The books are constructed of left over photocopies. The larger one uses Japanese papers as well, sandwiched between the printer paper. Their construction is detailed in a previous post.
I have since worked in to the books by repeating my process of tracing over and through, allowing the patterns to cover both sides of the pages. The first book detailed below is 9.7 x 11.4 cm, 15 fragmented pages and is constructed of fragments of colour photocopies of sketchbook pages.
I used a black ink pen to trace the patterns on to the blank sides of the paper. I traced all that I could see through the pages, using a light box and building the density. Text is also visible from repurposed paper. I find the messy overlap and overwhelm of the pages intriguing, it has elements of construction sites, road networks, commutes or flightpaths to it.Like the invisible threads that follow us through our daily timelines, criss-crossing as we pass each other by.
The next book is 13.2 x 13.2 cm, 14 pages and constructed of monotone photocopies that had been cut previously in to rough squares for a project that lost momentum. Some are missing corners and vary in shape as they were cut for the aesthetic value of the fragmentation of the pattern.
Some of the images had also been used to trace from, so the back side is covered in pencil graphite. I liked the contrast of the rough pencil filling spaces and building the lines thicker so I continued this is variation to complete all the pages. Only the pattern on the other side is transferred in this book form. Seeing the pages open in the photographs highlights some surprising compositions, the seem to provide movement while alluding to missing parts, like the parts of a story left to the imagination.
The large piece (23 x 30.5 cm, 17 pages including covers), is a blend of printouts and Japanese papers. The images are both digital versions of the patterns and digitally enhanced enlargements of drawn patterns.
This book is a combination of the previous two. The viewable patterns are traced on each page, using different materials/colour inks (black, grey ink, graphite, varying thicknesses) creating a density on a single page that is then enhanced by the underlying pages. There is a beauty in the unexpected symmetry that appears as the pages are turned.
I feel frustrated that I am trying to move away from constraint but seem to be moving further in to it.