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The Price of Admission

Question: The Price of Admission seems to be assembled from fragments like a kind of narrative collage.

Answer: When I am making a book I am very conscious of the act of editing. Making this editing visible and bringing this process into the foreground is one of the principles which I used when I was making my book The Price of Admission. Its a comic about how to go about making a comic. But when you start to enter a fantasy identification with the characters and situations you are literally disillusioned by the clunky material reality of the thing itself .(the book, the page) Design and binding are envisaged as a whole. The book is designed using paper clips. The idea is that it should function like any other book, pages turn easily and it closes to form a block. This the photograph to the right shows version 6 in a series of books entitled ' The Price of Admission'. Each version stands as a work in its own right. What all versions share are common design principles and thematic ideas. By using paper clips as a structural element the work suggests the idea of creating and editing a collection, in this case a series of panels in the style of a comic, with a cast of 'characters'. These panels form a group of sequences built around the idea of admission. ( in its various senses)



Question: The Price of Admission seems to be assembled from fragments like a kind of narrative collage.

AnswerWhen I am making a book I am very conscious of the act of editing. Making this editing visible and bringing this process into the foreground is one of the principles which I used when I was making my book The Price of Admission. Its a comic about how to go about making a comic. But when you start to enter a fantasy identification with the characters and situations you are literally disillusioned by the clunky material reality of the thing itself .(the book, the page) Design and binding are envisaged as a whole. The book is designed using paper clips. The idea is that it should function like any other book, pages turn easily and it closes to form a block. This the photograph to the right shows version 6 in a series of books entitled ' The Price of Admission'. Each version stands as a work in its own right. What all versions share are common design principles and thematic ideas. By using paper clips as a structural element the work suggests the idea of creating and editing a collection, in this case a series of panels in the style of a comic, with a cast of 'characters'. These panels form a group of sequences built around the idea of admission. ( in its various senses)                                                                        

New panels of narrative are glued on or attached with paper clips. Theplaces where panels have been moved or excised are visible. On either side of the page are comments and assessments, evaluating the content. Each of these hand made books is a version of the previous one, so that within the series lies an idea of improvement. So far 7 versions exist. The aim is to complete 10 versions.

Because my approach is broad, I generally begin with piles of drawings and notes, which I then work through, edit and organise. In as far as the work contains narrative sequences which could be called stories, these are stories which I have discovered, or which have uncovered themselves in the course of making the work. In "The Price of Admission" there are two vertical strips on either side of the book, which I use for observations about what I have included and about what I want to edit out (perhaps in the next version). 

I am trying to work towards defining the criteria for inclusion of an "item" and then to define whether the  "item" works on a formal level. This probably makes more sense when you see the "book" itself.

Question:You say that each version of The Price Of Admission is a reworking of the previous versions. Some versions a
re 
closely based on the previous 
version othersintroduce a host of new material and different treatments of existing themes.
Why?


Answer: So for this project I am like a  film maker who remakes one film again and again. OK, it's basically a series of still panels, more like a storyboard than a film! But remaking 
exactly the same storyboard/film is virtually impossible, this isn't simply a problem of accurately redrawing the same drawings, because what happens is I change and my relationship to the material changes. I change because of the obvious reasons like ageing and new influences in my life, but also because the process of making one of these books changes me. So when I make the next one the material appears to me in a different light. The material seems to always be in flux. Early on in the project I had 
the idea to fix it in the form of a book using relief prints and photographs and to make an edition. Although I made several copies using this method, each was different from   the other and I realise that for me every 'finished' form was only a starting point for doing it again.


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