Anne Goy

Bound in sea-green karung (water snake); both covers have seven mosaic points in dark blue along the spine; spine lettered in anthracite gray; in a matchbox-style box covered in dark green paper, with seven mosaic points in sea-green karung along the opening side.

In 1981, Anne Goy discovered bookbinding and began an apprenticeship in a small modern bindery. She is also pursued courses in calligraphy and studied at the Bel Libro a Ascona in Switzerland. In 1984, the desire to perfect her studies led her to Brussels in Belgium to the L’Ecole Nationale Superieure des Art Visuels de la Cambre where she was a pupil of Micheline de Bellefroid and Liliane Gérard. In the course of her studies, she undertook numerous research projects using diverse binding materials such as rubber, plexiglass, wood, and different paper treatments (embossing, folding, sandpapering, dyeing or tinting, etc.). She developed different techniques of experimental binding. In 1990, she obtained her diploma (with the highest honor). At the same time, she studied engraving at the Academy Het Rook. Since 1991 she has been working at her own studio in Brussels. Beginning in 1993, she has presented many workshops at the Atelier de Livre at the Royal Museum of Mariemont in Belgium. Several of the resulting books are in collections, both public and private. She has participated in several group exhibitions in Belgium, Switzerland, France, Germany, Austria, Holland, Canada, and, in 1993, a one-man exhibit at the Bibliotheca Wittockiana in Brussels. In 1986, 1989, and 1992, she was the recipient of the National Scholarship of Applied Arts in Switzerland.

BINDING

 “I used a simplified binding in a plain sea-green karung (water snake). On each board are seven mosaic points in a dark-blue along the lines of the title. The title appears on the spine in an anthracite gray color by Hugo Liesen, gilder. I tinted the endpaper the same color as the leather. The book is presented in a matchbox type box, covered with dark-green paper. Seven mosaic points in sea-green karung adorns the opening side. I like small books, they are like jewels. For this one, I chose to work with the skin of the karung, which gives the binding a precious aspect. I prefer in general to leave the material to speak for itself, without useless artifice. I try to put value in a limited space, while at the same time, keeping it simple and dignified. I considered here the title as being part of this space and attempted to integrate the design with the points that constitute the book. The composition uses the classic proportions of the quarter-binding, a basic design used over the centuries by bookbinders.”