Please join us for the launch of this exciting new artists’ book project!

6:30 pm Monday, December 16th, 2024

Museum of Literature Ireland
86 St Stephen’s Green
Dublin 2, D02XY43

Link to Eventbrite

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Drawing upon social history, myth, and visionary poetics, (S)worn State(s) remembers, challenges, and reimagines ‘worn’ narratives of women’s experiences in the context of shifting historical and cultural landscapes in the Irish Decade of Centenaries 2012-2023 and beyond. In an extended poetic conversation, Kimberly Campanello, Annemarie Ní Churreáin and Dimitra Xidous created a suite of individual poems before co-authoring the long poem Her-Text that reinscribes and ‘swears’ an oath to new and unfolding ‘states’ of being and making. The poems were created in Dublin, York, Achill Island and at the Boyne Valley. The texture of the language emerges from the Donegal Gaeltacht, Greece, Italy and North America. In 2019, the project received the inaugural Markievicz Award for Literature from the Arts Council of Ireland and the Department of Culture, Heritage and the Gaeltacht, allowing the poets generous space to come together and create this work. Through the book’s design and production, Jamie Murphy has nurtured the delicate relationship among texts, creating a powerful narrative guided by space, rhythm and typographic sensibility.

The book will be launched by Dr Lucy Collins (UCD).

Books will be on display and made available during the launch

With Carbon printed and awaiting binding, finally, I’ve decided to dive straight into the next endeavour, (S)worn State(s).

Drawing upon social history, myth, and visionary poetics, (S)worn State(s) remembers, challenges, and reimagines ‘worn’ narratives of women’s experiences in the context of shifting historical and cultural landscapes in Ireland in the Irish Decade of Centenaries 2012-2023 and beyond. In an extended poetic conversation, Kimberly Campanello, Annemarie Ní Churreáin (Town, 2018) and Dimitra Xidous created a suite of individual poems before co-authoring the accompanying long poem Her-Text that reinscribes and ‘swears’ an oath to new and unfolding ‘states’ of being and making. The poems were created in Dublin, York, Achill Island and at the Boyne Valley, a prehistoric landscape dating from the Neolithic period. Across the poems, the texture of the language emerges from the Donegal Gaeltacht, Greece, Italy and North America. In 2019, the project received the inaugural Markievicz Award for Literature from the Arts Council of Ireland and the Department of Culture, Heritage and the Gaeltacht, allowing the poets generous space to come together and create this work.

What can be made out of the work has been on my mind over the last number of years as drafts of these poems started to appear. The result will be three very different books stylistically in their writing, brought together under one roof (solander box). Printing is well and truly underway, and I expect this book to be printed, folded, collated, trimmed and with the binder by the end of September. Elize de Beer will be stab sewing the edition in beautiful Crosshaven, Co. Cork.

From the colophon: Designed and letterpress printed by Jamie Murphy, assisted by Ellen Martin-Friel and Mikah Smillie. The 14d type is Gudrun Zapf-Von Hesse’s Diotima (1951) and Hermann Zapf’s Optima (1958). The paper is 100 gsm Munken Print vol 15 and 90 gsm Zerkall Ingres. This is the first of three books that make up (S)worn State(s), a project by Annemarie Ní Churreáin, Dimitra Xidous and Kimberly Campanello. The books are housed together in a solander box accompanied by their collaborative poem Her-Text, printed in the same types on assorted handmade papers. The bindings have been executed by Elize de Beer. 80 copies printed. Solander boxes by Tom Duffy.

The three books will measure 380 x 300, so they're oversized allowing lots of room for the texts. (S)worn State(s) will launch at €749. Please get in touch to reserve. We expect to launch in December this year. Will post further details when I have them.

