Melissa Jay Craig
First interest in hand papermaking process: 1994
First piece of handmade paper: 1994
First handmade paper artwork: 1998
Beginning of active practice: 2000
Melissa Jay's Work in Hand Papermaking:
- Artist who uses handmade paper for book arts
- Artist who uses papermaking for three-dimensional work
- Artist who uses papermaking for two-dimensional work
- Educator who teaches hand papermaking (any facet)
Melissa Jay's Introduction to Hand Papermaking:
- An individual
Influences on Melissa Jay's Work in Hand Papermaking:
Publications initially important to Melissa Jay:
- Papermaking : Jules Heller
- Papermaking (History & Technique) : Dard Hunter
- Japanese Papermaking : Tim Barrett
- Guide to Japanese Papermaking : Donald Farnsworth
- Plant fibers for Papermaking : Lillian Bell
Publications eventually important to Melissa Jay:
- Plant Fibers for Papermaking : Lillian Bell
- Papermaker's Companion : Helen Hiebert
- Guide to Japanese Papermaking : Donald farnsworth
- Japanese Papermaking : Tim Barrett
- Hanji Unfurled : Aimee Lee
Countries where Melissa Jay's studied:
Raw materials used by Melissa Jay in Hand Papermaking:
Chemicals used by Melissa Jay for cooking fibers in Hand Papermaking:
Tools and methods used by Melissa Jay for beating in Hand Papermaking:
Style of sheet forming used by Melissa Jay in Hand Papermaking:
Used Sometimes
- other : null
Years teaching hand papermaking: 2001 - present
Teaching formats used by Melissa Jay:
Melissa Jay's Income Contribution from Hand Papermaking:
- some
Narrative:
I am primarily a sculptor; though I am often identified as a book artist, the books I make are are sculptural as well.
Almost alll my investigations in papermaking (including sheet formation and working with plant fibers) are geared towards sculptural techniques and practices. For instance, I do often work directly with various pulps I have prepared, skipping the sheet-forming process entirely; I also work a great deal with kozo and other bast fibers without pulping them. The sheets I do make are most often high-shrinkage and are allowed -encouraged! - to cockle, to add that presence and high texture to sculptural works.
Questions:
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