Looking back over many years of making sculpture, it is apparent that I have worked with numerous diverse ideas that have required the use of a wide range of processes and materials. In some of my early work, the passage of time was a recurring interest and the resulting sculptures were kinetic and even involved the use of pyrotechnics. These evolved into static sculptures obsessively crafted in hard woods. Depending on the concepts involved, most familiar sculptural materials have been employed. These include bronze, wood, clay, plaster and stone. Some of the larger sculptures can take many months to complete and are technically quite challenging.  Once finished, I have found it refreshing to return to a quicker, more experimental and direct approach. Over the last few years I have found that paper enables me to do this.

The use of paper offers the opportunity to return to a childhood sense of play. For many people paper was the first material they manipulated into three dimensions at school. I started using pulped newsprint which encouraged a more intuitive and less contrived approach. If the sculpture didn't’t work out, it was easy to recycle more newspapers into pulp. I found I could cast pulp off the surfaces of some of my existing stone sculptures which enabled me to make complex forms that were quite strong but very light and these could be combined in unexpected ways. The dark hollow interiors suggested the possibility of developing ideas related to aspects of time and space proposed by current theories of physics. I had found a way of creating my own universes and the extraordinary sensation of viewing a myriad of stars on a clear night.

My most recent work in Mulberry paper is the result of being invited to take part in this exhibition by the Richards of Cannon/Bullock who traveled all the way to my remote village in South West England to see my work, having viewed it on my webpage. They set me a challenge to see what I could do with their Mulberry paper.

This prompted me to make a series of thin and very light sculptures some of which are partly influenced by ancient Egyptian vessels made of translucent stone that I saw during a Churchill Travelling Fellowship in Egypt. They are particularly responsive to different light conditions, sometimes looking solid and at other times becoming semi- transparent. I am grateful for the opportunity to develop a new body of work in an unfamiliar material which has added a fresh and unexpected direction to my sculpture.

Bio

Chris Dunseath was born in Northern Ireland. He trained at Gloucestershire College of Art, Cheltenham and was then a postgraduate sculpture student at The Slade School of Art, London, followed by a Sculpture Fellowship at Cardiff College of Art. He has combined working as a professional sculptor with teaching and from 1974-99 was Associate Senior Lecturer & Head of Sculpture at Coventry University & Visiting Lecturer at various other faculties, including The Royal Academy Schools, London. In 1980 he established his studio in a converted cow barn in the small village of Hinton St. George in Somerset in South West England.

Mr. Dunseath has been involved in many solo and group exhibitions. Recent solo exhibitions include ‘Chris Dunseath: Parallel Universe’ Brewery Arts, Cirencester, Gloucestershire & ‘Chris Dunseath: Other Dimensions’ The Phillips Gallery, Brewhouse, Taunton. Recent group exhibitions include ‘18@108 Paper’, Royal British Society of Sculptors, London; ‘Art London’, Royal Chelsea Hospital, London; ‘RWA Sculpture Exhibition’, Royal West of England Academy, Bristol; ‘The Discerning Eye’, The Mall Galleries, London; ‘Contemporary Sculpture’ Rollo Contemporary Art, London.

Mr. Dunseath is a Fellow of The Royal British Society of Sculptors and a Winston Churchill Traveling Fellow for Sculpture.  During this fellowship he worked in Egypt. In 2007 he was the prize winner at ‘The Royal West of England Academy Sculpture Exhibition and winner of the ‘Millfield Summer Show.’ He has work in various public and private collections including Arts Council England; South West Arts; John Makepeace Ltd; The Ackerman Foundation, New York; The Dame Stephanie Shirley Collection, Berkshire; The Henry Moore Institute, Leeds; University of Leicester; and The Met Office, Exeter.

Artists Sample Works

The invitation to be a part of the Cannon/Bullock Paper Works show has reawakened a childlike abandon in my creativity.  Without the restrictions of fit, practicality, traditional finishing, and manufacturing costs, the possibilities seem to go beyond my wildest imaginings.   Because of the architectural quality of my clothing, I have always been drawn to fabric that resembles paper.  Now that I have a chance to use paper as my medium, I am truly in heaven!

