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From an early age our taught response is to look at
language and unpack the meaning behind it - so even when it is used in
an image there is still that pull to read what the text says. This creates
a conflict - the image being something you 'look' at whereas the text
is something you 'read'. It doesn't sound like much but the process is
done in completely different parts of the brain. And it is around this
gap that Sam Winston bases most of his work.
Says Winston
I began to use typography when I started to
write. This may sound rather obvious but I found
writing incredibly difficult and its format certainly
restrictive. What then started was a fascination with
language and a desire to use letterform to explore it.
Over the years this has led to a series of outcomes
(graphic projects; self publishing), but predominately, interest came
from galleries and collectors: so the
results began to be called artworks and artist's books.
My work is always about
finding structures in already-existing language,
whether it's inside the text, the typography or the
structure or the book itself.
Biography
Winston's typographic stories became widely
collectable after he started selling them through
London's ICA. His books can now be found in the
special collections of MoMA New York, the Tate
Galleries London, the Victoria & Albert Museum and the
British Library. Winston is also a visiting lecturer
at various universities including The Royal College of
Art and Camberwell College of Art. He has written for
Baseline magazine and worked on various design
projects, most recently the third Muse album, and
typographic consultancy work for Ogilvy & Mather.
For Art and Sacred Places Winston worked with the Newport
quaker Meeting - see Six Sacred Sites 2005/7
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