|1334 6th St. Ne
First interest in hand papermaking process: 1979
First piece of handmade paper: 1979
First handmade paper artwork: 1979
Beginning of active practice: 1979
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Years teaching hand papermaking: 1980-2013
Perhaps there are important aspects that stand out in my life-time commitment to the field, many are collaborative. As a Founder of Minnesota Center for Book Arts in the early 1980’s I was influenced by the power of people working together; producing results created by a community. For six years I worked wit Michael Durgin. We co-founded then co-published Hand Papermaking Magazine. During the last 25 years I have occasionally contributed to this publication. I find that writing forces me to explain, often sharpening my observations. Another important influence is a 20 year collaboration with Bridget O’Malley of Cave Paper Inc. Cave Paper makes and sells high quality flax handmade paper often colored with natural dyes. I cannot empathize enough the importance of the effect of this tacit knowledge gained when working year after year as a production papermaker. Cave Paper has collaborated with many talented and famous artists from coast to coast like: Peter Koch, Alison Knowles, Sue Leopard, and Claire Van Vliet. Cave Paper is known for providing custom papers for limited editions books teaming with private presses worldwide including Brighton, Cedar Fence, Charnal House, Inka!, Nawakum, Ninja, Super Session, and Traffic Street Press. An important influence of Cave Paper has been these clients who guide us by what they procure. Cave Paper also educates future artists and hand papermakers through the more than 80 interns who have come to work at our studio. As a former college and now workshop educator I find the students still contribute to my education. When traveling to teach and exhibit artwork throughout the United States and in Japan, Italy, Sweden, Canada, Australia, Korea, Taiwan and more recently China I feel a huge expansion of cultural awareness and learning. I am invited because of my sculptural work which explores the intimate architecture of homes in both Indigenous and Western cultures, as well as the transformative properties of light, and the effect on humans of natural cycles of regeneration. The work, guided by my reverence for nature, combines the centuries-old craft of papermaking with the modern concept of installation and site-specific artwork