Archives for posts with tag: providence

Do you have the winter blues? Right now, if you are in the New England area, you might say: “yes!” We have had quite the winter so far, with snowstorm after snowstorm, and bitter cold to boot.

However, with my amazing staff we have been able to keep our tight paper-ship running, sending out orders, and meeting with various paper artists who enjoy the experience of visiting our warehouse and showroom. There was one special visitor by Ms. Christine Aaron, who between blizzards drove to our humble headquarters all the way from Porchester, NY. Her presence thoroughly warmed up the season; especially her joyful smile and pure enthusiasm for creating art-  just the medicine we needed to cure the winter blues.

christine aaron, printmaker, encaustic, usuyou gampi paper

christine aaron, printmaker, encaustic, usuyou gampi paper

Enjoy Christine’s interview, as well as images of her works and from our warehouse. We know it will cure any cabin fever you may be experiencing this winter.

PCI: Please tell us about your background, Christine, and what kind of artwork you do.

CA: I’m a mixed media artist whose current mediums of choice are printmaking and wax, employed on a variety of substrates such as paper, metal, mirror and wood. In my last few series, I am using tree imagery as symbolic of memory, life’s record and the passage of time.

3_C_Aaron_EchoIII

PCI: What inspires you? Which artists have influenced you?

CA: I find inspiration from so many sources. Some of these might seem more apparent in my work, others less so. Trees, both living and deteriorating, of course!  I admire and respond to a wide range of artists’ work, not stemming from any particular group or “type.” Current favorites are Anselm Kiefer, El Anatsui, The Gees Bend quiltmakers, Emilie Brezinski, Lynn Geesaman, Klimpts landscapes, Thiebauds  landscapes. I am recently very intrigued by and drawn to outsider art. I try to go to visit museums, galleries, and go to the exhibits of artist friends and contemporaries. The good and the bad of it is that the sources of inspiration and therefore possibilities of choice/direction within my work are endless.

christine aaron, printmaker, encaustic, Remnant

Remnant

PCI: What attracts you to working with paper?

christine aaron, printmaker, encaustic, usuyou gampi paper,Tree Muse II

Tree Muse II

CA: It’s versatility! It’s reception of any medium. The fact that paper can assert its presence, or visually disappear. Its uses range from the diaphanous to the sculptural, and there is a paper for every artistic need possible.

PCI: What do you like best about working with paper? Have you ever made paper?

CA: I have never made paper though it has always been of interest to me. There are so many options when you engage artistically with paper and I feel like I am just beginning to scratch the surface as to its possibilities within my artwork.

christine aaron, printmaker, encaustic, usuyou gampi paper christine aaron, printmaker, encaustic, usuyou gampi paper

PCI: This is so true. We have been in the world of paper for over twenty years now and it’s amazing how much more you can learn, regarding how it’s made to each sheet’s qualities.  So how did you hear about Paper Connection?

CA: I was introduced to Paper Connection at the 8th International Encaustic Conference in Provincetown, Mass. It’s an annual conference conceived and run by Joanne Mattera, and now co-run with Cherie Mittenthal of the Truro Center for the Arts, that focuses on the medium of wax, and professional development within that field. The vendor room is a smorgasbord of supplies and Paper Connection was one of the vendors.

PCI: And we enjoyed participating in that conference. The members of this encaustic group are very supportive of each other. Paper Connection felt welcomed from our first experience, particularly by artists like yourself.  We are grateful to know you and have been vendors at this conference every year since. How much did you know about Japanese or Eastern papers before using our selection?

CA: I have been using and experimenting with some Japanese papers both in my printmaking (chine colle) and with layering imagery in my work with wax. My “go-to” was a Japanese “silk tissue” and I was struggling to find something similar for an installation I was creating for a solo exhibit. I could not find any source that had this paper in rolls, (only sheets).

christine aaron, printmaker, encaustic, usuyou gampi paper

Pulling Large Format Print

christine aaron, printmaker, encaustic, usuyou gampi paper christine aaron, printmaker, encaustic, usuyou gampi paper

PCI: How did we help?

CA: Lauren was incredibly patient, and knowledgeable in discussing what my needs were, and suggesting possibilities. I had tried an usukuchi (rayon) paper, and though transparent it didn’t have the “feel” I was looking for. Lauren told me that Paper Connection had rolls of both white and natural gampi, (what I had known as Japanese silk tissue). I bought it on the spot. And then once I experienced printing on it…I ordered lots more!

PCI: For which we were so grateful!  What do you like about gampi paper and how do you incorporate it in your work?

christine aaron, printmaker, encaustic, usuyou gampi paper

Hand Transfer

CA: This paper is fantastic. Translucent to the point of transparency when printed on, strong yet fragile, it worked beautifully with my imagery. I hand printed multiple  36 x 102 inch panels for my installation. Once hung, they would gently move with any air current, and almost “followed” viewers as they walked through the panels(the movement generated by the air currents of the people). In addition, the sound they made as they moved was lovely…a whisper that added to the audio part of the installation.

christine aaron, printmaker, encaustic, usuyou gampi paper, Murmur

Murmur

christine aaron, printmaker, encaustic, usuyou gampi paper, Murmur

Murmur detail

PCI: Paper and Sound…aaahhh! We’re always telling  clients “listen to the sound of gampi”…..

