Archives for posts with tag: showroom

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

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We are rounding out 2014 with an interview with artist David A. Clark, who, much to our delight, paid us a visit to our warehouse and showroomdavid a clark, printmaker, encaustic !

We enjoyed the visit, especially as things wind down as the year closes out. His perspective on handmade paper and printmaking gave us a renewed outlook as we focus on our goals for 2015. As you muse over yours, please enjoy his interview and images of his work. Thanks, David, it truly was our pleasure!

PCI: What kind of artwork do you do?

DAC: I’m really interested in the idea of trajectory and impulse and the way those two abstracts influence one’s direction, thought and the way we, as human beings, move, act, think and feel as a result of their influence. My work has always been an exploration of the idea that life is a series of small impulses and trajectories strung along a larger arc. Those concepts are manifested in many different ways in my work, and for the last several years most of them have been brought to life with encaustic and paper. Lots and lots of paper.

Ancient Histories #11, 2014 Encaustic Monoprint on Kozo Natural 38” x 25”

Ancient Histories #11, 2014
Encaustic Monoprint on Kozo Natural
38  x 25 inches

PCI: And we love to hear that! What or who has influenced/inspired you?

DAC: I find inspiration everywhere, but I’m process oriented, so typically I will have an idea in my head that is amorphous, it’s usually a feeling or an impulse that is pushing me to find it a physical form and I’ll be working in my studio on a different project and some bit of what I am doing will ‘bridge the gap” between the idea and the object, and the work will begin to take shape. Honestly though, at the moment I find great inspiration in the materials that I am working with. Materials can often be the “bridge” between the ephemeral and the physical. A perfect example is when you showed me the Sakamoto paper at 7th International Encaustic Conference. I had not worked with paper like that before, but I touched it and it triggered a curious spark. So, I bought every sheet she had and it took me about a year for that paper to find the right “idea” partner to form a dance. But I knew the minute I touched that paper that I could tell a story with it and that it would be the perfect marriage with the impulses that were percolating in my head.

2.Ancient Histories #14 2014 Encaustic Monoprint on layered Gampi & Sakamoto 32.5 x 18.5 in.

Ancient Histories #14
2014
Encaustic Monoprint on layered Gampi & Sakamoto
32.5 x 18.5 in.

Ancient Histories #22 2014 Encaustic Monoprint on Sakamoto Heavyweight 38.5 x 25 in.

Ancient Histories #22
2014
Encaustic Monoprint on Sakamoto Heavyweight
38.5 x 25 in.

PCI: What attracts you to working with paper?

DAC: Paper is language. It holds nuance and, because I am mostly printing right now, it is the catalyst for the image. As a material, paper is so versatile. It’s ephemeral or lasting, fragile or strong, absorbent or impermeable, but the most important quality to me currently is the organic nature of paper and it’s link to a historical context. There are so many different types of paper that can tell different stories. The work that I am doing at the moment is a direct result of the alchemy of process between particular types of paper, the encaustic paint I am printing with and the ideas that are asking to be made. The body of work I am currently making is very much a collaboration with paper.

 

Ancient Histories #46 2014 Encaustic Monoprint on Sakamoto Heavyweight 21.5 x 38.5 in.

Ancient Histories #46
2014
Encaustic Monoprint on Sakamoto Heavyweight
21.5 x 38.5 in.

Ancient Histories #103 2014 Encaustic Monoprint on Sakamoto Heavyweight 38.5 x 25 in.

Ancient Histories #103
2014
Encaustic Monoprint on Sakamoto Heavyweight
38.5 x 25 in.

PCI: We love the language analogy, as relating paper to language, semantics  and cultural dialect is a part of my daily goal. After all, paper is a surface invented to transmit information via language, as your layered artwork does so very well.  What do you like best about working with paper? Have you ever made paper?

DAC :I asked Catherine Nash, an artist, friend, author and expert on handmade paper, to show me how to work with high shrinkage flax last year. I loved working with the pulp and forming the sheets. I can see projects involving making my own paper at some point in the future, but for now I have my hands full with the work I am doing. I have visited some paper makers in Thailand and Cambodia, but I think a trip to Japan will be in order at some point when the ideas in my head get too big for the sheets that I am able to buy.

Ancient Histories #107 2014 Encaustic Monoprint on Sakamoto Heavyweight 25 x 38.5 in.

