Artist Sarah Bridgland created the cover for issue 18 by cutting up back issues and reassembling them into a new dimensional collage.
“I don't really consider myself an illustrator,” asserts Sarah Bridgland. “Most people know me for my intricate three-dimensional paper works, made up of typography and printed ephemera. My background is in fine art, and most of what I do involves working with galleries and making work for exhibitions, art fairs and commissions for museums and individual clients.”
“Most of my work is self-led, and the creative process starts with me going out and looking for printed ephemera that I can work with. I tend to go to second-hand book shops, junk shops, car boot sales and flea markets. From this material I cut out the imagery that I find visually stimulating—graphic symbols, typography, punctuation marks, printed page borders, etc. Once I have a large collection of cut out shapes to work with I start to build my paper sculpture. It's a slow but organic process.”
Sarah doesn’t plan the final piece from the outset. “I glue one cut out shape down and then the next cut out shape goes down in response to the one that's already there. It's an improvisational process. Fundamentally, my work is about arranging and reorganizing space and creating a sense of balance between different graphics, typefaces, colours and textures.”
This text is adapted from Work/Life 3: the UPPERCASE directory of illustration.
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