Books On Books – Thomas A. Clark and Diane Howse

A Slow Air (2016)

A Slow Air (2016)
Thomas A. Clark and Diane Howse
Perfect bound softcover. H200 x W150 mm. 64 pages. Edition of 750. Acquired at the Small Publishers Book Fair, London, in 2018.
Photos of the work: Books On Books Collection.

If you live where red kites thrive, you will see them most often singly, in pairs or threes. If you are lucky, you may see as many as eight or ten at a time. Near Harewood House in West Yorkshire where red kites were reintroduced in 1999, there are hundreds. In 2016, photographer/artist Diane Howse (Countess of Harewood) and poet/artist Thomas A. Clark collaborated on an exhibition at Harewood House: the grove of delight.  Using objects, words and images, the exhibition turned the house’s Terrace Gallery into a symbolic grove; also displayed was a series of 15 photographs by Howse of red kites over Harewood. For the exhibition and under the direction of Peter Foolen, the diligent Dutch publisher of herman de vries, Peter Liversidge and others, A Slow Air (the book) was produced and published by Harewood House. Foolen and the artists have assembled and manipulated the photos in a sequence of color and image that exerts a forward movement like a film or narrative. Like a real sighting of these birds circling and banking as if to a slow musical air, the book mesmerizes.

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Books On Books Collection – Jane Cradock-Watson

Ebb and Flow (2023)

Ebb and Flow (2023)
Jane Cradock-Watson
Concertina book with cloth hard bound covers. H155 x W27 mm (closed), W680 mm (open). 64 panels. Edition of 20. Acquired from the artist, 21 January 2024.
Photos: Books On Books Collection. Displayed with artist’s permission.

An exploration, both visually and physically, the ‘edge’ of the sea where it meets the land, with its continuous ebb and flow of the breaking waves, rhythmically rolling back and forth onto the sand. (Artist’s description)

With the binding and her photography in Ebb and Flow, Jane Cradock-Watson has sculpted and painted the sea’s edge. Four digital photographs printed on Zerkal paper have been spliced together between two cloth-covered boards. The flexibility and extent of the concertinaed paper create an undulating structure that turns seascape stills into mesmerising cinema.

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