached the small space directly under the roof. Fabrics with screenprints hung like gauze curtains on one side, the staircase up to here showed as a slanted surface on which there were some of Sarah’s work, and on the other side books were piled to form a small wall.

“Considering Silence”, photograph by Sarah Roach

Hilke: Hello Sarah, thanks for welcoming me here today! Let’s start with some basic questions first: How would you say you became an artist?
Sarah: I don’t remember to ever consciously make a decision to be an artist. I always enjoyed art and the process of thinking about things, having ideas and creating but I was never your traditional artist. I was about 15 when I realised I wanted to study art. I started as a painter but it was never just straight painting with me, there was always another dimension to it. And even while I was painting I also made things.

You mean like taking photos?
The photography came much later. After my fine art degree, around 1999, I was living in very small rented accommodation. I was working full time then, but to keep my creative side happy I did a photography course as I thought it was a way of being creative that didn’t take up much room.

Was that when you started your current practise?
For a while I took photos but didn’t really do anything with them. It was my partner who made me realise I should do more with my photography and with my creative side. He told me it made me happy – it’s funny how sometimes you don’t realise that by not doing something you’re making yourself unhappy, until it’s pointed out to you.
Quite a few years later I had the opportunity to study for my Masters while working part time. It was then that I started with printmaking, and developed my current style of work.

“traces of silence”, photograph by Sarah Roach

On your website you call yourself a “photographer and printmaker”, and you also bind some of your works into books. All three of them, photography, printmaking, and bookbinding have this craft-aspect to them and can be very technical. How do you see this navigation between art and craft?
I don’t see a dividing line there. To me it’s all part of the same thing – a way to express ideas and be creative. It doesn’t necessarily need to be defined as anything other than art.

The dividing aspect that is important to me and my practise is how abstract a process is, how removed you are from your subject matter.
I mentioned before that already when I was a painter there was always another aspect to my work. I like to do things with my hands and I like to make things. With photography (especially with digital photography) I often felt a bit removed from the subject and ideas, and once you had printed the photograph that was it. I always felt slightly dissatisfied with that.

That’s where it becomes important to me to develop my photos further, and add a more hands-on process to it. I work with photographic etching, and the making of the plates and the printing of the images is very close to working with analoge film, but you get the added loveliness of the textures, the ink, and the edges created by the plate. You get inky hands, the whole of you becomes part of the work.

“circlestone”, photopolymer etching by Sarah Roach

The techniques I use in printmaking make me look at photography differently and it helps me experiment more – they feed into each other, which makes me think beyond the photographic image – the photograph almost becomes just a step in a journey.

The book making came about through my love for books and paper. Binding semi-transparent pages with my prints allows me to build up a work through means of layering. There are several aspects to this that I like: the building up of an image, but also the blurring and softening that comes from not looking at one print directly but through additional layers of paper. I screenprint on thin paper, too, and often I like the backside of my prints better than front.
But mostly I like books, and I like for my work to have a tactility about it – and what’s more tactile than a book?

I guess that can be seen as related to craft – that you can touch someone’s work.

You wrote: “I am fascinated by silence and its relationship with sound and the world around us.” Could you please explain that in more detail? It sounds very poetic, but I don’t really understand it. How do you photograph silence?
I’m naturally a very quiet person and I enjoy time away from a lot of noise. Walking and spending time outside in nature is often where I can experience feelings of calmness and stillness and I think that is what I was always striving for in my images.

“early grasses”, photopolymer etching by Sarah Roach

So that’s why most of what you photograph is nature?
Yes, I like nature and the landscape, especially grasses and stones, and I photograph what I like. I just love grass. There’s so much variety to it, and it can look like branches and even trees when blown up.
I also like trees, but they are hard to photograph without background, and a discernable background is like adding noise to me.
I sometimes photograph grass in situ. I then use overexposure and play tricks with light to isolate my motif from the background. I also have a collection of dry grass and stones at home that I simply place on a white surface to photograph.

