Jessa Mockridge at 11:04, 18 September 2023

2023-09-18T11:04:22Z

Jessa Mockridge: Created page with "I think you have two of my publications in the [Women’s Art] Library, Mim from ‘85 and then Water on the Border, from ‘94. I mean, I began publishing in ‘74, so there are a lot of books which aren't in the Library including all of my solo productions and other collaborations with women writers. But of the two in the Women’s Art Library, I chose Water on the Border. This book (which takeout), was (a book take out) made in collaboration with my partner at tha..."

2023-09-18T10:57:20Z

Created page with "I think you have two of my publications in the [Women’s Art] Library, Mim from ‘85 and then Water on the Border, from ‘94. I mean, I began publishing in ‘74, so there are a lot of books which aren't in the Library including all of my solo productions and other collaborations with women writers. But of the two in the Women’s Art Library, I chose Water on the Border. This book (which takeout), was (a book take out) made in collaboration with my partner at tha..."

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I think you have two of my publications in the [Women’s Art] Library, Mim from ‘85 and then
Water on the Border, from ‘94. I mean, I began publishing in ‘74, so there are a lot of books
which aren't in the Library including all of my solo productions and other collaborations with
women writers. But of the two in the Women’s Art Library, I chose Water on the Border. This
book (which takeout), was (a book take out) made in collaboration with my partner at that
time, Telfer Stokes—we were ‘Weproductions’ (publications t/out). For this book we
collaborated and worked with school children in Scotland and in China. The book was
conceived as a (sort of t/out) collaboration between West and East on the theme of water,
and the water's edge. Partly the reason why I chose this book to speak about is because of
this constant interest in water and borders that comes into my work really from this period
onwards. I live in a mill in Scotland, in Yarrow Valley, and there is always this (sort of t/out)
constant flow of water. Water is such an important element for life. And so this book was
really exploring the water and the water's edge. I’ll just show you two or three double
spreads... as I said we worked with school children in Scotland and in China. These are the
Chinese children's drawings of the willow trees. And these work side by side with
photographs of water that I took. (or whichever side I'm trying to find ... I think that's another
page I wanted to find t/out). It was about bringing these things, ink drawings and
photographic images together and creating this flow across the page and through the book.
Most of my books up to this point, had always been working with more architectural aspects
of the book and book form: cover, spine, you know, left, right, back/front of page and
whatever. But this was the first book really to explore that flow across the double spread and
book. Reaching out from West to East this book was also conceived to work from both ends
from back to the front and front to the back. So you can see in the turning of the page, the
image wraps around the page. From the late 90s this way of working in a more concertina
like form really develops in my work. So borders, water and unravelling across the page
become the theme of my book Unravelling the Ripple, published by pocketbooks in 2001.
Rebecca Solnit wrote the beautiful essay for this book about borders. It's a theme that
comes up constantly in my work. Like for instance, Wild Wood, published in 1999 which, you
know, I shouldn't be really be getting out right now but just to show how I worked with
borders, on my pages and in the book to explore the ancient woods of the Scottish Borders:
I subtitled this book A Border Ballad.

← Older revision		Revision as of 11:04, 18 September 2023
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			Transcript of an audio recording of Helen Douglas introducing Water on the Border at a hybrid workshop with DAAP at the Women's Art Library, 27 May 2023:

	I think you have two of my publications in the [Women’s Art] Library, Mim from ‘85 and then		I think you have two of my publications in the [Women’s Art] Library, Mim from ‘85 and then
	Water on the Border, from ‘94. I mean, I began publishing in ‘74, so there are a lot of books		Water on the Border, from ‘94. I mean, I began publishing in ‘74, so there are a lot of books
	which aren~~'~~t in the Library including all of my solo productions and other collaborations with		which aren't in the Library including all of my solo productions and other collaborations with
	women writers. But of the two in the Women’s Art Library, I chose Water on the Border. This		women writers. But of the two in the Women’s Art Library, I chose Water on the Border. This
	book ~~(which takeout),~~ was ~~(a book take out)~~ made in collaboration with my partner at that		book was made in collaboration with my partner at that
	time, Telfer ~~Stokes—we~~ were ‘Weproductions’ ~~(publications t/out)~~. For this book we		time, Telfer Stokes — we were ‘Weproductions’. For this book we
	collaborated and worked with school children in Scotland and in China. The book was		collaborated and worked with school children in Scotland and in China. The book was
	conceived as a ~~(sort of t/out)~~ collaboration between West and East on the theme of water,		conceived as a collaboration between West and East on the theme of water,
	and the water~~'~~s edge. Partly the reason why I chose this book to speak about is because of		and the water's edge. Partly the reason why I chose this book to speak about is because of
	this constant interest in water and borders that comes into my work really from this period		this constant interest in water and borders that comes into my work really from this period
	onwards. I live in a mill in Scotland, in Yarrow Valley, and there is always this ~~(sort of t/out)~~		onwards. I live in a mill in Scotland, in Yarrow Valley, and there is always this
	constant flow of water. Water is such an important element for life. And so this book was		constant flow of water. Water is such an important element for life. And so this book was
	really exploring the water and the water~~'~~s edge. I’ll just show you two or three double		really exploring the water and the water's edge. I’ll just show you two or three double
	spreads... as I said we worked with school children in Scotland and in China. These are the		spreads... as I said we worked with school children in Scotland and in China. These are the
	Chinese children~~'~~s drawings of the willow trees. And these work side by side with		Chinese children's drawings of the willow trees. And these work side by side with
	photographs of water that I took~~. (or whichever side I'm trying to find ... I think that's another~~		photographs of water that I took. It was about bringing these things, ink drawings and
	~~page I wanted to find t/out)~~. It was about bringing these things, ink drawings and
	photographic images together and creating this flow across the page and through the book.		photographic images together and creating this flow across the page and through the book.
	Most of my books up to this point, had always been working with more architectural aspects		Most of my books up to this point, had always been working with more architectural aspects
Line 25:		Line 26:
	like form really develops in my work. So borders, water and unravelling across the page		like form really develops in my work. So borders, water and unravelling across the page
	become the theme of my book Unravelling the Ripple, published by pocketbooks in 2001.		become the theme of my book Unravelling the Ripple, published by pocketbooks in 2001.
	Rebecca Solnit wrote the beautiful essay for this book about borders. It~~'~~s a theme that		Rebecca Solnit wrote the beautiful essay for this book about borders. It's a theme that
	comes up constantly in my work. Like for instance, Wild Wood, published in 1999 which, you		comes up constantly in my work. Like for instance, Wild Wood, published in 1999 which, you
	know, I shouldn~~'~~t be really be getting out right now but just to show how I worked with		know, I shouldn't be really be getting out right now but just to show how I worked with
	borders, on my pages and in the book to explore the ancient woods of the Scottish Borders:		borders, on my pages and in the book to explore the ancient woods of the Scottish Borders:
	I subtitled this book A Border Ballad.		I subtitled this book A Border Ballad.

Description:Q6386 - Revision history

Jessa Mockridge at 11:04, 18 September 2023