Aimee Lee

Postal Codenull
Phone Number9146610456

First interest in hand papermaking process: 2003

First piece of handmade paper: 2003

First handmade paper artwork: 2003

Beginning of active practice: 2003


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Aimee's Work in Hand Papermaking:

  1. Artist who uses handmade paper for book arts
  2. Artist who uses papermaking for three-dimensional work
  3. Artist who uses papermaking for two-dimensional work
  4. Educator or researcher who lectures about hand papermaking
  5. Educator who teaches hand papermaking (any facet)
  6. Writer on topics related to hand papermaking

Aimee's Introduction to Hand Papermaking:

  1. Classroom instruction

Influences on Aimee's Work in Hand Papermaking:

Publications initially important to Aimee:

  1. The Papermaker's Companion : Helen Hiebert
  2. Plant Fibers for Papermaking : Lilian Bell

Publications eventually important to Aimee:

  1. Hand Papermaking (magazine and newsletter) : multiple
  2. Japanese Papermaking : Timothy Barrett
  3. Papermaking with Garden Plants & Common Weeds : Helen Hiebert
  4. Papermaking for Printmakers : Elspeth Lamb

Countries where Aimee's studied:

  1. Korea : Jang Ji Bang (Jang Seong-woo and Jang Yong-hoon)
    1. demonstration
    2. visit to mill or artist studio
    3. other : apprenticeship

Raw materials used by Aimee in Hand Papermaking:

Chemicals used by Aimee for cooking fibers in Hand Papermaking:

Used Sometimes
Used Rarely

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

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

Style of sheet forming used by Aimee in Hand Papermaking:

Years teaching hand papermaking: 2006 - present

Teaching formats used by Aimee:

Used Routinely
  1. lectures
  2. workshops
  3. writing
Used Sometimes
  1. demonstrations

Aimee's Income Contribution from Hand Papermaking:

  1. a lot


The biggest impact on my work with handmade paper came from a Fulbright grant to research Korean papermaking. After a year of field research and extensive study of hanji making and allied crafts, I built a hanji studio at the Morgan Conservatory so that people could experience traditional Korean sheet formation in the U.S. I also wrote a book about my research. These are the major landmarks. Between all that is the usual: staying connected to various communities via email and phone while traveling, sharing research and information with other hanji researchers (my main colleague in this regard is Minah Song), teaching and lecturing at whatever locations will have me, and continuing to experiment and document in the studio.