Monday, July 7, 2014

Upcoming Workshops Summer 2014

Pulp Painting at Kitsune Community Art Studio!
Studio of Artist Judy Shintani, 514 Kelly Ave, Half Moon Bay, CA
July 27, 10 AM - 4 PM
$80 Covers class fee and all materials

Join us in July to learn the basics of making handmade paper in the European tradition. Students will learn the basics, from dry fiber to sheet formation, as well as techniques for embellishing bare sheets into works of art using a technique called Pulp Painting. Pulp painting uses finely beaten paper pulp that can act almost like paint to make brilliant imagery in handmade paper. When dried, the painting is an actual part of the paper, which can stand alone or be transformed further through drawing, printing, traditional painting, or whatever you can think of for a mixed media creation. This class will cover various pulp painting techniques including direct painting, stencils, collage inclusions, and other means of pulp-based mark-making. Techniques for making paper at home will also be discussed. No experience necessary. Limited to 6 participants. Please bring a lunch.

After the workshop, consider enjoying a walk on the beautiful beaches of Half Moon Bay!

To pay and register for this workshop, please follow this link. Enrollment limited to six participants.

Handmade Paper and Pulp Painting
Gualala Arts Center, 46501 Gualala Road, Gualala, CA
August 2, 2013 10 AM - 4 PM

$100 Members, $115 Non-members, $20 materials fee
Join us in beautiful Northern California to learn the basics of making paper by hand! Students will learn to form sheets in the European tradition, and to embellish these sheets using finely beaten pulp in a technique called pulp painting. No prior experience necessary. To learn more about this workshop, visit here.

To register for this workshop, please call the Gualala Arts Center at 707-884-1138.

Please note, these are wet classes. Please wear shoes and clothing that can get wet.

Friday, July 4, 2014

"Hallowed Grounds," Upcoming Solo Exhibition in Michigan

Happy 4th! It's been a hectic week, getting stuff ready for the my upcoming show! It runs from July 21-September 19 in the Baber Room Gallery at Central Michigan University. There will be an opening reception on Monday, July 21, from 2-4 PM.

Today, however, I'm off to Redwood Canyon for a picnic day with friends, a dog, sun, and trees!

Sunday, June 29, 2014

A Visit to the Wounded General and more!

Two weeks ago, Robert and I finally made it out to see Heather's studio and her gallery, The Wounded General, out in Point Reyes Station.

It's a small space, but is doing rather well. While we were there, there was even a surprise encounter with Anne Beck, who happened to wander in!

Heather's work is influenced by 19th Century Art, narrative, wordplay, and playfulness, in paint, prints, and textiles (in addition to being a poet!) The image directly below is part of a series that she is doing in response to the Bayeux Tapestry. She described it as a woman's story of survival compared to a male story of conquest.

The Wounded General also features work from local Marin County artists, and a few familiar East Bay folks - like the Don and Era Farnsworth piece centered on the wall below:

Other works:

After a lunch at Marin Sun Farms, Robert and I popped into Gallery Route One, a space I've driven by many a time but until now had never wandered in. In their Project Space, there was an exhibition called, Disappearing Act, Our Role in Species Extinction, with works by Marie-Luise Klotz and Xander Weaver-Scull. I was very excited to see Weaver-Scull's 30 foot long accordion book, printed with stencils:

Not only a pretty cool piece, a helluva way to display it.

Every time I visit Point Reyes, I feel like I could live there happily, if I only had a paying job that could keep me in plenty of cheese from Cowgirl Creamery. Right now, it's way, way too long of a commute for me.

Thursday, June 19, 2014

Work continues

Above, I finally organized the beater corner of the studio. Efficiently using the wall space around Dulcinea, check! Below, papermaking viewed from the loft.

Work continues on Future Tense.

So far, invasive plants that have been used are French broom (Genista monspessulana), pampas grass (Cortaderia jubata) and ice plant (Carpobrotus chilensis).

In addition to making the paper, printing continues.

