THE VISUAL AND CONCEPTUAL ROLE OF PAPER IN AN ARTIST'S BOOK

Abstract

The article analyzes the use of paper in the art of the artist's book as a carrier of image and material that determines the ideology of the project and identifies the priority ways of using paper as an art object in the artist's book. The article examines the development of the use of paper in the context of the visual component of the artist's book in historical and local aspects. Methods. The study is based on empirical research methods, study of the source base, formal and stylistic method, and interviews with artists. Results. The artist's books, made in the technique of cutting and die-cutting, reveal paper as a selfsufficient product of human cultural activity, which is a carrier of form, has a rich historical and cultural content and is able to concentrate the spirit of the era. Attention is focused on the modern perception of this material, as opposed to the usual transmission of visual, textual or other information on a sheet. Paper can symbolize ephemerality and eternity at the same time. Qualitative improvements in the production of paper are important in the process of creation. This expands the field of activity of contemporary artists and allows them to realize current ideas in the language of paper. Paper as a sheet, paper as an author's work, paper as an openwork three-dimensional composition – these are the new manifestations of the material in contemporary art. Conclusions. The artist's book as a synthetic artistic phenomenon is an important object for researching the manifestations of original techniques and materials. It is in this artistic practice that paper has the opportunity to show its "additional" resources, the possibilities inherent in this material alone to enhance the idea or as the main carrier of the image. Paper moves from the role of a passive carrier of an image or text to the main pictorial component of the work, a nd becomes an artistic factor itself. The purpose of this article is to analyze the use of paper in the art of the artist's book as a carrier of image and material that defines the ideology of the project and to identify the priority ways of using paper as an art object in the artist's book. The use of printed paper, newspapers, or book blocks as recycled materials is more common in the works of American and European artists. In most cases, artists embody in this way the ideas of reincarnation, recycling of cyclicality in the layers of cultural and social paradigms. Another powerful area of using paper as a self-sufficient material is the Handmade Paper Book, a book made of handmade paper (or scooped paper). Such projects attract artists with the opportunity to make a book with their own hands from the basics and control the subtl e nuances of the future image. It is worth noting another property of paper in the art of the artist's book, which affected their plastic qualities and is commonly called "the feeling of the material". Paper, although not a very durable material, is convenient for artistic processing and has a wide range of expressive means. The emphasized illusory nature of such a material as paper emphasizes the fragility and impermanence of existence, as if visualizing the idea that time is a set of moments, and real existence is a constant transition from the past to the future.