There is an essential paradox that distinguishes Tracey Rowledge’s work. Her practice straddles fine art and the applied art of bookbinding. She makes objects that are free from the constraints of usage, and objects whose treatment is entirely defined by function. Drawing and materiality play important roles in each.

It is the coexistence of two ways of thinking that informs the infinitely subtle judgements Rowledge is known for in her commissioned bindings, and which makes her fine art objects at times tantalizingly difficult to categorize. Whether on a book cover or a support, Rowledge’s approach elevates the tiniest of fragments - a scribble, a crumpled shopping list - into an object of beauty, a focus for thought.

Emma Hill | Eagle Gallery, 2016




Guildford College of Further & Higher Education. 1993-95
Fine Bookbinding & Conservation Diploma (Distinction)

University of London Goldsmiths' College. 1989-92
BA (Hons) Fine Art (Upper Second)

Epsom School of Art & Design. 1988-1989
Pre BA Foundation (Distinction)


'95 – '17

San Francisco Center for the Book, USA. 2017
Visiting Lecturer

Boekbinderij Papyrus, Leiden, Netherlands. 2015
Visiting Lecturer

Centro del bel libro, Ascona, Switzerland. 2015
Visiting Lecturer

Leksands Folkhögskola, Sweden. 2014
Visiting Lecturer

Sainsbury Centre, Norwich. 2014
Visiting Lecturer

St Brides Foundation, London. 2015
Visiting Lecturer

Being Open to Chance. Konstfack, Sweden. 2011
Visiting Lecturer

National Archives, Dublin. 2011
Visiting Lecturer

V&A Conservation studio. 2011
Visiting Lecturer

60|40 mentoring programme at S.D.S. London, 2009 – 13


What Isn’t Here Hasn’t Happened (with Sarah Warsop)
A two year collaboration, commissioned by Siobhan Davies Dance, which resulted in 2011, with a series of large graphite drawings which explore mark-making through choreographed movement and movement through mark-making. The drawings capture the particular qualities and character of the movement without the body being present and in this way, the mark-making and the body’s physical and emotional state are inseparable. 

60|40 (with David Clarke & Clare Twomey) 2008 – 2013
60|40 was an independent artists group, whose manifesto set out to respond/create/move/make/engage/influence/. Project by project, 60|40 aimed to expand the environment for experimental applied arts.

Tomorrow’s Past Founded in 2003
An International group of bookbinders, who make modern conservation bindings for antiquarian books. Their collective aim is to: preserve books as artefacts, contribute to the personal learning and development of bookbinders, increase public awareness and appreciation of physical books and to stimulate debate.



Artscore Artists in Residence with David Clarke, at Tunbridge Wells Museum & Art Gallery.
July 2016 – June 2017


Drop Dead Gorgeous: Fine Bindings of La Prose du Transsibérien Re-creation, 2019 San Francisco Center for the Book, USA (touring)

Figures and figurines, 2019 Rian design museum, Sweden (touring)

Collect Open 2019, Collect, London, UK (exhibiting ROOM: a work made collaboratively with David Clarke)

CODEX Book Fair, 2019 Book Fair and Symposium, San Francisco, USA

SHELVED (Work made collaboratively with David Clarke), 2018 Gallery S O, London, UK

Saatchi Gallery, London, UK

SHELVED (Work made collaboratively with David Clarke), 2018
Tunbridge Wells Museum, reference library, adult education centre and The Dog’s Trust charity shop, UK

Les Pages Bien, 2017
Cloitre de la Psalette in the Saint Gatien Cathedral in Tours, France

MAKE, 2017
Ruthin Craft Centre, Ruthin, Denbighshire, UK

CODEX 2017
Book Fair and Symposium, San Francisco, USA

The Poet of Them All, 2016
Yale Center for British Art, Connecticut, USA

Word Works. 2016
201 Bishopsgate, London, The Eagle Gallery, UK

London Craft Week, 2016
Contemporary Applied Arts, UK

The Artist's book fair, 2014
New York, USA, The Eagle Gallery

Schrift und Objekt, 2014
Gallery Handwerk, Munich, Germany

Saatchi Gallery, London, UK

Signs & Syntax. 2014
Eagle Gallery Project, London Art Fair, UK

Beautiful Readable Objects, 2013
The Aram Gallery, London, UK

Scratch Scribble Scrawl, 2013
Aspex, Portsmouth, UK

In Parallel, 2012
Ian Rastrick Fine Art, St Albans, UK.

