Patrick Sargent

Address13850 Springstone Drive
Postal Code20124
Phone Number571-232-8590

First interest in hand papermaking process: 2008

First piece of handmade paper: 2010

First handmade paper artwork: 2011

Beginning of active practice: 2012


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Patrick's Work in Hand Papermaking:

  1. Artist who uses handmade paper for book arts
  2. Artist who uses papermaking for two-dimensional work
  3. Other : Papermaking as Community Based Collaboration

Patrick's Introduction to Hand Papermaking:

  1. An individual

Influences on Patrick's Work in Hand Papermaking:

Publications initially important to Patrick:

  1. Papermaking with Garden Plants & Common Weeds : Helen Hiebert
  2. Making Handmade Books: 100+ Bindings, Structures & Forms : Alisa Golden

Publications eventually important to Patrick:

  1. : Patterson Clark

Countries where Patrick's studied:

Raw materials used by Patrick in Hand Papermaking:

Chemicals used by Patrick for cooking fibers in Hand Papermaking:

Used Sometimes
Used Rarely

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

Used Routinely
  1. Hollander beater
Used Rarely

Style of sheet forming used by Patrick in Hand Papermaking:

Used Routinely
Used Sometimes
Used Rarely

Years teaching hand papermaking: null

Teaching formats used by Patrick:

Used Routinely
Used Sometimes
Used Rarely

Patrick's Income Contribution from Hand Papermaking:

  1. a little


Collaboration at its best, is selflessness put in action. Printmakers commonly don’t get to their own work because they become entrenched in the work of the artist with whom they are working. Printmakers assist the artist with all facets that are included in producing a work: preparation of materials, pigments, acid baths, metal plates, wood, studio configuration, task assignments, and a myriad of other elements as needed. Collaboration with fellow artists while using printmaking works because a common language is shared and the participants are on common ground and share an end goal. When engaging groups of non-artists from a cross-section of backgrounds in an effort to create a common discourse – some printmaking techniques lack simplicity and where it has simplicity it lacks an extended period of time to produce. The element of time is vital to participatory art as groups come together in a social activity; time is an essential ingredient that can be effectively used to add symbolic meaning to the narrative. Hand papermaking from rag based materials provides the perfect instrument to bring social groups together in a participatory endeavor that can form a narrative that the community itself creates. Using material with personal meaning (uniforms, jeans, shirts, clothes) and adding the element of time in order to allow the participants to bond, share meaning, and form relationships, with built in delays that allow for reflection and introspection – the hand papermaking process allows for participants to be embedded in the world and at the same time distinctly removed from it . It is the distinct steps that papermaking uses that allows for verbal exchanges regarding experiences between participants while cutting the materials, or reflection about their experiences and deepening understanding of the other during sheet formation, but what really matters are the ideas, experiences, and possibilities that result from these interactions.