S.T.©2017

Revolve:R, edition two (2015)

Curated by Sam Treadaway and Ricarda Vidal. Produced by Sam Treadaway.

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Revolve:R is a multidisciplinary collaboration based on visual correspondence, which explores a transmission of ideas, via physical and tactile forms of communication such as the postal service and book, as well as a parallel interplay online. Revolve:R, edition two is the culmination of our collaboration with a number of artists, writers and filmmakers, as well as a mathematician and a composer, from the United Kingdom, Europe, South Africa, and America over a two year duration.
Revolve:R, edition one (2013) took as its starting point ideas relating to chaos theory. For edition two it seemed a natural progression to explore and test concepts relating to chance and synchronicity. Following the same format as edition one, in autumn 2013 we - Sam Treadaway and Ricarda Vidal - sent a double-sided artwork, measuring 21cm2, to a number of internationally based artists, asking them to respond with an original artwork of their own, as though replying to a written letter. Artists were invited to use any combination of media and materials, the only rule being that the work should follow our format and, if utilizing two sides, then one should be in black and white.
We then viewed and discussed the received works together before producing a new work in reply to the collective response. At once a synthesis, edit and answer to the collected works, this was once again sent to all participating artists. This process of visual correspondence occurs six times during each project with every round, referred to as a Revolve effectively forming one chapter within each edition. During each project Revolve:R artworks are numbered and catalogued in the order in which they arrive, a process which also determines the page sequence of the editions. As Revolve:R is conceived as a continuing work in progress, the opening page number of edition two continues from the final page number of edition one. For Revolve:R, edition two, we decided to widen the ambit of our project by inviting two poets, Steven J Fowler and Anna Mace, to each write a poem in response to the collected works of three alternate Revolves.
As the project developed we then invited six filmmakers to produce a short film in reply to one of the six poems. We also invited the composer, John Matthias, to write a score for the project, using a pioneering piece of technology, known as a Neurogranular Sampler that he had co-developed. Within the publication, poems and film-stills appear as the final two pages of each Revolve. The six films and score are accessible via our website. Selected artworks from edition two are also available to purchase on the website as high quality giclée prints, each limited to an edition of /24.
As a multidisciplinary site and source for experimentation and exchange Revolve:R actively supports early and mid-career practitioners through the publication, exhibition and promotion of their work. With a strong focus on collaborative practice, Revolve:R facilitates communications between national and international arts communities, transcending geographic and linguistic boundaries, and is a vehicle for new and responsive artistic dialogue and interaction.
After two years of continuous and productive collaboration we are very pleased to present to you Revolve:R, edition two.

Bookwork: 21.5, 21.5, 4.9cm.

Card, cloth, 170 GSM paper.

Limited edition /60.

Revolve:R, edition one (2013)

Curated by Sam Treadaway and Ricarda Vidal. Produced by Sam Treadaway.

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If a butterfly flaps its wings in the tropics this might cause a storm in Antarctica. If an artist creates a two-dimensional artwork and sends it to a number of other artists around the world, this might not cause an actual storm anywhere, but it might result in a series of responses and start a colourful conversation. In October 2011 we - Sam Treadaway and Ricarda Vidal, created just such a work together, the first artwork of this bookwork.This page was made with reference to chaos theory, specifically the hypothesis of the ‘butterfly effect’ which suggests that a small change at one place in a non-linear system can result in large differences to a later state. The page was sent by post to eleven invited artists based throughout Europe and the USA.
The artists were each asked to respond to this page with a two-dimensional artwork consisting of one or any combination of the following: drawing, painting, print-making, collage, photography, or text. The only guide was that the work had to measure 21cm by 21cm and if both sides of the page were utilized, then one side needed to be in black and white. Therefore some pages in this book are black and white and others are blank.
As we received the pages we catalogued and numbered them in the order they arrived, a process which would also determine the final page sequence of the book. We then viewed the collected artwork and produced the next page, in reply to the collective response. This page was again sent to all participating artists so continuing the conversation. This cycle of correspondence, which we referred to as a Revolve, occurred six times during the project. The six pages produced by us are the only ones in the book which are in colour on both sides, each marking the beginning of a new Revolve.
With each Revolve the narrative of visual correspondence evolved between us and all members of the project. At the fourth Revolve, approximately half way through the bookwork, we decided to add new perspectives and broaden the conversation by inviting three guest artists and a mathematician to participate.
The Revolve:R project took a year to complete, almost exactly to the day. The collaborative journey undertaken, from the first to the final page has been at once challenging and rewarding. Based in six countries, many of the artists have never met one another in person, though perhaps, in time, they might. Either way, all are now connected by their involvement with Revolve:R.
When we embarked on the project our aim was that Revolve:R would act as both site and source for collaborative experimentation for diverse artistic practices, leading to the development of a new collective language, made physical in the shape of the Revolve:R bookwork. The pages in front of you have travelled many thousands of miles around the world to be with you today. It is now up to you, as the viewer and reader, to discover your own narrative within its covers.

Bookwork: 21.5, 21.5, 2.5cm.

Card, cloth, 170 GSM paper.

Limited edition /60.

A First Atlas (A Tiny Island) (2015)

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A First Atlas (A Tiny Island) is a set of mini zines produced during an Artist and Writer (with Anna Mace) residency with The National Trust, at The Cabin, Bucks Mills, UK. This historic studio was formally owned by artist and poet, Judith Ackland, and Mary Stella Edwards who worked there during the summer months (1920-1970s). The residency project reflected Acklands and Edwards' topographical interests by responding to the residency location and surrounding landscape through a series of walks and mapping processes, navigating it as both site and source of inspiration. The mini zines were a central outcome of our residency project and exhibition, which shared of the same name, A First Atlas (A Tiny Island).

Mini zines: 15cm, 10cm, 0.5cm

Graph paper and mixed media.

Limited edition /180

(') (2012)

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The bookwork (') was made in response to Reality, (Jaroslav Kozlowski, 1972), a book whose pages consisting entirely of an abstract arrangement of punctuation marks. (') references language, reading, and mark making, by exploring the aesthetic and role of the punctuation mark, in relation to text. Made by deconstructing and rebinding a travel dictionary, each and every punctuation mark, on every page was pierced, rupturing their surface and creating an braille-like texture. The design of the consisting of a sequence of embossed punctuation marks. In salute to Polish-born Kozlowski, the 'end-papers' are pierced with the word ‘punctuation’, alongside its Polish translation, ‘interpunk’.

15cm, 10.5cm, 5.5cm.

Travel dictionary, cloth, card, graph paper, acrylic stand.

The Mechanism (2013)

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The Mechanism bookwork contains a selection of eight poems written by the artist between the ages of seventeen and twenty-one years. Although read and discussed with certain friends, they were eventually filed away and forgotten.
In 2011, whilst sorting through some possessions the artist opened an atlas to find, tucked inside its cover, a number of handwritten pages. Re-reading the poems he was intrigued by parallels and connections between its verse and artworks he had subsequently made and decided to treat each poem as a score from which to make a drawing. The Mechanism bookwork is the result of that process; a meditation on one period of life, from that of another and an exercise in translation between writing and drawing.
The Mechanism bookwork was designed and bound, as a limited edition, by Arrow Bookworks in 2013. It is dedicated to all the individuals who, in a variety of ways, have supported and nurtured the artist's practice to this day.

Bookwork: 21.5cm, 21.5cm, 1cm.

Card, cloth, 200 GSM paper.

Limited edition /13.