Ancient Histories #107
2014
Encaustic Monoprint on Sakamoto Heavyweight
25 x 38.5 in.

Ancient Histories #127 2014 Encaustic Monoprint on Kozo Natural 25 x 38 in.

Ancient Histories #127
2014
Encaustic Monoprint on Kozo Natural
25 x 38 in.

PCI: How did you hear about our company?

DAC: I first encountered Paper Connection International through you at the 7th International Encaustic Conference. I think I bought half of everything you had that first day. You had papers I had never seen before that had qualities that I knew would work well for me. Lauren, you have since become a good friend and a terrific resource for information. I’ll often email and ask about paper recommendations for projects. And I am really looking forward to visiting the store this fall for the first time. I have mostly been dialoguing with you at the Conference and by email, but so much of ones relationship to paper is tactile, so I am looking forward to touching everything in the store.

Self Portrait 2014 Encaustic Monoprint on Kozo Natural 25 x 38 in.

Self Portrait
2014
Encaustic Monoprint on Kozo Natural
25 x 38 in.

Passage #1 2014 Encaustic Monoprints on Sakamoto 38.5 x 150 in.

Passage #1
2014
Encaustic Monoprints on Sakamoto
38.5 x 150 in.

PCI: David, thank you so much. We really appreciated that first day at the Conference, as it led to such great things! Did you have much knowledge about Japanese papers before using our papers?

DAC: I have a rudimentary education in Japanese paper. Catherine Nash has been a terrific resource, and you and your staff at Paper Connection International have been a huge, huge help in illuminating and educating me in what is available. And I’m a voracious reader and researcher, so my knowledge of paper is ongoing.

PCI: In what ways did Paper Connection help navigate and perhaps inform you about Japanese paper?

DAC: When you introduced me to Sakamoto Heavyweight and your beautiful Kozo Natural. Those two papers form the foundation of my current work. That work would be telling a much different story without those two papers.

PCI: What papers do you use of ours and for what process?

DAC: Currently I’m working on a series of Encaustic Monoprints called “Ancient Histories” which is printed on Sakamoto, Sakamoto Heavyweight, Kozo Natural, and some Kitakata, Tamura Koban, Mexican Handmade, Akatosashi and Sekishu. The Sakamoto and the Kozo Natural form the backbone of the series. They are the most beautifully strong, forgiving and versatile papers. There is something unique that happens in the print process with these papers that is pure magic.

PCI: What did you like about those papers that aided in your creative and/or technical process?

DAC: I particularly love the velvety texture and soft, organic color of the Kozo Natural, and the two opposing surfaces of the Sakamoto, both the smooth and the more velvety, and that it comes in two different weights. Both papers print well, but they each print slightly differently when printing with encaustic. And something particular occurs with the Sakamoto that doesn’t happen with any other paper. I like these papers so much I teach with them now.

PCI: We love hearing that! What are some of the differences between our papers and others you have worked with?

DC: Paper Connection carries paper that I cannot get anywhere else.

PCI: Thank you for noticing that! And yes, we try our best to provide those specialty papers while supporting the paper makers who craft them.  Fill in the blank, if you had to recommend a Paper Connection paper for a particular application:

DAC: I would recommend the Kozo Natural. It is such a glorious paper for encaustic printing.

PCI: Good choice. Bonus question:  If you could have a conversation with any artist present or past, who would it be?  And would you talk about paper?

DAC: I’d have a conversation with my friend Catherine Nash. She’s such a gifted artist, and I love her work and the way she thinks. Catherine wrote an amazing book about artists that work with encaustic and paper called “Authentic Visual Voices: Contemporary Paper and Encaustic”.  Spending time with Catherine is like going to Mount Olympus. She has such a wealth of knowledge about paper that the whole sky opens up and one looks around and discovers that the world is made with paper.

PCI:  Catherine is truly is an innovator in the paper world; she is never afraid of using paper in new ways with a variety of materials.

We hope that visiting Paper Connection was like going to Mount Fuji?  haha… I do remember you saying it was the highlight of your trip to Rhode Island; that was pure music to my ears.  Thank you again, David!   I am excited to have you visit Japan; I would be thrilled to be your guide.

Click on David’s website here.

Here are some images of David’s visit to our warehouse: