A detail of my first sheet of paper with a white cotton background and indigo blue pulp painting.
In July I had the honor of working for 5 days at the New York handmade paper studio call Dieu Donné. I worked with the skilled master papermaker Lisa Switalski. We spent the time exploring pulp painting, stencil blow outs and shaped paper sheets. The materials on hand to make the paper were cotton, linen and abaca. Each had very different properties but combined beautifully to create unique results.
Before arriving I created a series of stencils cut from frosted mylar to be used for both additive (pulp painting) and subtractive processes (blow out, where water is used to wash away the non image areas.)
These new works are more pattern explorations that shift between the simple and the complex.
Using a stencil as a guide for pulp painting
The first sheet of paper
- The stencil being removed after the negative areas have been washed away with water.
The second sheet of paper a white cotton backing sheet with an indigo linen blow-out using the mylar stencil.
Blue Chevron with linen paper pulp painting on top of white cotton
- A Moorish pattern reinterpreted in pink and black
- Saffron colored diptych pattern inspired by stone carvings from an Indian stepwell
- One of the more simpler patterns Black Linen stripes pulp painted on a field of natural abaca
- More pink and black but modern instead
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