you know how many people i’ve known who’ve targeted and repeatedly knowingly made sexual advances on children that have turned out to be huge misunderstandings and not behavioral patterns? ha ha! that’s a big laugh! none! not a single one! not one! adults don’t sexually proposition children over and over accidentally! what’s that? i saidadults don’t sexually proposition children over and over accidentally! whoops, i accidentally asked you to send me topless pics of yourself! oops, my hand keeps slipping and typing out graphic sexual messages and they keep sending over and over! i’m such a klutz! there’s something wrong with my mouth that keeps asking you to sleep in my bed in my hotel room! oopsy daisy! i tripped and spilled my vodka into your mouth. can you believe my luck? my cat was on my keyboard and he sat on the keys wrong and typed out a skype message implying that i would imply that you’re a vengeful bitch if you ever say anything about this online! the little guy doesn’t know any better!
Alright, I’m going to be very blunt right here right now, I am pissed. No pissed is not a strong enough word for it, I am outraged, I am infuriated, I am livid. And the entire reason why is because Sophie made a post (an incredibly reckless post) where basically she accepts Neil Johnson’s bullshit apology on behalf of, not only herself, but Jenny and me.
Listen here. Jenny and I do not accept Neil’s apology, so much so that when Neil contacted me trying to apologize I would not let him. ‘Eden you’re such a bitch why won’t you just hear him out, man’ Why do I NEED to hear out a man who has sexually manipulated me since I was 13-15? Neil titles his apology “I am going to stop being flirty with people on the internet”. Good! I’m glad you’re taking that initiative for yourself. But let me just say that the moment you stop saying things like “you’re so smart for your age” and “you’re so pretty lalalalalala” and start implying the sexual things you want to do to MINORS it stops being flirting and it starts going into “I am being unfaithful to my girlfriend and also LITERALLY BREAKING THE LAW”.
I can’t believe that this is something I forgot to write in my initial post, but maybe a day after Rachel left a long trip seeing Neil, Neil starts “flirting” with me on snapchat and by flirting I mean him asking me to take my bra off and send him pictures after he sends a silhouette of himself completely naked. Yeah. Tell me that is flirting. Tell me that is completely appropriate behavior for an adult to perform when speaking to a minor.
Sophie may have realized that her post was blown out of proportion, but for Jenny and I, and it was actually very illegal. Sophie was an adult when the actions described in her post took place. I am still not an adult. I cannot legally consent in the state I currently live in for another two years. I could not even legally consent in the state Neil was living in. Hell, just for shits and giggles let’s look up if I could legally consent in Canada where Neil’s current girlfriend lives. What? Are you telling me that a 13 year old has not been able to give consent to sexual advances since 1890? Wow I guess that would leave me to believe that I have a right to still be angry and I have a right to not accept Neil’s apology that he posted on the internet and that he forced onto me even after I said “I don’t care”.
I cannot comment on Neil and Rachel’s relationship and their arrangement that allows Neil to flirt with others as he pleases because that is none of my business. What is my business is that when he sent a private apology to me he did not say “I’m sorry for flirting with you, it was inappropriate and I understand your disgust,” no he said “I really always thought our conversations were more than sexualization”. He admitted to sexualizing a minor.
Sophie, I cannot tell you how to feel about that night Neil made you feel uncomfortable and made you feel like you were enabling cheating, but I will say that what Neil did to Jenny and I was not a miscommunication.
Frankly, I cannot speak on behalf of Jenny at this point, but in retrospect, looking back at the conversations I had with Neil where he would make me feel special, and then go off and make another girl feel special, and then go off and make another girl feel special does not make me feel special anymore. It makes me feel like I’ve been manipulated and lied to. I’m sure Neil is sorry for the way he treated Jenny and I, but sorry doesn’t mean shit when Neil has entirely negatively affected the way I form relationships with men probably forever.
And Rachel it’s okay that you unfollowed me and that you have made no attempt to sympathize with the victims. I understand that you too are very hurt by the actions of your boyfriend. But just so you know, not addressing the things Neil has said to Jenny and I only makes me believe that you are siding with an abuser. And that is not okay.
Mum’s a watercolor painter. She often throws out paintings she dosnt like. I’ve taken to rummaging through her bin and recycling the odd bit here and there.
one of the books I’ve been making - think I’m gonna call this one “accessibility” since they’re supposed to have titles for the exhibition
I’m building a reference tag for a book binding class I’m taking…so you should probably ts “book binding”.
