Book printed by hand on Velato Avorio paper – 200gsm for pop-up pieces and 280gsm for silkscreen spreads.
Silkscreened with black waterbased ink for all spreads but one – printed in a black+transparency for gray.
Solely glue binding and no sewing (bound the same way as the “jungle” book binding technique).
All pages but one are glued together with archival glue, one spread is taped together using double-sided archival framing tape.
Cover is Irish Linen book cloth silkscreened with opaque white water-based silkscreen ink.
11 double spreads; 5 pop-up spreads, 5 silkscreen pages (one with reflective tape), 1 pull down page with 7 moving pieces.
Silkscreen printed by Ingird Schindall; assisted by Chad Cordeiro, Luke Crossley and Neo Mahlasela.
Production and assembly: Charlotte Johnson, Karena Liebetrau, Tanya Sack, Kate Arthur.
Acknowledgement: Alan Jeffery at Brenthurst for his assistance with providing information, sourcing materials and use of his studio.
Jack's specific entry reads:
The artist's signature, the edition size and date can be seen through a peep-hole in the final pop-up of the book.
Bound in decorated cloth with no title.
From the catalogue: The limited edition artist's pop-up book functions as the binding work of the exhibition, encompassing Hobbs' conceptual practice of engaging the field of architecture as a site for visionary thinking. The work itself is a form of paper architecture, concealing within its two dimensions extraordinary three-dimensional structures and mechanisms. The book was conceptualised with Ingrid Schindall, a printmaker specialising in book-binding and paper engineering, who spent some time at DKW between February and April. The work contains ten silkscreened, black and white double page spreads, six of which contain pop-ups of variable moving mechanics. The spreads include found text and handwritten mind-maps, stylised networks and city grids, scaffolding and empty billboard structures, blocked patterns and optical illusions, which team up with the imaginative wonderment of the paper engineering techniques to demand an absorptive process of looking. As a fictional urban environment between two covers, created in the visual language that emerged through the development of the prints, woodblocks and trial proof manipulations, the pop-up book is symbolic of the 'imagined space in which we live.'
The decision to work only with black and white in the book also provides a visual link to dazzle camouflage, a zebra-like pattern used particularly on gunships in the early 1900s to fragment the visual field of enemy sites in combat situations. Although dazzle patterning became obsolete after World War I, Hobbs has mined the potential that such visual deception presents for aesthetic reflection on the dystopian city, in this case the complex and abstract nature of processing information in frenzied urban environments. In Hobbs' practice as a whole, and in this case the visual language of his imagined city, the classic dualisms of utopia=dystopia, order-chaos, plan-counterplan are too static to capture the delirious urban dynamic in which he is most interested. For him, the empty billboard, the building in progress, and the illusory grid are more significant of the endless loop between material and imagination that constitutes the informal proliferation, the unruly evolution of the developing city. - Jacqueline Nurse.