I can perfectly see how a minimalistic image of a single blade of grass or a single pebble is “quiet”, and a bright, colourful painting might be loud. But the tangible connection you seem to feel is remarkable.
Silence is important to me.

It took me a while to realise this, but when I did, it opened up a whole new world to me. I began to read about silence (I know it sounds boring but you wouldn’t believe how fascinating it is) and what I did realise is that you can’t have silence without sound – how would you know what silence was without sound? Then the big thing – that silence doesn’t actually exist.

photo by Sarah Roach

Sarah picked up a couple of books and told me about them. People who went to the desert in a quest for silence, and – I probably shouldn’t have been surprised – a range of books about music. In the books stuck hundreds of post-its, colour coded, marking passaged to be entered into a database on her computer, so she can quickly find quotes and ideas again that struck her as remarkable.

She told me how we can hear our body when other noises are drowned out, and as a human, apparently you can’t ever experience the total absence of any sound.
We also talked about ambient sound, and how different rooms, landscapes all have their own sound. And how different vegetation generates different sound. Going to the desert to experience sound is not just to escape humans, or other animals, but also to escape the sounds of vegetation.

Did you ever go on such a trip, to the desert or elsewhere to find silence?
No, I’ve never had the opportunity, but I’d like to. I think I would love it, but I have read that some people don’t, it’s too much, that much silence.

Coming back to your art. How does it relate to sound or silence?
In my photographs I am trying to create a visual representation of the space that exists between sound and silence, the moment of stillness, of silence that occurs just before sound.

Do you have plans for future work? Do you have any work in progress you would like to talk about?
I just started printing on a range of different fabrics, and I am playing with the idea of presenting them folded up: In that manner one can see part of it, in a layered block, but a part also remains secret. I find this idea very appealing. But my thought process is not finished yet. I also played with other thoughts of how to layer them. – This might end in a new body of work.s

I am looking forward to seeing what will come out of this.
Sarah, thank you so much for having me today!

screenprinted scrolls by Sarah Roach

All images except the first are copyrighted by Sarah Roach and have been used with her kind permission.

Feature Find: Sarah Roach

all rights reserved by Sarah Roach, posted on instagram on November 18, 2018

Welcome to my early summer “feature find”. In this edition I want to invite you to take a look at Sarah Roach‘s instagram stream.

You’ll find a lot of nature photography, and prints often minimalistic and abstract. The abstraction comes from blowing up images, focusing on small details like a single blade of grass, or a scratch on a stone. Also colours often are muted or absent, silhouettes of grass or trees against the sky or the shoreline rendered black between the white sand and blazing sky. Some are almost unbearably harsh in their contrast, others are smoothened out by bluriness or layering effects similar to multiple exposure photography.

all rights reserved by Sarah Roach, posted on instagram March 30, 2018

I find it hard to pinpoint exactly what it is that makes me love these images. But many fill me with a certain longing, a feeling similar but not quite the same as nostalgia when I look at them.

I first met Sarah back in 2017 at a friendly crit group session organized by Tracey Kershaw at Backlit. She was one of three or four or five (depending on what you count) who brought books to the session, and thus I naturally felt drawn to her work. Her books were made from semi-opaque parchment paper, had black covers and were bound with a bright red thread. On the pages were prints of grass, layered by the binding, turned into a field of grass in a book.

all rights reserved by Sarah Roach, posted on instagram April 13, 2017

On that evening we talked mostly about the binding technique, and thinking back, I must have come across as a know-it-all, I suppose. Well, we were talking about bookbinding, and when it comes to that, I find it hard to suppress the urge to impart my knowledge. – Even where maybe a little inappropriate (*blush*).

all rights reserved by Sarah Roach, posted on instagram June 8, 2019

Since then we met a couple of times, both being connected with Tracey, and I found her more and more interesting, if not to say a little eningmatic. She never talked much, and when she did, she didn’t reveal much about herself. And so I am very glad that she agreed to meet me for an interview which I am going to present here next week. I hope you’ll come back for the interview. For now: do have a look at her photos, and enjoy!

All photos used with kind permission of Sarah Roach.