LEEDS SURREALIST GROUP will have a Surrealist Editions table at this year’s International Contemporary Artists’ Book Fair on Saturday 5th & Sunday 6th March at The Tetley, Hunslet Road, Leeds, LS10 1JQ.
For further information: here and The Tetley website
LEEDS SURREALIST GROUP will have a Surrealist Editions table at the Artists’ Book Market on Friday 16th & Saturday 17th October at the Manchester School of Art’s Holden Gallery.
For further information see the MABF website here.
LEEDS SURREALIST GROUP will have a Surrealist Editions table at this year’s International Contemporary Artists’ Book Fair on Saturday 7th & Sunday 8th March at The Tetley, Hunslet Road, Leeds, with a launch event from 6pm on Friday, 6th March.
For further information: www.leedsartbookfair.com and thetetley.org
LEEDS SURREALIST GROUP will have a Surrealist Editions table at this year’s International Contemporary Artists’ Book Fair on Saturday 8th & Sunday 9th March at The Tetley, Hunslet Road, Leeds, with a launch event from 6pm on Friday, 7th March.
For further information: www.leedsartbookfair.com and thetetley.org
24 pages ◊ A5 format ◊ July 2011
ISBN 978-1-906238-02-5
Price inclusive of postage & packing:
£5.00 UK ◊ £6.00 Europe ◊ £7.00 Rest of the World
Buy online at www.surrealisteditions.co.uk
Cheques / POs / IMOs payable to “Surrealist Editions” to be sent to: Surrealist Editions, 6 Aberdeen Grove, LEEDS, LS12 3QY, England
POEMS BY STEPHEN J. CLARK &
PHOTOGRAPHS BY BILL HOWE
in a limited edition of 350 numbered copies
ISBN 978-906238-01-8
Price including postage & packing
UK £ 8.00 • Europe £ 9.00 • Rest of the World £ 11.00
AIRMAIL: £1.90 Europe – £3.20 Rest of World
SURFACE MAIL: £1.60 Europe & Rest of World
Buy online at www.surrealisteditions.co.uk
Please send cheques, postal orders or IMO’s payable to “Surrealist Editions” to: Surrealist Editions, 6 Aberdeen Grove, LEEDS, LS12 3QY, England.
The Bridge of Shadows was a project worked on over several years by Stephen J. Clark and Bill Howe, to explore the creative interplay of photographic and verbal images. The photographs are not in any way illustrative of the poems, nor were the poems written in response to the photographic images, both having been created entirely separately, with differing motives. The combination of these poetic artefacts constituted a game of revelation. Through this associative ‘sifting’ of evidence, subtle relationships were revealed and developed between the photographs and poems. Not only standing as an example of the intimacy of collective surrealist activity, the book also becomes an open invitation to its readers to roam in its haunted confines, to play their own revelatory games.
