Portfolio > paper sculpture

statement below the pretty pictures

Flare
mixed media sculpture
80" x 55" x 48"
2015
Flare (detail)
mixed media sculpture
80" x 55" x 48"
2015
Flare (detail)
mixed media sculpture
80" x 55" x 48"
2015
Flare
mixed media sculpture
80" x 55" x 48"
2015
Suchness (detail)
paper sculpture
dimensions variable
2015
Suchness (detail)
paper sculpture
dimensions variable
2015
Suchness (detail)
paper sculpture
2015
Arc
mixed media
48" x 69" x 32"
2014
Arc
mixed media
48" x 69" x 32"
2014
Arc (detail)
mixed media
48" x 69" x 32"
2014
Arc (detail)
mixed media
48" x 69" x 32"
2014
Serenade (detail)
mixed media
50" x 30" x 40"
2014
Serenade
mixed media
50" x 30" x 40"
2014
Serenade
mixed media
50" x 30" x 40"
2014
Gloriosa
mixed media
39" x 25" x 30"
2014
Gloriosa
mixed media
39" x 25" x 30"
2014
Sugarplum
mixed media
66" x 39" x 40"
2014
Sugarplum
mixed media
66" x 39" x 40"
2014
Sugarplum (detail)
mixed media
66" x 39" x 40"
2014
Ivo
paper, bamboo, reed, color
2014
Ivo
paper, bamboo, reed, color
2014
Dazzle
paper, bamboo, reed, color
2014
Trumpets
paper, bamboo, reed, color
2014
Trumpets
paper, bamboo, reed, color
2014
Messenger
paper, bamboo
6' x 7' x 6'
2013
Messenger
paper, bamboo
6' x 7' x 6'
2013
Messenger
paper, bamboo
6' x 7' x 6'
2013
Charm
paper
24" x 26" x 24"
2013
Charm
paper
24" x 26" x 24"
2013
Charm
paper
24" x 26" x 24"
2013
Elemental
paper, reed
50" x 60" x 7"
2013
Elemental (detail)
paper, reed
50" x 60" x 7"
2013
Untitled
paper, reed
variable
2013
Spinner
kozo, pen & ink, reed, beeswax
15" x 14" x 11"
2011
Spinner (alternate)
kozo, pen & ink, reed, beeswax
15" x 14" x 11"
2011
Spinner (gallery view)
kozo, pen & ink, reed, beeswax
15" x 14" x 11"
2011
Satellite
kozo paper, reed
25" x 20" x 14"
2011
Satellite (alternate view)
kozo paper, reed
25" x 20" x 14"
2011
Satellite (long shot)
kozo paper, reed
25" x 20" x 14"
2011
Untitled (head)
kozo paper, reed
20" x 12" x 22"
2011
in the collection of Elizabeth Motherwell
kozo paper, reed
16" x 12" x 24"
2011
Paper Moon
kozo paper, reed
36" x 18" x 24"
2011
Bliss
kozo paper, reed
26.5" x 26" x 26"
2010
Bliss (alternate view)
kozo paper, reed
26.5" x 26" x 26"
2010
Bliss (detail)
kozo paper, reed
26.5" x 26" x 26"
2010
Emanations (group)
folded paper
dimensions variable
2011
Emanations, alternate view
paper
dimensions variable
2011
Emanations, detail with Shakti
paper
dimensions variable
2011
Mystica
kozo
10.5" x 6.5" x 6.5"
2011
Trio
kozo
4.5" x 5" x 5" each
2011
Cruiser
mixed
42" x 24" x 28"
2011
Cruiser (alternate view)
mixed
42" x 24" x 28"
2011

My sculptural work in paper investigates the qualities of paper as an expressive material in its own right—not just as a blank slate upon which marks are made. A certain amount of personal history plays into this inquiry, as my relationship with paper is a complex one.

Paper is the primary material that dominated my early life as a visual artist as a printmaker, paper maker, book artist, collage artist, and maker of marks on paper. At one point, I even reached a stage where my appreciation for good cotton rag paper became insurmountable—I didn’t want to ruin it with my work. It took awhile to get past my regard for the material, and I still find good cotton rag or Asian-style papers to be deliciously sumptuous in their lush fibrousness and color density—and exactly why I turned to paper for my sculptural pursuits. Papers like these demand an approach that emphasizes their inherent qualities rather than being relegated to a supporting role in service of self-aggrandized mark-making.

In addition to being a visual artist, however, I’ve also been a writer since my early teens, and have boxes of journals, poetry, and screenplays tucked away, awaiting some unknown transition. I suspect they’ll outlast my digital archives.

Professionally, I’ve managed to make a career in communications during the digital revolution and the enshrinement of the information economy (which history may yet show to be an oxymoron). One thing that has certainly changed since I poured over a diverse range of zines and alternative magazines as a kid is that information has been liberated from the page. In industry vernacular, content now migrates across containers and must be flexible in form—so where does this leave paper, then? And the book, and photographic film, and other old-fashioned media and forms that the digital revolution has allegedly rendered obsolete?

The trendiness of digital media notwithstanding, the explosion of book and letterpress artists in recent years is testament to the fact that artists will enthusiastically adapt and exploit technologies that industrial progress has left to the wayside. One can only assume that communities will emerge to further explore these technologies despite their presumed obsolescence, as the increasing number of paper-oriented exhibitions show. Even better proof that paper has arrived as a material in its own right was the 2013 release of 500 Paper Objects, selected by Gene McHugh and featuring several works of mine.