Unbinding the Book

  1. Vince Koloski

    Vince Koloski’s sculptural works incorporate neon and light to create the images and text carried on the pages of books. This combination of literature and light recalls the latter as a symbol of knowledge: illumination defined as intellectual enlightenment.

    For Unbinding The Book, Koloski will create an installation based on The Love Song Of J. Alfred Prufrock by T.S. Elliot that incorporates a chest of drawers made in the style of the early 20th century. The drawers will be pulled out and set up as an accordion fold book. The text from Elliot’s poem will appear to the float over the accouterments of Prufrock’s life. This effect will change the way which we approach the text, creating a contradiction within Koloski’s work: Whilst the book is the invention that is most responsible for engendering the information-based society we live in today, his book sculptures reminiscent of the primitive experience of gazing into the fire as it glows against the darkness.

    Here some images of Kolski building the cabinet that will house the work:

    Drilling screw holes for LED channels

    edge polishing

    finished edge

    Laser etched page prior to mounting

    Original drawers



  2. Kate Morrell

    Kate Morrell’s is an artist who employs drawing, sculpture, book works and archival research to create work centred around forgotten histories and instances of amateur and inaccurate interpretations of printed, historical material. For Unbinding The Book, she will be undertaking a research-led book project, which will consist of a digital re-make of a 1958 typesetting innovation created by Prof Dr George van den Bergh, a Dutch lawyer, amateur astronomer and inventor. His new form of typesetting was titled ‘Hoofdletters, Tweeling-en Meerlingdruk’. Translated as ‘Capital letters, Twin and Multiple-print’, it aimed to make more efficient use of the printed page by compressing text, printing in capital letters and moving the lines close together, along with a range of less successful optical tricks, 2-colour spectacles and celluloid reading screens.

    By reducing paper quantity and lowering production cost, he aimed to make books more accessible, though his book was largely dismissed as an eccentric curiosity. His critics anticipated high set-up costs for typesetting and manufacturing equipment. However, with present day design software, many of these concerns are irrelevant. To test Van den Bergh’s theory in print Morell will re-make part of the text, complete with compatible reading screen, using digital processes, which Van den Bergh could not have foreseen. Re-visited in 2014, ‘Hoofdletters, Tweeling-en Meerlingdruk’ appears as much more than a typographic curiosity. His concerns regarding economy of print and information compression and dissemination, resonate further when reread in our post-digital era.