Carbon was the name of the game again this summer as production continued on this growing project. This summer I was joined by Ellen Martin-Friel and Mikah Smillie and we didn't waste any time getting stuck into the second layer of the book; the carbon drawings. After sourcing the ingredients for some experimental inks to be made from carbon rich and climate appropriate materials (diamond, coal, charcoal, car exhaust and chimney soot, dulse (dillisk, palmaria palmata), lampblack, graphite, peat and candle smoke) we got stuck into preparing the 'pigments'. This involved burning, petrifying, grinding etc. The result was very, very fine powders (protective masks required) that we could then mix with gum arabic and water to form workable liquid solutions. Each ink resulted in a very unique texture and colour. The next step was to trial mark making tools and to experiment with which delivery method suited each ink best. If the text in the book can be viewed as a large, all encompassing macro interpretation of the Carbon theme, these drawings make an effort to symbolise the microscopic. I see each of the nine drawings as abstract representations of their base ingredient, the carbon rich material itself. The idea of carbon being constant but ever changing has been on my mind since beginning to research for this book and I decided to work with ever expanding polygon shapes to represent the constant shifting nature of this element. By now I had decided to make the drawings from pochoirs so I had these shapes laser cut in a polymer material and from these I could begin to work on a method of production. In the editioning the nine designs we would make about 800 pochoirs, most of them with two layers of carbon ink, one of them produced from candle smoke. We then turned our attention to painting the covers for the numbered edition and the accompanying black paper volume (second layer) that accompanies the lettered edition. Again a large polymer mask was made and after some experimentation we honed in on using two inks; diamond and graphite. A large Chinese style brush worked perfectly for the aesthetic I had in mind. Following the weeks of production we then laid out the sheets and gave each design several layers of artist fixative (masks on again), helping to stabilise the inks and prevent rub off.

Another job to complete this summer was the printing of the ephemeral material to be contained in the portfolio (third layer) that accompanies the lettered edition. The role of this portfolio is to present some findings from our research into the effects of the human impact on carbon and what that means for the planet. It also afforded me the opportunity to reach into my paper collection and work with some very beautiful, and conceptually relevant, examples; Zerkall Ingres (RIP), Rives Arches, Velin Cuve (1970s), Bachelor's Kelmscott (1930s), Saunders Waterford, Hahnemühle Bugra-Bütten, paper made by C. Taylor (handmade in the 1770s, early industrial revolution) and others. Lastly we printed the materials index for the fourth layer in the lettered edition; the carbon materials from which we made the inks. These will be contained in little glass vials and housed in dark recesses that will be CNC cut into this base layer. Printed on the black paper which itself contains diamond and graphite in the recipe.

A note re binding: The books are folded and collated and packaged awaiting binding. Marc Hammonds who was originally going to bind the project changed his studio's creative direction and is no longer available. This news came over a year ago so I've had time to find a new collaborator, and one closer to home; Pascal Flynn at Antiquarian Bookcrafts took up the challenge and was unphased by the large undertaking. Unfortunately, a recent health concern in his team has meant that he, too, is no longer available. I'm currently talking with a fabulous UK based binder of much repute, and it looks like he will be available to bind the project later this year, with a view to launching early next year, a mere three years later than originally planned. Phew.

To mark the National Gallery of Ireland exhibition MEMENTO CIVITATEM, I had a set of silk works produced based on five of the 21 image cards from the book (The Philosopher, Enchantment, The Collective, The Artist and The Island). Each is housed in a letterpress printed presentation box. The gallery took 50 for their gift shop and the remaining 50 were distributed to friends, family and collectors. 

Edition of 100, 65 x 114cm

This project is a follow up to the 2021 project ‘A Letter to the Minister for Housing’ and 2019 artist's book ‘1753’, looking at the tragic numbers of homeless in Ireland.

The definition for what constitutes homeless altered in 2018, skewing figures from the true numbers, which are undoubtedly higher. Reports publish the numbers of those in emergency accommodation, overlooking the huge amount of people "in ‘own-door’ temporary accommodation, domestic violence refuges, asylum seekers, people who are sleeping rough, and the very many who are ‘hidden homeless’ and staying with family or friends in insecure housing." – Focus Ireland

A folding poster format is intended to make a bold and impactful typographic statement as it unfolds. Taking inspiration from 20th century protest posters and high rise public housing structures, the piece is letterpress printed from 72pt Carbon Mono wood type and 12pt Magister. An Instagram post announced the launch of the project and subsequently these pieces were sent to 120+ people in Ireland and overseas to do with as they wished – to reflect on in private, to post to community leaders and politicians or to paste up in public.

