Let's Talk Paper

Let's Talk Paper

Paper art - it's not just collage and origami!

While both origami and collage are featured in this exhibition and require an experienced hand, some of the paper art featured in PaperWorks Refolded is created utilizing more uncommon and/or newly developed techniques.

Here we've highlighted a few artists featured in the exhibition to give you a taste of how they diverse and creative these processes can be! Read below to see how the artists describe their methods, as well as a few observations from the Gallery Director/Curator.


From the Artist:
By combining techniques such as quilling, folding, cutting, and layering, each piece is handcrafted out of paper and glue to create custom and unique artwork. Judith is the artist and maker of the operation [while] Rolfe is the behind-the-scenes problem-solver and logistics guy. Both backgrounds are rooted in architecture, hence we enjoy modern, simple and clean design. Geometry, nature, and typography are constant themes in the work. 
Find out more at www.judithandrolfe.com.

Defining Quilling: 
Quilling, sometimes called paper filigree, is an art form that involves rolling, shaping, and gluing strips of paper together in order to create designs. The strips of paper are rolled, curled, twisted, or otherwise manipulated to create shapes that typically mimic intricate, ornamental design accents. This type of paper craft is often used to decorate greetings cards, scrapbooks, jewelry, or even works of art. 

Alexis Arnold

From the Artist:
The Crystallized Book Series addresses the materiality versus the text or content of a book. The crystals remove the text and solidify the books into aesthetic, non-functional objects. The books, frozen with crystal growth, have become artifacts or geologic specimens imbued with the history of time, use, and memory. 
Find out more at www.alexisarnold.com.

Observations from the Curator:
Alexis Arnold's crystallized books are absolutely stunning. Upon first seeing them, I was immediately drawn to their seemingly delicate, lustrous nature. Each piece appears to be pristinely frozen in time, almost as a comment on the 'archaic' nature of paper books in light of the advent of Kindles and digital e-readers. As well, the combination of the scientific process involved in growing crystals with the aesthetic vision of the artist is a truly interesting fusion of disciplines that illustrates the boundless sources of inspiration available to creative individuals.

David Adey

From the Artist:
[On Mischa Barton for Bebe, left/right above:] Skin is isolated and extracted from a Bebe bus-shelter poster with a collection of craft-punches. The deconstructed image is re-assembled with pins on a foam panel. 
[On Superstar Cluster, center above]: Fashion and celebrity images are collected from various online sources via Google image search. Then digital prints are laser-cut and pinned to a foam panel. Find out more at www.davidadey.com.

Observations from the Curator:
I have followed David's work for years now and he never ceases to amaze me. His works utilizing laser cut images and re-purposed print media, as found in the PaperWorks Refolded exhibition, are the result of some seriously meticulous, tedious processes. These pieces feature cutouts of figures from magazines or posters, that exclude any clothing, jewelry, or even nail polish that might disrupt the natural hues of the skin tones. Very much in the same way that a painter selects specific colors in order to create his composition, David painstakingly chooses which complexions to arrange in order to achieve his desired effect. 

James Allen

From the Artist:
Each Book Excavation begins by cutting a hole in the cover of a book with a scalpel or x-acto blade. I cut my way through the pages selectively keeping fragments of images and words to create a composition using the content of the book as it emerges. In this way a sculptural relief emerges as I carve my way though the pages. The composition emerges intuitively. As I cut I consider both narrative and compositional dynamics to create a new vision of the book's content. I enjoy how these Excavations turn the linear format of a book into a flat window through which to observe many pages at once. 
Find out more at www.jamesallenstudio.com.

Defining Book Arts:
Book Arts involve the creation of works that use or refer to structural properties of books. These works may contain text and/or images, or may be sculptural or deconstructed. The broad term "book arts" also refers to the creative disciplines used to produce books, such as printmaking, papermaking, and bookbinding. Some form of book arts have existed for thousands of years, and can be seen in ancient Egyptian, Chinese, and Mesoamerican histories. As a field of contemporary art, book arts have seen an explosive growth since the 1960s.

Margaret Griffith


From the Artist:
I think of myself as an urban scavenger, searching for interesting patterns and architectural clues that can influence my surroundings and find deeper connections with where I live. I research subject matter through photography, and then draw, replicate, cut, bend, attach and rearrange what I have found using hand-cut paper. The fragility of paper used to represent a chain link or steel gate is important, as well as the rigidity of metal that is then folded, curled and bent into organic and billowy forms. Similarly, paper is thin, delicate, and versatile and has an inherent intimacy. Find out more at www.margaretgriffith.com.

Observations from the Curator:
When speaking with Margaret during her two day installation, I was struck by her associations between metal gates and their paper counterparts used in her piece Commonwealth (above). The intricate detail and delicate nature of these massive hand cut sheets of paper are such a striking contrast to the wrought iron gates that are found on so many homes in and around LA, that you almost couldn't recognize the association until it was explained aloud. As well, I was fascinated by the fact that because this piece is a site-specific installation, each time it is installed in a gallery or museum it takes on a different form to fit the architecture of the space. When Margaret first started showing this piece, it was assembled from only 20 pieces of cut paper, now, several iterations later, it is comprised of over 50 individual, unique pieces. 

Aimee Baldwin

From the Artist:
After finding a particularly high quality crepe paper, I experimented extensively with it... The paper worked very well for creating flat organic shapes such as flower petals and feathers. I developed my own construction techniques for sculpting, using this paper and basic craft materials, and quickly moved on to exact species replication. Inspired by early natural history practices, I now present my work as botanicals or taxidermy.

Each botanical sculpture is one-of-a-kind. Pieces are individually sculpted from hand cut and tinted [paper] petals and leaves. All are created using crêpe-paper, florist wire, acrylic paint, and wax. Find out more at www.vegantaxidermy.com.

Defining Vegan Taxidermy:
Traditional taxidermy is widely known as the preserving of an animal's body via stuffing and/or mounting, for the purpose of display or study. However 'vegan taxidermy', a term coined by artist Aimee Baldwin, employs the use of trompe l'oeil paper sculpture to recreate animals using only paper, wire, and various ornamental items in order to provide a "cruelty-free homage to nature".

See these incredible works of art and many more in our exhibit PaperWorks Refolded on display till September 14th, 2018.

Satiate Your Midsummer Origami Cravings at Brea Gallery’s ‘PaperWorks Refolded’

Satiate Your Midsummer Origami Cravings at Brea Gallery’s ‘PaperWorks Refolded’