intent

This work has served two purposes in my portfolio. First it is a continued exploration of a set of works that I have named ‘paper quilts’. This term came from a critique with Marek last semester. He encouraged me to not only think of the surface or pattern of quilts but also the structure and function of quilts; namely that they are comprised of three layers and ‘bound together’ through material and labor.

It was after this critique that I began to laminate layers of paper, enclosing threads and fibers between the layers, in essence creating a structure layered in a similar way to how a quilt is layered. My first pieces were small and later I began to combine those smaller pieces into a larger structure - The Geography of Nowhere was the result. This semester I wanted to push the limits of papermaking further - I wanted to create large continuous sheets through this process of lamination. As with many works in this portfolio this required inventing my own methods and processes. Through trial and error I devised a way to manage a large number of threads and hold them in place as I worked. Then I developed a system for pressing this long laminated sheet of paper allowing the threads to create an embossed surface. This required rolling up the piece on either end and draping the end of the paper up and over the top of the press head so as not to tear of mark the paper with the edge of the press. I unrolled and rolled my way down the entire length of the paper. I hope to continue exploring this quilt like structure in future works.

The second purpose of this work is to allow me to experiment with a method of storytelling by embedding data or information through material into the work. The number of threads in this piece correlating to the number of textile mills in this region. I’m not sure how I might continue to incorporate this method in my practice but it interest me. I also am not sure what attracts or interests me about the fringes but I am very much drawn to them. I think future works will also include fringes - likely fuller and more voluptuous ones.

changes

When I created this piece I envisioned it vertically; hanging on the wall and draping onto the floor with it’s fringe. The culture of Appalachia symbolized by the red clay being lost in the transfer to the Piedmont. That orientation did not work within this installation. The size of the piece combined with the narrowness of the gallery and the amount of floor space that I intended to reserve for Dry Creek made every location I tried seem crowded.

It was actually the rethinking of this piece as a horizontal line - referencing the road again that consolidated the linear path around the gallery. The reorientation of this piece brought clarity to the entire installation. I sculpted the piece using rice paste and containers of various diameters; referencing the transition that happens on this route at the continental divide - how the road moves from tight curves and steep elevation changes to a much smoother undulation.

deinstallation

I am still learning how to handle and store these paper works. I hope that I will be able to dampen the piece and straighten it back out to dry and then roll it back up for storage to be re-sculpted at a later date if needed.