Plenty of copies remain, if you want one just get in touch.

The printed programme was for The Oxford Society of Bibliophiles for their 2024 Hilary Term. The society was established in 1950 with their first meeting taking place during Hilary Term 1951. Nice to be asked to design and print this oversized typo / colour / paper treat.

Printed in 16 colour ways using 24 and 12D Magister and Forma types on Zerkall, Japanese Hosokawa and Batchelor’s Kelmscott (1930s) papers. Assisted at every turn by Ellen Martin-Friel. Edition of 126 copies plus a handful of proofs. 

16pg, 380 x 265mm. Few copies remaining if of interest.

The dinner that accompanies the biannual Oxford Fine Press Bookfair is a long standing tradition, and a participating printer is invited to create the menu each time. This little piece was started in 2019 for the 2020 dinner but due to a nasty plague the whole event was cancelled. This menu and enclosure had already been through the press seven times and so it wasn't completely abandoned, rather put into storage. In 2023 the dinner was back on, albeit in a new venue with new details, so, The Errata Menu was created to slip in with the original. 

Letterpress printed, of course. Errata help from Ellen Martin-Friel. Venus, Perpetua, Méridien, Garamond, Ashley Crawford and Magister types on Transmarque, BFK Rives and GF Smith Colorplan papers. 

Edition of approx 80 copies, many retrieved from the waste bin after the dinner.

Grief’s Broken Brow is a new commission for Poetry As Commemoration containing poems & artwork inspired by the Irish War of Independence & Civil War archives. Launching November 22nd and the Museum of Literature Ireland. All welcome.
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Design & letterpress printing by Jamie Murphy 
Studio assistance by Ellen Martin-Friel 
Suite of new artworks by James Earley 
Suminagashi marbling by Louise Gaffney 
Binding by Duffy Bookbinders 
Arts producer for UCD was Catherine Wilsdon
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Introductory essay by Lucy Collins 
Afterword by Daniel Ayiotis
Poetry by Seán Hewitt, Padraig Regan, Chiamaka Enyi-Amadi, Nithy Kasa, Victoria Kennefick, Paul Muldoon, Stephen Sexton, Martina Evans, Aifric MacAodha, Bebe Ashley 
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Film by Ruairi Conaty
Poem: 'Wound' by Chiamaka Enyi-Amadi
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Poetry As Commemoration is a UCD Library initiative in partnership with Poetry Ireland and Arts Council NI supported by Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media under the Decade of Centenaries programme 2012-2023

haiku na feirme

Poetry by John FitzGerald. Visual interventions, design, typography and letterpress printing by Jamie Murphy. Irish handmade paper by Griffen Mill. Binding by Tom Duffy. Videography by Ruairi Conaty. Poems read by John FitzGerald.

The prospectus for CARBON was completed just ahead of Codex VIII, and it was very well received over the four days of the book fair. The type is letterpress printed from the new woodletter and the paper is taken from the 260kg of custom watermarked Velké Losiny handmade that is intended for the project. The measure is 420mm x 300mm approx (as the book will be), 16 pages.

Carbon is the basis for all life on earth, and the harbinger of our demise. In this hypnotic prose poem / essay Jessica Traynor (Liffey Swim, 2015 and A Modest Proposal, 2017) contemplates this element in its many forms, following a meteor’s flight, picking through WWII bombsites, visiting geodesic domes, seventeenth century laboratories, Plato’s cave, and pushing ever deeper below the earth’s crust in search of wild spirits, and the black lake at the heart of all things.

