Prue Dobinson

Address40 Wherry Road
CityNorwich
State/ProvinceNorfolk
Postal CodeNR1 1WS
CountryUK
Phone Number0044 (0)1603 619 583
E-mail Addresspruedobinson@gmail.com
Websitewww.pruedobinson.co.uk

First interest in hand papermaking process: 1992

First piece of handmade paper: 1992

First handmade paper artwork: 2000

Beginning of active practice: 2002

Prue's Work in Hand Papermaking:

  1. Artist who uses papermaking for two-dimensional work
  2. Collector
  3. Educator who teaches hand papermaking (any facet)
  4. Recreational papermaker (for personal development, non-exhibiting)
  5. Other : Still learning and exploring different aspects of papermaking and paper art. Curator of paper art exhibitions.

Prue's Introduction to Hand Papermaking:

  1. Classroom instruction

Influences on Prue's Work in Hand Papermaking:

Minor
  1. Videos

Publications initially important to Prue:

  1. Papermaking with Plants : Helen Hiebert
  2. The Art and Craft of Papermaking : Sophie Dawson
  3. Paper Pleasures : Faith Shannon
  4. Paper: an inspirational portfolio : Gabrielle Falkiner
  5. A Guide to making Decorated Papers : Anne Chambers

Publications eventually important to Prue:

  1. Paper : Beata Thackeray
  2. Kami '89 : Asao Shimura
  3. IAPMA Bulletins : null
  4. Papermaking and Bookbinding : Joanne B Kaar
  5. The Art of Papermaking with Plants : Marie-Jeanne Lorenne

Countries where Prue's studied:

  1. USA : USA - Julie McLaughlin: IAPMA CLEVELAND '12
    1. hands-on workshop
    2. demonstration
    3. visit to mill or artist studio
  2. Philippines : Asao Shimura
    1. hands-on workshop
    2. residency
    3. other : one2one workshop teaching
  3. Italy : IAPMA - Roberto Manino, Lynn Sures
    1. hands-on workshop
    2. demonstration
  4. South Korea : IAPMA - CONGRESS 2010
    1. hands-on workshop
    2. demonstration
    3. visit to mill or artist studio

Raw materials used by Prue in Hand Papermaking:

Used Routinely
  1. other fiber : New Zealand Flax, Bluebell, reed, bulrush, pineapple leaves,bamboo, pampas, iris, crocosmia, sissyrinchum, corn husk,nettle, willow bast, mallow bast,bracken, onion skin, rosemary, seaweed
Used Sometimes

Chemicals used by Prue for cooking fibers in Hand Papermaking:

Used Routinely
Used Rarely

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

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

Style of sheet forming used by Prue in Hand Papermaking:

Used Routinely

Years teaching hand papermaking: 5 - 80

Teaching formats used by Prue:

Used Routinely

Prue's Income Contribution from Hand Papermaking:

  1. a little

Narrative:

I came to papermaking through textile studies and still incorporate natural dyeing and stitch into my work. I tend to combine techniques from different traditions because I am working from locally sourced fibres. The making process contributes to the art of the finished piece and my need to continue working to express myself and the evolution of the sheet. It is important to me to share the knowledge and skills I have acquired with others new to papermaking. I have taught classes of 10-12 in other venues but generally I teach from my home studio and can only accommodate 4 maximum. I find groups such as theEmbroiderer's Guild and the Guild of Spinners, Weavers and Dyers welcome a general somewhat auto biographical evening talk with slides and samples followed by a day class of hands on experience making paper. IAPMA has provided a focus and forum for sharing interests with other papermakers and paper artists as well as being socially stimulating and culturally enriching through the different venues and member experiences. There are many exhibition opportunities plus stimulating congresses and workshops in interesting places to widen horizons. I find smaller groups for a longer period i.e. several consecutive days with opportunities for trying different techniques in a new environment very rewarding. Arranging exhibitions of paper to raise awareness in the general public and to network locally is proving rewarding but time consuming and distracts from pursuing and developing my own work - which is a point to consider for the future. Having organised the shows in Norwich with backing from IAPMA and local authority I have been invited to take another international paper exhibition to Japan in 2015. www.iapma.info www.norfolkcraft.co.uk www.artandsoulofpaper.com

Questions:

The professionalism and organisation of papermaking with book art and paper art in USA is outstanding and an incentive to encourage a similar development and appreciation of papermaking and art in UK. The generosity of US and other international artists in sharing their work for the Art and Soul of Paper exhibition in Norwich, Spring 2013 has been uplifting and inspiring but has been at their own cost. It was very difficult for me to get funding for the event here and I can only hope it will be easier next time as I have more of a track record now. The survey is a great way of revealing numbers of people participating in papermaking and might lead to greater funding input in the future? I look forward to seeing the results.The importance of internet communication cannot be over-emphasised as people now look to YouTube, Flickr and social media etc to share and promote paper art and art events - as well as techniques and resources.