INTERVIEW
WITH GRACIA HABY
Honey For The Bears / a blog by Matthew Asprey
I conducted this brief Q&A with the Melbourne
artist and writer Gracia Haby by email after buying a limited edition
copy of one of her small books at the recent Melbourne Emerging Writers'
Festival. She frequently collaborates with Louise Jennison.
Q:
When did you begin creating zines and limited edition books? What
was the attraction?
A: A quick glance at own web site tells me that I
have been in the business of creating zines and limited
edition artists' books since 1999. As long as that? Yes, as long
as that. Or as little, depending upon your viewpoint. As with most things,
it feels both for a very lengthy period and to have flown by.
The limited edition artists' books, made chiefly with Louise Jennison,
sprang from a love of paper as a medium flexible and adaptable and affordable.
A love of books in many guises, too, I've little doubt, led to us ambling
down the artists' book pathway. These things, these loves, plus ignorance
in the best sense. We knew very little of artists' books and even less
of binding. The unknown side of things made for the appeal, and so we
plunged in not overburdened by knowledge. A bookbinding course in Ascona,
Switzerland opened the eyes and showed us the world we knew little about.
A book is a familiar form to any reader, a sketchbook to any fan of
the jotting and recording, but to actually make one — ah! This
was a new arena.
The labor involved with making a book, both the book's physical makeup
and those images that creep and sometimes shimmy across the page, is
long and involved. This is part of the love affair with the medium,
for me. This lengthy process of detail, precision, reworking and more,
pulled back the curtain on the notion of zines. Quick, immediate, simple
and done, the allure of the zine was this. Zines
are also good to be able to giveaway to loved ones and friends, something
that we had initially thought of doing with our artists' books.
So far, an interest in making both remains and so far, they sit well
together. Both still enjoyable and challenging, as all things ought
be.
Q:
Give me an example of how you create a new book. Where do you find your
postcards and collage materials? How does it come together?
A: It begins with an idea. A suite of imagery. A series
of characters or scenes that belong together. A tale to be told. From
there, a structure is worked out. How could such a thing be bound? Namely,
how can we bind this ourselves? Like many, you imagine what you would
like to make if you had access to all the materials and imagery you
desired, and then work back to what you actually have, what you can
afford. There are many things I would like to try, letterpress components
on a lithographic offset page for example, but would prove too costly
to justify. Is it necessary this time round, or can something else be
done to describe desired effect or idea? But I like these restrictions
and particulars that force you to decide what is the most important
element. I like to have to think up ways around something. It is similar
to the exhilarated rush of working towards a deadline. No matter how
organized, there will always be the all-nighter at the last dash.
So, we plan how to fit the most on the page before it is printed and
later guillotined to size. We return to the library and borrow more
books than can carry. We scan a tremendous amount of imagery and file
for later use. It is ongoing.
As to the postcards, I have a very good source, but am afraid it is
a secret only a few know. Perhaps I will tell you next time.
Q: Have you found the independent publishing scene
in Melbourne an encouraging environment for creativity?
A: I am sure it is. Certainly so. But, as with all
my endeavors, I approach from the outside looking in. All of our artists'
books and zines too are self-published numbers. Louise and I are delighted
that we’ve had so many chances to display our books in various
exhibitions and that they are part of many collections. It is gratifying
and humbling to think that somewhere in an archival box sits a collection
of our zines at the Tate Library.
Q: Is
Melbourne an affordable city for somebody working in the arts? Is it
becoming more difficult?
A: For me, I would say it is affordable, but then I
will always live in a city that is foremost near to my family and friends.
I could not really imagine living in another country from my parents;
I would miss them too much. Seem to have fallen off track here, yes
to affordabily. The recent Melbourne International Film Festival was
of particular affordable highlight when you translate all the inspiration
and joy to ticket price.
Q: Tell
me about your current exhibition in the Netherlands.
A: Louise and I were most flattered to be invited to
draw together a series of recent works for SOLV's art programme.
The drawings and collages in Our
Boat was the Lightest Feather come largely from our most recent
zines. (Louise's The interloper,
and my three foldout postcard collage ones, Looking
and almost never finding, It
was quite a wilderness, and That
in the moon did glitter.) In this collection, you can expect
to find a few of our collaborative works alongside a coral-billed ground
cuckoo, a Swedish balancing act in a public arena, and a bear pursued
by the moon in London. Yes, all as it should be there. Here's to the
next!
Matthew Asprey, 2011
Honey
For The Bears blog
Gracia
Haby
Running home without stopping
2011
postcard
collage