Inspired by the aesthetics of hand-typed scientific reports and woodtype printed protest posters, Jamie Murphy has interpreted the text by employing a new mono-spaced typeface developed specifically for this project in collaboration with type designer Bobby Tannam. In an effort to capture the materiality of the subject, evidence of carbon rich matter emerges throughout the book in the form of smoke, lampblack, soot, charcoal, peat, graphite and diamond.

Designed & letterpress printed by Jamie Murphy. The book will be typeset in six line (one inch high) Carbon Mono, a new woodletter designed for this book by Bobby Tannam, cut from end grain beech by Scott Cameron.

80 books will be bound by Marc Hammonds. 54 numbered copies on 200gsm handmade paper from the Losiny mill in goat & carbon painted paper over boards, housed in a solander box. 26 lettered copies on 200gsm Losiny handmade, bound in full (carbon altered) goat, accompanied by a second copy of the book on & in blackened, diamond infused 200gsm Losiny handmade paper, along with a portfolio of extra printed materials and artefacts, all presented in a cloth covered solander box.

Intended for publication in 2022. Please enquire for printed prospectus and pricing details.

Ireland’s rural landscape is both subject and setting in this new sequence of twenty haikus by John FitzGerald (Darklight, 2018). The traditional Japanese haiku’s observance of nature is adapted to a new Hibernian hybrid which fuses perception with experience to create distinct occasions of meaning and sound. Taking his inspiration from the land and its plant, animal and human inhabitants, these poems are offered as verbal exclamations, short instances of lived and felt experience which follow the seasons and celebrate the richness and diversity of life on the land. Jamie Murphy has produced six abstract woodblock prints which act as pauses in the text. These visual interventions are inspired by the poet's immediate landscape and printed from 300 year old Irish oak which fell there some years ago.

Designed, typeset and letterpress printed by Jamie Murphy at his newly finished home studio. John FitzGerald penned the haikus from spring 2019 through to summer 2021. The type is Frutiger’s Méridien Italic (1966), printed onto damp 65-130 gsm Griffen Mill, the last remaining sheets of Irish hand-made paper, purchased from the mill on their retirement in early 2020. The visual interventions have been printed directly from prepared oak blocks onto 39 gsm Japanese Hosokawa. 

We're aiming for 100 copies. The bindings will be executed by Tom Duffy and family, my long time binding collaborators based in Dublin. 70 numbered copies will be quarter bound in painted Griffen Mill paper over boards, held in a slipcase. Marked i–iv, four similar copies will be reserved for collaborators. 26 lettered copies will be bound in altered goat, presented in a cloth covered solander box.

Originally intended for release in 2020, I now hope to launch the book in December, 2021. The book will launch at €1250 (deluxe) and €550 (standard). A small number of both standard and deluxe copies are available now at a pre-publication discount of 20% (€1000 / €440). Please enquire.

This piece is being prepared for Extraction; Life At the Edge of the Abyss, a large art project instigated by the Codex Foundation USA. This piece will be one of 26 that make up a portfolio intended to raise funds for the project.

From the Colophon:

In May 1978, while hand-cutting turf on Meenybraddan bog in County Donegal, a woollen cloak was uncovered about one metre below the surface. When opened, the cloak was found to contain a partially preserved human body. A sample of bone established a date of c.1570, confirming the late medieval period suggested by the cloak.The absence of oxygen in Irish bogs slows down the process of decay, preserving organic material for thousands of years. 

Designed, composed & letterpress printed by Jamie Murphy for Extraction; Art on the Edge of the Abyss. The type is Frutiger’s 14D Méridien. Printed above is an ink mixed with peat dust. 100 copies on various 115 gsm Griffen Mill Irish handmade papers.

Please join us for the launch of NINE SILENCES.

In this new suite of poems, Doireann Ní Ghríofa responds to artwork by Alice Maher. Nine Silences is a consideration of the embodiment of silence, mermaids, and the monstrousness of the feminine, deepening into an exploration of female desire and domesticity. Alice Maher’s (fragmented) woodcut makes visible the tensions between language and silence, autonomy and substance. Through the book’s design and production, Jamie Murphy has nurtured the delicate relationship between text and image, creating a powerful narrative guided by space, typographic sensibility and a deep awareness of materiality.

