Monday, April 3, 2017

Deep Time

I finally finished a proof of my book, Deep Time during a residency at Penland earlier this year. It was a fantastic experience, and I was surprised at how much I got done in a 2-week period! I spent the first week in the dye studio, dyeing all my paper using cloves. About 350 sheets of paper were brush dyed for an edition of 44, including overrun. Read more about the initial ideation phase here.

The next step was to dip dye everything in Indigo. It was the perfect place to be doing this, because my finished pieces were a direct reflection of the beautiful views outside the studio. As the Indigo soaked into the sheet, it pushed the clove up, and created the beautiful ridge I was after for this project.

Every set of papers were dipped in a slow progression, with Indigo taking up more and more room on the page. Each sheet was progressively held down longer and longer to get a stronger blue.

After printing the first layers, this a set of proof sheets. The very last page was too dark to include in the final progression.

The lines that are printed over each page are engraved into end grain maple blocks. It is an extremely slow, time consuming and tedious process- which reflected my core concept exactly.

The line quality of the engraved blocks lent a beautiful look to the finished pages

Each page was then cut into, in a progression...

...with the shapes that form the Tibetan plateau, the Andean mountain range and the Kanz'gyal range in Centra Asia- some of the highest points on the physical surface of the planet.

After two busy weeks in the mountains, and two days of traveling, unpacking and re packing, I went to Codex in San Francisco to try and sell my work. Phew!

Wednesday, March 22, 2017

Japanese Papermaking, Pyramid Atlantic, April 7–8, 2017

In this intensive 2-day workshop students will learn about history, and traditional processes involved in making Nagashizuki style papers. Students will have a chance to observe how Kozo bark is cooked, after which they will learn to hand beat fibers to ready them for papermaking. Part of the first and second days will be spent making paper, and at the end of the second day, we will press and dry our sheets. Sign up here.

Friday, October 28, 2016

Printing Poetry, November 5 & 6

In this introduction to letterpress printing, you will learn how to set and print type in addition to making a mock-up to print a haiku of your choosing. To complete your broadside, you will use transfer and stenciling techniques to create simple imagery that will accompany your poem. You will leave with a small edition of your hand-printed poetry. No prior experience required.
Sign up for this workshop here.

Thursday, October 27, 2016

Erosion, Sedimentation: Work in progress

This year, I have done a few collaborative projects but all along, have tried to spend to spend time now and again on this project and I refer to as Erosion, Sedimentation. It explores these two processes in the book form, so that as the reader pages through the book, they are physically causing erosion and sedimentation. The questions I have been asking myself through this project are many- how can one visually represent deep time? How can one physically cause processes of erosion and sedimentation? How does water shape land, and how does land shape water? Which is older? How can a book encapsulate all of this?

I started with a lot of natural dyeing. The main issue was, that I didn't really know who to naturally dye paper. So I started with learning how to dye. I loved the way the colour interacted with different fibers, and looked different on each type of paper. Luckily, Islamic-world papermaking practices taught me a lot about this. This is clove dye, layered with Indigo.

I think tried different variations on that theme- using the same handmade gampi consistently through the tests. I dyed when the clove was wet, when the clove was dry, and over-dipped with dyes, and left spaces to see what would happen. I am still in the process of figuring out what look I like the best, and what effectively communicates my idea- the slow processes that take place when water and soil meet.

Next, I wanted to layer physical erosion on to the pages. I decided to do this by cutting into each sheet, and layering them. I wasn't settled on the shapes, I just wanted to know how the paper would cut.

As the person would go through the book, they would be sedimenting on the verso, and eroding on the right. 

I think decided to take an another related idea I had been working on about boundaries, and what our planet would look like if human beings hadn't literally taken a ruler and pencil and divided up continents like Africa. What would physical boundaries look like then? These are the shapes of the highest points on the planet, which will repeat themselves through the pages, slowly shifting, eroding, and building, depending on which way you read the book. It is still a work in slow progress...