POP 675 Tuesday 23 August 2011

Today’s POP is Tui. Showing of her Riverdance moves.

 

 

 

 

When the ever-so-lovely Mister Paul Bailey sent me over his latest project I knew it had to be good. Actually, it’s so good that its been shortlisted for The British Book Design & Production Awards. You go Glen Coco!

 

 

 

 

 

 

Tell us about what you do. What is We Draw Lines/Mister Paul Bailey?
My practice meanders between design, research and education – all of which feed into and inform one another. My 'day job', so to speak, is Lead Tutor on the Design for Graphic Communication course at the London College of Communication. In addition to this, I co-run the occasional design studio

We Draw Lines. This studio was founded with my fellow graphic designer Benjamin Schwab to explore alternative modes of practice, in that the term 'occasional' requires a review of traditional studio structures, be it financial, time-based or logistical.

 

I also continue to explore and share my curiosity concerning the physicality of the book. You can view my various experiments, installations, photographs and publications at www.misterpaulbailey.com. I am currently working on a new commission for the arts magazine, Folio, based upon aspects of this research. The result of which will be showcased at the project space Banner Repeater in November to coincide with the launch of their

next issue.

 

 

 

 

Coming from two completely different disciplines, how did this collaboration come about?
Natalie and I began working together in 2006 when we were both invited to participate in a collaborative project,

Man Limerick Grey with contemporary dancer Mark Carberry.

We worked together for six months to formulate independent inquiries concerning notions of memory. The result of this explorative process was showcased at Daghda Dance Space, Limerick, and consisted of a live dance performance from Mark, dressed in a garment designed and constructed by Natalie, alongside a live

projection and installation, which I designed and installed. I also designed and produced a publication which chronicles my subsequent interest in the devices we as a society actively use to 'not-forget'.

Natalie and I have continued to work together on various projects ever since, be it with Benjamin at

We Draw Lines or independently, as was the case with this publication 'An Archive'.
 

 

 

 

 

What can we expect to see in the book?

Natalie approached me with an interest in collating her varied breadth of work into one digestible form. At the time she was in the process of setting up her own independent label,

NATALIEBCOLEMAN. We decided a publication showcasing her output and process up until this point was appropriate.

Essentially the project became an exercise in archiving itself (hence the title) and allowed me to explore practices of organisation, dislocation and recollection. I was influenced by thoughts and insights shared by Susan Hiller in her text Working Through Objects. The content is distilled into three separate but relative parts:
Preface is a complete a-z of each and every reference Natalie's work was inspired by or responded to, be it textual, visual or aural.
Collections consists of photographic shoots from Natalie's first five projects pre-NATALIEBCOLEMAN. Each shoot is introduced by thumbnail reference images particular to the collection and refers to the organisation of imagery in Preface.
Appendix contains documentation of the design process employed whilst completing 'An Archive' itself. It contains notes from our meetings, scans of initial layouts and design approaches, edits and re-edits of the content, and even includes information regarding production specifications.
 

 

 

 

AN ARCHIVE (2005 − 2010)
Commissioned & published by NATALIEBCOLEMAN (2011)
Design by Paul Bailey
Edited by Paul Bailey & NATALIEBCOLEMAN

Soft Cover; 286pp
Wiro-bind: Large Book – 210 x 285mm / Small book – 181.5 x 255.5mm
Digital print on Starfine stock (various weights)

First edition of 4
Order: info@nataliebcoleman.com
 

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