Doireann Ní Ghríofa, Alice Maher and Jamie Murphy will be joined by Fiona Kearney (Glucksman Gallery, UCC) in a conversation about the making of this new artists’ book. They will explore the ways in which the collaborators interacted with site, materials, production tools / values and collaborative working methods.

2 pm – 4 pm, November 17th, 2018

Crawford Art Gallery, Emmet Place, Cork, Ireland

Darklight comprises a suite of new poems by John Fitzgerald surrounded with an etching by Dorothy Cross. The concept of the book in both its subject matter and in its materiality centres on the darkness of night.

About the collaborators: 

John FitzGerald is a graduate of University College Cork (BA in English and Philosophy, 1983), University College Dublin, and the University of Wales at Aberystwyth. Following some time working as an IT specialist in the private sector in Ireland and the UK, and as a librarian at Trinity College Dublin, he became University Librarian at University College Cork in 1996, where he also currently holds overall responsibility for the Cork University Press. John is the winner of the 2014 Patrick Kavanagh Poetry Prize; he was shortlisted for the 2015 Hennessy New Irish Writing Award; and in 2016 he acted as a jury member of the Poem for Ireland campaign, launched by RTE. His poetry chapbook ‘First Cut’ was published by Southward in 2017. He lives with his family on a farm in Lissarda, County Cork.

Dorothy Cross' work ranges from object to opera: working with sculpture, photography and video. The themes of her work have dealt with memory and inheritance, sexuality and desire, and the position of the human in nature. Her work came to mainstream public attention with her solo show Ebb at the Douglas Hyde Gallery, Trinity College, Dublin in 1988. This was followed by several major shows: Powerhouse at the ICA Philadelphia (1991) and Even, at Arnolfini, Bristol, England (1996). These shows were made up of large sculptures that often contained found objects both from her family and from studios such as the Pigeonhouse power station in Dublin Bay where she worked for four years in the early 1990s. She represented Ireland at the Venice Biennale in 1993 and the Istanbul Biennial in 1997 with her Udder series. Her best known public work is Ghost Ship, where she painted a de- commissioned lightship with phosphorous paint and moored it in Dublin Bay, where it glowed at night for several weeks in the winter of 1999. In 2013 An Post released a stamp celebrating the Ghost Ship. In 2005 a major retrospective of her work was held at the Irish Museum of Modern Art. Dorothy now lives on the coast of north Galway.

The type has been hand-set in 14 and 24 point Méridien, designed by Adrian Frutiger. The image by Dorothy Cross has been produced in two variants; the etching that covers the standard book was printed by Suzannah O’Reilly Mullaney, the phosphorescent images that accompany the deluxe book were first silkscreen printed by Jordan McQuaid before intaglio printing by Suzannah. Both image variants were printed on 54gsm Japanese Tosa Shi. Darklight has been printed in an edition of 80 copies. The bindings will be executed by Tom Duffy and family in Dublin’s Five Lamps area. Housed in a transparent perspex slipcase, copies marked 1 – 50 have been printed on and will be bound in handmade paper commissioned for this book from the Velké Losiny Mill in the Czech Republic. Copies marked A – Z have been printed on the Velké Losiny paper and will be bound in full Pentland goat, presented in a Japanese cloth covered solander box. 

The task of producing the phosphorescent image by Dorothy Cross is very tricky. The phosphorescent layer requires silkscreen printing to achieve the rich glow and to keep an even tone (I’v made phosphorescent ink for letterpress in the past and it’s very troublesome). The silkscreen is water-based and will try to warp the paper. The intaglio image will be produced at great pressure onto paper dampened for a second time. Then the paper will need to be flattened once again. I want it to be delicate and thin like only handmade Japanese papers are. So, it will need to be produced in two parts, first silkscreen printed by Jordan McQuaid in Dublin City before intaglio printing by Suzannah O'Reilly at Parallel Editions in Limerick. The paper for the image has been sourced from Kawanaka, Japan. I’m very excited to see how these processes work out.

