Inkubator IV
An Exhibiton of Installed Rooms presenting Artists Books, Prints Multiples
Curated by David Faithfull (Semper Fidelis)

with invited  artists:
Sarah Jost (Norway)
David Augusto Rios Alomia (Norway)
Imi Maufe (UK/Norway)
Randi Annie Strand (Norway)
Sae Oshio (Japan)
Jozef Bajus (US/Slovakia)
Nicola Murray
Paul Harrison and Gavin Renwick (Canada/Scotland)
Dundee Print Collective (Scotland)   
Print City: Initiated by Scott Hudson and Paul Harrison

Duncan of Jordanstone College of Art and Design

and selected work from Communication Design at The Glasgow School of Art

Including Talk by DF entitled Oak Galls and Meteorites, part of the 'All Inked Up' Conference at UCA, Canterbury.

Herbert Read Gallery University of the Creative Arts, New Dover Road, Canterbury, Kent,
Friday 13th Oct, Canterbury
University of the Creative Arts, Herbert Read Gallery, New Dover Road, Canterbury, Kent,
Part of the Canterbury Festival.

INKUBATOR IV aims to broaden exposure and accessibility of the gallery viewer to the interconnected genres of Artists Books, Prints and Multiples, while satisfying one of the fundamental challenges associated with the ‘printed’ artefact.  What particular gallery environment or space can best represent the intentions of the artist and disseminate the particular conceptual and emotive qualities of their artwork, particularly in relation to the often misunderstood from of the Artist’s Book?

With some of the key elements of these ‘editioned’ art-objects being accessibility and tactility, how can the artist/maker justify the normal curatorial practice of encapsulating these pieces behind glass, in a display case or at best handled with sterile white gloves under the watching eye of an invigilator?

The concept behind Inkubator is to classify the selected works according to three distinct but inter-related ‘room’ themes – The Study, The Log Cabin and The Landscape, with the Artists’ Books presented on open display and available to be handled by the gallery visitors. This allows a refreshingly direct, hands-on experience and thereby maintains the intentions of the artists in adopting these non-hierarchal visual formats of the Artist’s Book.

The viewer sits comfortably in each space, surrounded and influenced by its particular visual ambience of accompanying Prints and Wallpaper Multiples interacting with the artworks at their fingertips. And through this actual engagement, the viewer inadvertently becomes the curator - rearranging the exhibits, whether subtly through replacing or misplacing the pieces back in the shelf compartments or through leaving particular works conspicuously placed or abandoned on the top of the shelving unit, involuntarily influencing the response and experience of the next viewer.