We carry rolled papers with artists like you in mind, for larger format prints and installation pieces. What did you like about those papers that aided in your creative and/or technical process?

CA: The rolls of usuyou gampi worked beautifully for my installation. I also use many Japanese papers in my print and mixed media work. I frequently write or print (oil based paper lithography, hand transferred), on them, and then tear up and reassemble, and layer the imagery as part of a larger composition. Recently I have been experimenting with using these papers dipped in wax, where the paper asserts itself more sculpturally.

PCI:  We are so happy that gampi paper works well with encaustics. What are the differences between our papers and others you have worked with?

CA: I’m not sure I can speak to the differences, since I feel like a novice in this area. However, I will say having someone as knowledgeable as Lauren with whom to speak, makes a huge difference in being able to find the right paper for whatever I’m working on.

PCI: Thank you!

Fill in the blank, if you had to recommend a Paper Connection paper for a particular application:

CA: The Usuyou Gampi for layering within any mixed media work.

PCI: If you could have a conversation with any artist present or past, who would it be? Would you talk about paper?

CA: I have tried to answer this question numerous times and there are too many artists to list and questions to ask!

Well said. Our dear readers can imagine which artists are in our imaginary paper salon this month. Thank you Christine, not only for the interview, but taking usuyou gampi paper to new horizons and heights.

Photographs featuring Christine printing were taken at the Center for Contemporary Printmaking with Christopher Shore. Thank you for use of the images.

For more on Christine Aaron please visit her website: christineaaron.com

5_C_Aaron_Forest Muse

Muse

8_C_Aaron_RedArches

Red Arches

Paperwoman stayed local last week as she  had the opportunity to take a tour of the book conservation lab and bindery at Brown University’s John Hay and Rockefeller Libraries through the Watts Program. Here’s some quick glimpses of what was she saw, including an ancient Ethiopian hand-scribed, Christian manuscript with coptic binding,  a wonderful piece of ephemera of P.T. Barnum’s Rarities, some very cool tools and beautifully aged books and other learning tools.

Korea claims a unique and intriguing art called joomchi.

How do you go about making joomchi?  It’s easier to try with your own hands than to explain in words…but here it goes.  This is my beginner’s understanding of the process: At least 2 layers of Korean mulberry paper, or hanji, are first wet, then, aggressively gripped, grabbed, stretched, and manipulated until the fibers are broken down and almost “felted” to your liking.  Hours of aggravating the paper are expended, while possibly years of angst is relieved.  A major transformation occurs; once flat sheets of paper become a very organic, leather-like, almost living form.

No adhesives are used, however, natural dyes, pigments, other papers, fibers, and cloth can be “collaged” in to create a very special mixed media paper art.

We learned that Japanese mulberry paper (kozo) works fine for making joomchi, as our colleague Barbara Green tested it.  She used Paper Connection’s senkashi (a heavy weight un-dyed kozo paper, traditionally used for clothing) and some vintage, pigmented kozo.

I finally made it to the nearby Atrium Gallery in Providence to see one of their latest shows:  Joomchi and Beyond, curated by Ms. Jiyoung Chung.  I blogged briefly about Ms. Chung and her exhibit at the Minnesota Center for Book Arts, last June, 2011.   Subsequently, I was lucky enough to attend her workshop early spring 2012.  Many of the works shown at the Atrium are part of Ms. Chung’s fantastic book also entitled Joomchi and Beyond.

Please see Jiyoung’s book for photos of her method and process. She is a great teacher.   For more photos of the show, click here.

Another artist who works with hanji and creates joomchi is Aimee Lee.

I am this wall, 2009, by Aimee Lee

It is truly amazing when you think that no adhesives are used, and all the papers are transformed by hand technique alone.

I love this use of natural persimmon juice by Aimee:

The squirrels arrived first, 2012, Aimee Lee, natural persimmon dye, hanji, paper yarn

Ms. Lee is just out with her new book  Hanji Unfurled, which details her research and works on hanji.

Can’t wait to meet her in 2 weeks at the Morgan!

Aimee is also planning a book signing tour in New England in November, thus I’m hoping she will come to Providence and Paper Connection, of course!

Who’s in for meeting Aimee Lee and talking paper?!?!

…in Providence, anyway…

The AS220 Print Shop will be celebrating their new and expanded location, with a Holiday Sale, in the recently-restored Mercantile Building at 131 Washington Street, in downtown Providence: December 11th, 10AM-2PM. Paperwoman will be there too, so stop by to say “hello” or “konnichwa”. I’ll be carrying some fresh-baked paper items in my suitcase.  here’s a preview:

Coin Purses with Handprinted Patterns

Small Journals with Handprinted Patterns

As some of you know, we have many talented ladies working here at Paper Connection.  So what happens when one paperwoman asks another to create a wedding box for her big day? Voila!

Jeri's Wedding Box

Our trusty Deb made this wonderful box to hold cards and well wishes out of our Japanese Yuzen and Lokta from Nepal.  Our blushing bride Jeri was very pleased, and we were all amazed at Deb’s latest work of art.

Washi Well Wishes

BRAVO  to our paperwomen! Can’t wait for the big day!