I am enchanted by the fibers of the handmade paper viewed through the negative spaces in the printed image.

When I started this artist book, which technically was years ago, finishing seemed a faraway, near impossible task. Yet lately, it seems to be rolling along, and I am excited by the progression.

Sunday, May 18, 2014

Geeking out

I've been unabashedly geeking out on some interesting and great papermaking stuff online. First of all, this website, Papeles con Marca al Agua (Papers with Watermarks), is a great collection of watermarks online. It's where I found the image above. Text is only in Spanish, but you can peruse the images without a fluency. Check out these!

Two great blogs on papermaking that I have been reading are Paperslurry (written by May Babcock) and The Fiber Wire: Plugged in and Turned On. Full disclosure, Paperslurry has featured my work before - most recently here (!), but previously here. Both blogs feature not only papermaking, but historic insights and contemporary roles of paper, such as this recent post on The Fiber Wire on the new $100 Bill.

May Babcock is the coiner of the word "pulptype," a form of combining pulp painting with monotypes. Very similar to what we did at Magnolia here, read her talking about her practice here.

Finally, I discovered the Youtube videos series by the Hermitage and Matanhongo Heritage Center. They have a whole series of videos on processing flax. The brothers there, Christian and Johannes Zinzendorf, are also the authors of The Big Book of Flax, which has been on my wishlist for a while now, although I haven't had the money to splurge yet.

The videos go beyond just how to process, but also some of the history and comparative methods of processing from various part of the Western world. Check out the video below on breaking flax:



Saturday, April 26, 2014

Interviews in 2014

I was so overwhelmed looking at my SGCI photos that I forgot to mention that I met the lovely Melissa Potter during the conference. We had "met" prior to then over Facebook, and had been corresponding since, realizing that we had many of the same interests and values. During SGCI, she interviewed me for her project, Gender Assignment. You can watch the video here.

My latest work, some of which was also featuring in Now. Here. This. is also featured in this interview, (which is actually my third of this year)!

Frieze, the print above, was completed for my recent show. (click on the image for a larger size). Some shots of the making can be seen here and here.

Its come to me that the pieces like Frieze and the others I poured myself into for the show emptied me out of something, a sorrow, some unfinished mourning. A catharsis has taken place. I'm thinking about new things, or more accurately, old ideas in a new way. Maps and navigation are coming back, but more refined, more directed. Still in the beginning stages, but on a course towards something exciting.

Friday, April 18, 2014

More papermaking at Magnolia Editions

Just finished up another workshop at Magnolia Editions - this time, a focused class in pulp painting. The class set a new record for me in distance traveled by a participant - this time it was Florida!

Above, you can see the entire class took place under the very intense gaze of Chuck Close in tapestry form.

Jenny (pictured above) has made paper with David Kimball, and brought along a pouring mold he'd made for her many years ago. Here she is experimenting with incorporating doilies into the poured sheet.

The class only had six students, all of whom worked pretty much nonstop. My assistant Heather and I had to switch off for lunch, since the students wouldn't slow down. Some of them stopped and had a quick snack, but I'm not sure all of them did.

Don introduced an interesting technique. Using a piece of gampi that had been digitally printed with one of his and Era's images, he laid it under a screen that he'd gotten from a commercial paper manufacturer. The printed image was visible through the screen - although I think a thin pellon would work just as well. Students in the class played with painting some pulp using the image as a guide.

We tried pulp with formation aid and without. You can see the difference above - the yellow is without formation aid, much clumpier. Whereas the black pulp paint has formation aid and appears much more smooth, controlled, and linear.

After the class was all done giving it a try, a sheet of paper was pulled and couched on top of the pulp painted design.

The whole thing was pressed in the group pressing at the end of the workshop. A close up is below.

I'm not sure I've ever had a class go through so much pulp, make so much paper. I was kept so busy these are the only photos I took.

On Saturday, May 3, Magnolia will be offering the workshop "Creating Paper Sculptures," Rhiannon Alpers, a highly recommended class. For more information or to arrange payment, please email