The book is currently at the bindery. I hope to launch the book during December 2018. The books will launch at €1250 (deluxe) and €450 (standard). A small number of both standard and deluxe copies are available now at a pre-publication discount of 20%. Please enquire.

Further copies of both variants of TOWN have arrived from binder Craig Jensen in Texas and will be shipping this week. Packing, packing, packing!

Throughout the making of the poems Doireann Ní Gríofa had access to a recent collection of Alice Maher's woodcuts which she had made in collaboration with Parallel Editions in Limerick. These images would become inspiration for the poetry and so I thought it would be best to in some way incorporate a woodcut into the book. In discussion with Alice we decided to take a silhouette which had been a source of inspiration to Doireann and to make something new with it. I'm hoping to achieve a number of full impressions for the deluxe copies and to then break the woodcut down to include in the printing of the book. This will symbolise the defragmenting of the female body, a theme relevant and appropriate to the project. This defragmented image will be scattered throughout the book where will it will take the form of abstract but interesting forms, a subtle suggestion of female form.

NYC BOOK LAUNCH: This special one-night event will feature an exhibition of hand-printed photographs by Rich Gilligan, a live poetry recital by Annemarie Ní Churreáin and Jamie Murphy will talk about the making of the book, exploring the ways in which the collaborators interacted with site, materials, production tools / values and collaborative working methods. Belinda McKeon will host a discussion about the project with the artists.

Please contact for printed prospectus.

7pm – 9pm, July 17th, 2018

American Irish Historical Society, 

991 Fifth Avenue, New York, NY 10028

RSVP to Sophie Colgan: scolgan@aihs.org

Link to video piece: https://vimeo.com/277675093

Nine Silences will comprise of thirteen new poems by Doireann Ní Gríofa which will weave through a scattered, defragmented woodcut by Alice Maher. The project originated with Alice's finding of a stone carving at Kilcooley Abbey in County Tipperary. The carving, located many miles from the sea, clearly depicts a mermaid and two fish, possibly a salmon and a carp. Both Alice and Doireann will here investigate themes of, amungst others, the body as a hybrid and the female form in folklore. The themes of water and the sea will greatly inspire the book's design and materiality — water has played an integral part in the making of the vintage handmade paper, Carrigeen Moss from the West coast of Ireland is a major factor in the making of the newly commissioned marbled paper and salmon leather will be used in the deluxe bindings.

About the collaborators: Doireann Ní Ghríofa is a bilingual writer whose books explore birth, death, desire, and domesticity.  Awards for her writing include the Rooney Prize for Irish Literature, the Michael Hartnett Prize, and a Seamus Heaney Fellowship. She frequently participates in cross-disciplinary collaborations, fusing poetry with film, dance, music, and visual art. Recent/forthcoming commissions include work for The Poetry Society (Britain), RTÉ Radio 1, University College Cork, and The Arts Council / Crash Ensemble. She writes "with tenderness and unflinching curiosity” (Poetry Magazine, Chicago). Alice Maher studied at the University of Limerick and the Crawford College of Art, Cork. She was awarded a Master’s degree in Fine Art from the University of Ulster and shortly after a Fulbright Scholarship to San Francisco Art Institute. Her work involves many different media including painting, drawing, sculpture, print, photography and installation. She has exhibited widely in Ireland, England and the United States, and represented Ireland in the 22nd São Paolo Bienal. In 2008, the David Nolan Gallery in New York hosted a solo exhibition of new drawings and sculptures titled Hypnerotomachia. In 2007, a large survey show of her work, Natural Artifice, was held at the Brighton and Hove Museums. Also in that year she completed a major drawing installation, The Night Garden, for the Royal Hibernian Academy in Dublin. 

