Hand Papermakers' Archive
Mina Takahashi
Address | null |
City | null |
State/Province | null |
Postal Code | null |
Country | USA |
Phone Number | 607.843.5699 |
E-mail Address | mina@handpapermaking.org |
Website | null |
First interest in hand papermaking process: 1984
First piece of handmade paper: 1985
First handmade paper artwork: 1987
Beginning of active practice: 1987
Images
Click on an image for the full view.
Mina's Work in Hand Papermaking:
- Other : Editor, Hand Papermaking
Mina's Introduction to Hand Papermaking:
- Field research (visiting papermaking workshops or studios)
Influences on Mina's Work in Hand Papermaking:
Publications initially important to Mina:
- Japanese Papermaking : Tim Barrett
- Tesukiwashi Taikan : Mainichi Newspaper
- Papermaking: History and Technique of an Ancient Craft : Dard Hunter
- Hand Papermaking : magazine
- Handmade Paper Today : Turner/Skiold
Publications eventually important to Mina:
- Hand Papermaking : magazine
- Papermaking: History and Technique of an Ancient Craft : Dard Hunter
Countries where Mina's studied:
- Japan : Kochi, Yoshino, Shimane-ken, Niigata, Mino, Imadate
- hands-on workshop
- visit to mill or artist studio
- other : apprenticeships (2 yrs in 6 different regions)
- Korea : near Andong (small factory that made Japanese-style paper but also had a few Korean moulds kicking around)
- visit to mill or artist studio
- other : one-week intensive learning
- Thailand : small town between Changmai and Bangkok that made handmade paper for hospital gowns!
- visit to mill or artist studio
- null : null
Raw materials used by Mina in Hand Papermaking:
Chemicals used by Mina for cooking fibers in Hand Papermaking:
Tools and methods used by Mina for beating in Hand Papermaking:
Style of sheet forming used by Mina in Hand Papermaking:
Years teaching hand papermaking: 1989 to present
Teaching formats used by Mina:
Mina's Income Contribution from Hand Papermaking:
- some
Narrative:
My first contact with a noted person in the field was with Elaine Koretsky. She was giving a lecture at Cleveland's (men-only) Rowfant Club when I was a senior at Oberlin College. I was invited to attend by the director of the Oberlin College Library. Elaine and I might have been the only two women in the room.
In filling out the survey, and thinking about whom i learned from most, I was tempted to write in names of artists whom I collaborated with while I was at Dieu Donné even though they were not paper artists per se. Artists such as Jane Hammond, Richard Tuttle, William Kentridge, and Mel Bochner asked us at Dieu Donné to push boundaries of what we know about making paper, and stretch the ways in which we work with the medium. Through these challenges, I learned a lot about hand papermaking.
Questions:
congratulations on launching this terrific project!