Amanda Degener

Address1334 6th St. Ne
Postal Code55413
Phone Number612-998-8075

First interest in hand papermaking process: 1979

First piece of handmade paper: 1979

First handmade paper artwork: 1979

Beginning of active practice: 1979


Click on an image for the full view.

Amanda's Work in Hand Papermaking:

  1. Artist who uses papermaking for three-dimensional work
  2. Artist who uses papermaking for two-dimensional work
  3. Educator who teaches hand papermaking (any facet)
  4. Production hand papermaker
  5. Writer on topics related to hand papermaking

Amanda's Introduction to Hand Papermaking:

  1. An individual

Influences on Amanda's Work in Hand Papermaking:

Publications initially important to Amanda:

  1. Papermaking : Julies Heller
  2. Japanese Papermaking : Tim Barrett
  3. The Art of Papermaking : Bernie Toole
  4. Color for the Hand Papermaker : Elaine Koretsky
  5. Papermaking : Dard Hunter

Publications eventually important to Amanda:

  1. Hand Papermaking Magazine : Many
  2. Rags to Riches : Dieu Donne
  3. Papermaker's Companion : Helen Heibert
  4. The Art and Craft of Papermaking : Sophie Dawson
  5. The Rebirth of Nature : Rubert Sheldrake

Countries where Amanda's studied:

  1. Japan : Asao Shimura Washi Tour
    1. visit to mill or artist studio

Raw materials used by Amanda in Hand Papermaking:

Chemicals used by Amanda for cooking fibers in Hand Papermaking:

Used Sometimes
  1. lime (calcium hydroxide)
Used Rarely

Tools and methods used by Amanda for beating in Hand Papermaking:

Used Routinely
  1. Hollander beater
Used Sometimes
  1. hand beating

Style of sheet forming used by Amanda in Hand Papermaking:

Years teaching hand papermaking: 1980-2013

Teaching formats used by Amanda:

Amanda's Income Contribution from Hand Papermaking:

  1. a lot


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