The type will be hand-typeset in 14 and 24 point Méridien, designed by Adrian Frutiger in 1957, cast here by Rainer Gerstenberg. An edition of Alice Maher’s woodcut will first be printed from the original block for inclusion with deluxe copies. The woodcut will then be broken up and scattered throughout the book where it will weave its way through the poetry. The vintage handmade paper was produced in the 1970s by the Wookey Hole Mill for the Stanbrook Abbey Press. The marbled paper will be prepared by Jemma Lewis based on the theme of the sea.

The book will be printed in an edition of 80 copies. Copies marked 1 — 50 will be bound in marbled paper over boards, housed in a clear perspex slipcase. Four similar copies marked i — iv will be for collaborators. Copies marked A — Z will be half-bound in salmon leather and marbled paper and housed, accompanied by a chamise containing a folded printing of the original woodcut, in solander box. The bindings will be executed by Tom Duffy and family in Dublin’s Five Lamps area. 

I hope to launch the book in Autumn, 2018. The book will launch at €950 (deluxe) and €550 (standard). A small number of both standard and deluxe copies are available now at a pre-publication discount of 20%. Please enquire.

Rich Gilligan shot the images for TOWN over the last days of 2017. He walked for miles through Dublin streets with a view to capturing a moment in time, never to be repeated again. The 35mm rolls were then sent to Barb Wilson in London for processing. Barb in turn sent contact sheets to Rich in New York where the edit was selected and finalised. Videographer (and previous TSP assistant) Ruairi Conaty followed Rich one afternoon and captured some wonderful footage of the artist at work for an upcoming video piece.

TOWN will comprise of ten new poems by Annemarie Ní Churreáin and a series of new photographs by Rich Gilligan. The book will serve as a snapshot of Dublin City, affectionately known to locals as 'Town'. The interplay of text and image will be facilitated by a series of staggered folding pages. The book will be printed on newly commissioned handmade paper with the tipped-in images all exposed by hand onto resin coated paper.

About the collaborators: Annemarie Ní Churreáin is a poet from North West Donegal. She has been awarded literary fellowships by Akademie Schloss Solitude (Germany), Jack Kerouac House (Florida) and Hawthornden Castle (Scotland). Her work has been published in Poetry Ireland Review, The SHOp, The London Magazine, Agenda Poetry Journal and The Stinging Fly.In 2016, Annemarie was the recipient of a Next Generation Artists Award from the Arts Council of Ireland. In 2017, Annemarie was appointed to the Writers In Prisons Panel co-funded by the Arts Council & the Department of Justice, Equality and Reform. She is second place winner of the 2017 Red Line Festival Poetry Award. Her debut collection BLOODROOT was published in 2017 by Doire Press. Rich Gilligan is known for his distinctive approach to fashion and portraiture, with a style that exists somewhere between classic reportage and fine art photography. Rich's photography has been widely exhibited, with recent shows in Dali, Malmo, Dublin, London, Munich, Los Angeles, New York, Paris, Sydney and Copenhagen. He was awarded the 2013 Showcase Photography Award from the Gallery of Photography, Dublin for emerging talent in Europe and was recently selected by Time Magazine as one of the top nine photographers to watch. Rich is currently based in upstate New York.

Designed in 1957, the type will be set Adrian Frutiger’s Méridien in 14 and 20 point sizes. Rich Gilligan’s photographs were shot over the last days of 2017. They will be enlarged from the 35mm negatives onto resin coated paper by Barb Wilson at her studio in London. The watermarked handmade paper is 200 gsm, commissioned for the book from the Velké Losiny Mill in the Czech Republic.

The book will be printed in an edition of 80 copies. Copies marked 1 — 50 will be bound in hand painted book-cloth over boards, housed in a cloth covered slipcase. Four similar copies marked i — iv will be for collaborators. Copies marked A — Z will be bound in full alum tawed calf leather and will each be housed, accompanied by a portfolio containing eight further photographic prints, in a painted cloth covered solandar box. These bindings will be executed by Tom Duffy and family in Dublin’s Five Lamps area. 

I hope to launch the book during Summer, 2018.