The understated form of the postcard feels like it holds so much potential for Simon Cutts. Sat on the edge of other print runs, but no less impactful, at times his messages appear too big for A6, while others reveal details that could so easily be overlooked. Often two sided, these postcards highlight a series of back and forth exchanges that Cutts instigates with other artists, poets, librarians, collectors, critics, specific pieces of work, places, objects, events, processes and The World. Though the functional properties of the postcard may have changed due to digital technology, there are ideas that would not work in any other form, of which Simon Cutts and Coracle have had many.

Cutts’ books are beautiful and maddening. Holding any one of these titles in your hands and flipping through its pages, you wonder how something so incredibly simple could be so utterly confounding. How, with just a few slight moves, Cutts can shift his personal abstract glimpses and relate them into a physical form. Trying here to think of ways to describe his books to those who have not yet experienced them, I can only liken them to things like small garden animals, smells, landscapes, or pieces of fruit. Or perhaps that the thoughts recorded in these books have not actually come from his head, but instead from his knees, or his elbows.