Interview with Alice Fox

Can you tell us about your artistic background and your aims as an artist? 

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I retrained in textiles as a mature student after a previous career in nature conservation (first degree was in physical geography). That environmental background underpins my work now as an artist and I aim for my practice to be as sustainable as possible. I use mostly gathered and grown materials and found objects in my work. My allotment plot is the focus for my practice – I use it as a source of materials and inspiration. 

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Can you tell us about your artist books - how do you make them? And what inspired you to start making them? 

 

Making simple artists books is one of the techniques I use in my work (it isn’t the main focus of my practice but it is a really useful way of recording a place or the things found in a location). These are made as blank books (usually concertina or Coptic bound and then stained, printed or marked using a variety of techniques. I love the fact that a book structure makes a flat piece three-dimensional. It suddenly becomes an object, something interactive that can be engaged with much more actively than a flat piece behind glass. I also use book structures a lot in my workshops.

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What inspired you to start using natural resources? 

 

I have always been passionate about the natural world and environmental issues. As I said above, my background feeds into the way I work now. I am inspired by what is around me wherever I am (wild landscapes or the street outside). I want to make work that respects and celebrates that. 

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What is the distribution process for your artist books - do you sell them or exhibit them? If you sell them, is it through a publisher? 

 

Artists book forms are made as part of my process, are sometimes exhibited. I have sold some through exhibitions or private collections. They are unique artworks and I don’t class them as published items. 

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What was your inspiration for your non-fiction book, Natural Processes in Textile Art? 

 

Natural Processes in Textile Art was commissioned by Batsford, part of Pavilion Books. It was published in 2015. It is an instructional craft book and is part of their series of similar titles by different authors. I have self-published 6 books, 4 through my own imprint Stitch:Print:Weave:Press. These 6 titles (Textures of Spurn, Gifts from the Pavement, Tide Marks, Leaf Stitching, Findings, Unknown Book) all accompany exhibition projects and function in part as exhibition catalogues, but also tell the story of how the work developed.

 

What was the process of finding a publisher like - did you approach various publishers or were you approached by a publisher? 

 

With Batsford I approached them initially, having had my work featured in a previous title by another author. It was very speculative but I felt I could write a book that fitted their style of publishing. 

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Can you tell us about the publisher you chose for your book? Why did you choose this publisher in particular? 

 

I think it is appropriate to talk about the self-published titles here… The first of the 6 titles was made when I undertook a residency project at Spurn Point NNR, East Yorkshire. I had Arts Council funding for the project, so used some of the grant to put together a publication. A friend who had done some self publishing laid out the book to my design and she published it under her own press. The second was done in the same way and then I decided this was something that really worked for me to accompany projects and that I wanted to continue to publish myself. I bought some ISBN numbers, registering as a publisher in the process, had a couple of hours crash course in InDesign with another friend and found a local printer I wanted to work with. Each time I’ve published a book since I’ve learnt more. These books have become a ‘product’ I can sell that shares my work with people who have either seen it in exhibition or follow me on social media etc. 

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After finding a publisher, what was the process of having your book published? How much control did you have over different aspects of the publishing process? 

 

Again, I think we are talking about self-publishing here… Some of that is described above. Now that I do the whole thing myself I have complete control – I do the photography, layout etc. My relationship with the printer is key here too. They have been very supportive each time I’ve worked with them. I’m not a graphic designer but they allow me to ask silly questions without me feeling stupid!

 

Who were the different people you worked with during this process? What can you tell us about their roles in the publishing process? 

 

With Batsford I worked with the publishing director over commissioning and contract and then with an editor and a photographer. For the self-publishing, as I explained above it’s just me and the printers.

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Do you have any advice for non-fiction writers hoping to get published? 

 

If you have an idea and can find a publisher that produces books that fit your work then there is nothing to be lost in contacting them speculatively. Having a contact or some kind of introduction is probably useful. I find that self-publishing works for me but I do have a certain following for my work that enables me to market those books to sell directly. There is an outlay for the printing but I know that over a period of time I will make that back. I do have to store the books in the mean time!

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Was there anything you noticed about inclusivity or diversity within the publishing industry? Does the industry strike you as inclusive or exclusive? 

 

I’m not sure I can answer that really. I think once you have the attention of a publisher and you can develop a relationship that is great. It could be hard to break through into that position though.

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