Bookbinding: How To Make a Journal from Junk Mail
I have spent the last week sorting through photographs on both my phone and camera, in order to try and get back on top of them and also update my website. I have had to go it alone with taking and editing the photographs of my finished bindings since leaving the UK and it usually takes me ten times as long as it should, hence the delay in adding them to my website!
I have added three fine bindings and two other binding commissions to my website over the last week, I have one more to add but I am waiting until the client receives it before putting up the photos publicly. I thought I would do a separate feature on each, starting chronologically with the first I finished, being a miniature binding of a book about the artist Monet.
The binding was a commission for a client in the USA, I received the book in December of 2013 and had to have it finished by April of this year to post back. In the same month that I received the book to bind, I went to New York for a holiday following a V&A work trip to Toronto. I paid a visit to the Museum of Modern Art and saw some of his paintings in person, including the wonderful, 'Water Lilies', triptych spanning the entire wall of one of the galleries.
It was the first full leather miniature I had ever bound, so rather than making a sample board as I usually do for each of my bindings, I decided to make an entire duplicate of the book in size and shape. This served two purposes; firstly to test out the binding method (in this case I had decided to do a stub binding to aid the opening of the small book), and secondly so I had something physical to keep to remind me of what methods I had used.
Firstly I pulled the book from it’s original cover, the text block measured just 65mm tall x 57mm wide x 10mm in thickness, and had a machine gilt edge that I decided to retain. I folded a double-thickness concertina, which was graduated in size with the central fold being the longest and getting shorter towards the endpapers each side - this was to create a round in the spine which wouldn’t be possible to create otherwise from a normal concertina. The sections were sewn to the concertina using a light weight 40/3 thread, and I tipped leather-jointed endpapers into the final fold of the concertina.
The concertina folds at the spine were then sewn onto two, 6mm wide tapes with medium gauge 25/3 thread, at this point I was able to back the book to create small shoulders for the boards to sit in.
Due to the stub binding structure, I was not able to create sewn headbands, so formed leather headbands instead. I painted the the top cut edge of the leather with acrylic paint to finish the ends. After this, I was able to line the spine, lace on the boards and measure out the size of the covering leather.
The content of the book was a short history of Monet’s life, including a final chapter about The Water Garden at Giverny, which was the main focus of Monet’s artistic production during the last thirty years of his life. I decided to base my design on the many paintings that Monet did of waterlilies (approximately 250 in total), many of these works were painted while he suffered from cataracts.
In order to do this, I decided to invest in some leather dyes and play around with applications of colour onto natural leather in order to build up a background wash.
Once I was happy with the background colour, I cut out coloured leather onlays for the lily pads and flowers, and applied these to the covering leather with PVA.
Then, to give the leather a more painterly quality, I used acrylic paints and applied these to the leather with cotton buds to add depth and colour variation.
Finally, when I was happy with the appearance of the leather, I added sewn detail to the water, flowers and lily pads using a variety of different coloured threads and embroidery stitches.
The reverse of the leather shows best the extent of the embroidery, I made a conscious decision to not place any of the lily flowers across the spine joints as the level of stitching on them may have impacted of the opening of the boards.
It was then time to paste the leather to the forwarded book block, tying a string around the spine to help form the headcaps, and then leaving it to dry under a light weight for 24 hours.
When dry, I was able to put down the leather joints, infill the boards, and sand before preparing and glueing down the paper doublures. I tooled the paper doublures with gold foil to suggest glints of light on the water, and I gold-tooled the cover leather in a similar manner amongst the lilies.
The top edge in more detail, with the green leather headband painted with yellow acrylic paint on the cut edge.
I made an oak box for the binding with a sliding frosted acrylic lid, in which two holes were cut to view sections of the binding through when the lid was closed.
And finally, I made a cloth covered box to house the wooden container in, with the title of the book, Monet’s signature, embroidered onto the lid.
Inside the lid of this box I added a paper pouch to hold the original endpapers from the book. Although I didn’t wish to use these in my new binding of the book, I felt it important to keep them with the new binding, as they were referenced at the end of the book.
When the pouch is removed and opened, it reveals the original marbled endpapers by Faith Harrison…