Formed Thoughts, 2012
Jerwood Encounters, Jerwood Space, London, UK

Siobhan Davies Commissions, 2011
London, UK

U-N-F-O-L-D, 2010
Vienna, Austria, touring

Hue Line & Form, 2007
Contemporary Applied Arts, London, UK

Languages, 2005
Galerie 422, Gmunden/Austria (touring)

The Art of the Book, 2005
Selfridges, London, UK

Innovate to Conserve, 2004
Municiple Archive of Lyon, Lyon, France

Tomorrow's Past, 2003
The Antiquarian Book Fair, Olympia, London, UK.  
Salon International du Livre Ancien, Grand Palais, Paris, France.

What is Craft? 2003
Hub, Sleaford, Lincolnshire, UK

Approaching Content, 2003
Crafts Council, London, UK (touring)

Ripe, 2000
Crafts Council, London, UK

Beyond Bounds, 1999
Royal Museum, Scotland, UK (with


Dallas Museum, USA

Cape Farewell, UK

The British Library, UK

The National Library of Scotland, UK 

Victoria and Albert Museum, UK

London College of Communication Library (LCC)
part of University of the Arts London, UK

Eton College Library, UK

Fidelity, UK

Various private collections


ROOM publication with essay by Linda Sandino

The Fine Art of Craft, p.16, The Art Newspaper, Section 2, no. 279, May 2016.
The Poet of Them All  by Elisabeth R Fairburn, p.222 (ISBN 978-0-300-21912-8).

From One Maker To Another, The New Bookbinder, Vol 35, p65-72, (ISSN 0261-5363).

Bookbinder of the Month (March), Flash of the Hand Blog.

Translating the past into the present, a review by Simon Goode, Crafts Magazine, Jan/Feb, p.62 (ISSN No: 0306-610X).

Deception in Fixing FIXPERTS, December 2013. By Héloïse Parke.éloïse-parke

Drawing in Arctic Water by Nancy Campbell, Huffington Post (online)
View the article here

In Parallel essay by Tanya Harrod (Download)
Formed Thoughts Jerwood Encounters, (catalogue) 978-1-908331-03-8.

60|40 David Clarke, Tracey Rowledge, Clare Twomey (catalogue) ISBN 978-91-978426-7-9.
ICON NEWS, May 2011, issue 34, p29-30.
Bookbinder, Vol. 24, p48 & p50 (ISBN0954412087).
Book Arts arts du livre Canada, 2011 Vol. 2, no. 2, p9-20 (ISSN 1923-1776).

U-n-f-o-l-d, A Cultural Response to Climate Change, p.86-89 (catalogue) ISBN: 978-3-7091-0220-6.

Arctic Scrolls by Veronica Simpson, Crafts Magazine, Sept/Oct, p.34-37 (ISSN 0306-610X).
(Read article) 

60|40's Gentle revolution continues by Glenn Adamson, Crafts Magazine, Sept/Oct, p.64 (ISSN 0306-610X).

A World Beyond Art and Craft by Veronica Simpson, Crafts Magazine, Nov/Dec, p.21 (ISSN 0306-610X).

Designer Bookbinders Newsletter, No. 139, p2-3.

The Neale M. Albert Collection of Miniature Designer Bindings, p81 (catalogue) ISBN 0/910672/67/9.

Designer Bookbinders Newsletter, No. 128, p6-8.
Designer Bookbinders Newsletter, No. 127, p7-9.

Bookbinder, Vol.17, p45 (ISBN 0 9544120 1 X).

The New Bookbinder, Vol. 20, Front cover and p49 ISSN 0261-5363.

The Crafts in Britain in the Twentieth Century by Tanya Harrod, p432 (colour p433) ISBN 0-300-07780-7.

Bound to Please by Margot Coatts, Crafts Magazine, March/April, p34-37 (ISSN 0306-610X).
Designer Bookbinders Newsletter, No. 105.

I Walk the Line, The New Bookbinder Vol. 16, p30-40 ISSN 0261-5363.


Project Grant from Arts Council England, for ROOM with David Clarke at Collect Open. 2019.

Cape Farewell Expedition to Disko Bay, Greenland: supported by the Crafts Council. 2008

The Carroll Foundation Craft Award: Chelsea Craft Fair. 1998

London Arts Board: Craft Award. 1997

The Bookbinding Competition: The Elizabeth Greenhill Award for Gold Tooling. 1997

Society of Bookbinders Competition: Finishing Prize. 1997

Awarded The Crafts Council setting up grant. 1996

The Bookbinding Competition: The Elizabeth Greenhill Award for Gold Tooling & Second Prize for an Open Choice Book. 1996

The Bookbinding Competition: Silver Medal for Best Book in Competition & Second Prize for an Open Choice Book. 1995

Society of Bookbinders Competition: First Prize for Best Designed Binding. 1995

Guildford College of Further & Higher Education: The William Matthews Award & The Harmatan Prize. 1995