Petr Herel

The artist's book has allowed Herel to linger between the written word and the figurative image for more than three decades. In 1976 Franz Kempf remarked that Herel's images are " ... spontaneous in their conception, the final form crystallized in the intention to find harmony between the subconscious and the conscious, the real and the unreal."Franz Kempf. Contemporary Australian Printmakers. Lansdowne Editions. 1976. Pp. 98. Kempf's statement could also describe the behaviour of the poet or a reader of poetry, which is arguably why Herel found himself making artist's books. Sasha Grishin, art historian, suggests that it is Herel's interest in literature (most notably in Czech, French, and English) that led Herel to make artists books: "The literary influence may serve as the initial point of departure for a very personal path of exploration."Sasha Grishin. ‘New Directions in Contemporary Australian Printmaking.’ Contemporary Australian Printmaking. Craftsman House. 1994. Pp 162. Grishin demarcates the 'personal' from more typical illustration suggesting that Herel is not only exploring the text, he is also exploring himself. Grishin isn't the only art historian to notice the 'personal' in Herel's books. Anne Gray, art historian, elaborates on this point: "[Herel’s books] are unique and intensely personal works,..."Anne Gray. Introduction. Petr Herel: An Exhibition of Artist Books at the National Library of Australia. National Library of Australia. 1989. Pp.5 Gray's description might call a typical diary to mind, but she assures us this is not the case with Herel's books: "... although superficially similar to artists’ sketchbooks, [Herel's books] differ in that they were created with an idea of unity".Anne Gray. Introduction. Petr Herel: An Exhibition of Artist Books at the National Library of Australia. National Library of Australia. 1989. Pp.5 Unlike an artists sketchbook or a diary, Herel's books are more conscious of what they are to contain, and how their contents will be delivered: "Herel’s books are blend of image and text, in which both have integrity and are enhanced by being placed together."Anne Gray. Introduction. Petr Herel: An Exhibition of Artist Books at the National Library of Australia. National Library of Australia. 1989. Pp.1 As early as 1975, Elizabeth Cross identified Herel's inspiration coming from "... the work of Henri Michaux. ... [and] the less well known delicately evocative use of calligraphy in transforming figurative studies. They share a lyricism and spatial flexibility with many of Herel's works."Elizabeth Cross. Imprint. Number Three. The Print Council of Australia. 1975. Pp. 2

There have been two presses which Herel has made the majority of his titles under. Labyrinth Press which he co-founded with Thierry Bouchard in 1980, and Uncollected Works Press which Herel founded in 2007.

In 1980, Herel, who was then living in Canberra, Australia, co-founded Labyrinth Press with Thierry Bouchard in France. The last title from Labyrinth Press was in 2007. Bouchard's health resulted in their Labyrinth Press coming to an end. Bouchard died in 2008.

In 1991, Herel had used the imprint 'Uncollected Works' for Ruth Cowen's 'Real Estates of the Heart'. In 2007, Herel produced the first title under Uncollected Works Press in Melbourne.

In 1979, he became the head lecturer of the Graphic Investigation Workshop (GIW) at the Canberra School of Art (renamed the Canberra Institute of Arts at the Australian National University in 1986). "[The Graphic Investigation Workshop] fostered an artistic sensibility coupled with a sense of technical excellence, rather than expertise in any given medium."Sasha Grishin. 'New Directions in Contemporary Australian Printmaking.' Contemporary Australian Printmaking. Craftsman House. 1994. Pp 165

An advocate of the artist's book he introduced his students to the book as a vehicle for graphic expression. In 1994, he co-founded the Artist's Book Studio with Peter Finlay. Herel designed the first major publication for the Artist's Book Studio – 'And Still I See' by Udo Sellbach (1995).{{Cite web|url=http://trove.nla.gov.au/work/21571917|title = Trove}} In 1996, the studio was renamed the Edition and Artists Book Studio). In 1998, Herel retired from teaching and the GIW closed. In almost two decades the staff, students and visiting artists of the GIW created 246 artist's book titles, Herel presented the GIW collection of books to Australian National University, Canberra.{{Cite web|url=http://anulib.anu.edu.au/using-the-library/collections/rare-books-special-collections-and-manuscripts/petr-herel-collection/|title = Rare books, special collections & manuscripts - ANU Library - ANU}}

Truth About Monsters: (Letter to a Visionary Engraver) {{Cite web|url=http://m.artgallery.nsw.gov.au/collection/works/51.2008.1.a-s/|title = Jean Tardieu, the truth about monsters (Letter to a visionary engraver), 2007, by Petr Herel}} (2007)

– Text translation by James Grieve.

The Third Book of Gaspard de la Nuit. The night and its Wonders (2008)

Longing for the Earth (2008)

Poems and Days (2009)

– Text translation by James Grieve.

Pascal Commère (2009)

– Text translation by James Grieve.

The Nine Doors to your Body (2011)

Mlčeni (2011)

L’ Irréveillé (2011)

The Distant Present : Three Poems from ‘The Book of Epigrams’ (2011)

Bibliographie des livres imprimés en typographie de 1975 à 2006 par Thierry Bouchard sur ses presses de Losne. (2012)

{{Reflist}}

{{Authority control}}

{{DEFAULTSORT:Herel, Petr}}

Category:1943 births

Category:2022 deaths

Category:Australian printmakers

Category:Czechoslovak artists

Category:Academy of Arts, Architecture and Design in Prague alumni