Bio

Lynn Mizono has owned and operated her own clothing design and manufacturing business since 1981.  She recently closed down the manufacturing division of her euphoniously named company, Mizono.  Ms. Mizono’s “off the rack” line is currently being manufactured and distributed in San Francisco by designer, Giselle Shepatin.  Ms. Mizono also designs for Vogue Pattern Company and the Artful Home Catalogue under her own label.

Ms. Mizono describes her clothing as wearable sculpture.  The wearer becomes integral in the completion of the work by simply inhabiting the piece or by shape-shifting the clothing into any number of possibilities.  Her design process is largely “informed spontaneity”.

For the past few years, Ms. Mizono has also worked with Power of Hope, a non-profit organization whose ultimate goal is to bring peace to the world through our youth.  POH uses the arts as a vehicle for building self-esteem.  She has also been the creative director of a: ”Fashion Freestyle”, one of POH’s programs that invite young people to design and construct clothing that uniquely expresses who they are.  The success of this program has been awesome for both the kids and the adult staff that participate.

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I am drawn to ancient buildings and sites, the icons of those who came before us and whose words, signs and imprints litter the centuries.  I touch old stones, wondering what links can be created between my hands and mind and those of the past.

While traveling, I trace those links; pressing wet clay against walls, onto floors, on bridge railings and door knobs, on eroded statuary details, and into monuments of the living and the dead.  I scour museums and cathedral shops for plaster copies, which I use in fragmented and sometimes distorted form.

I use antique cookie molds to conjure up story lines, with their recent peasant simplicity in bizarre juxtaposition to ancient sophistication.  On my work I stamp the symbols of ancient worship, sacred and secular texts, frivolous and earnest Gallo-Roman images, medieval symbols, hands and faces, the feet of Renaissance monks and the heads and Celtic gear from a Viking chess set.  I do this gratefully and sometimes not without hesitation.  My intent is to honor those forgotten artists.

When I attach rollings from a clay cylinder that was made more than 5000 years ago in a place called the “cradle of civilization” to a bowl that I make today in America, which I may texture with a basket woven two generations ago on yet another continent, I feel suspended between their makers and reach out to connect them.

Bio

Inge Roberts was born in Germany and attended the Johann Wolfgang Von Goethe Universitat in Frankfurt A. M. for a degree in Medical Technology and worked at the Universitatsklink in Munich before moving to San Francisco in 1965.  There she worked for thirty years for the University of California and obtained an advanced degree from San Francisco State University.

Since 1972, Ms. Roberts has focused on her parallel interest, ceramics.  She became a studio potter after apprenticing to Pamela Neely for many years, learned wheel technique from Zoe Snyder, worked in the studio of Alyce Buchanan and attended clay workshops and classes, the most significant being taught by Philip Cornelius.

Since 1989, Ms. Roberts has been an exhibiting member (by Jury) of the ACGA (The Association of Ceramics and Glass Artists of California).  Since 1995 she has been a Master Member (by Jury) of the Baulines Craft Guild of California and since 2005, a Member of the Northwest Designer Craftsmen of Washington (also by Jury).  In 2003, Ms. Roberts and her husband, John, moved to Whidbey Island where she now lives and works as a studio potter.

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When I was invited to participate in the Cannon/Bullock Paper Works Invitational, I accepted with great interest, but I immediately saw that while paper plays such an important part in our daily lives, it is a material I have a limited relationship with beyond its utilitarian role.  I have never particularly considered its constructive aspects, let alone its artistic value or possibilities.  As a material so incredibly common, it is too often seen as a valueless material and one that we waste without much thought.

With glass, I have always treasured the material itself.  Its fragility, its optical qualities, how it takes form and shape in trained hands, how it plays with light; these are all aspects of the material I know so well and regard with such familiarity.  It is so precious, so beautiful and a worthy depository of creative value.

Paper, as a material, became an altogether different challenge.  I chose to work with shredded paper, discarded newsprint and approach this project by taking waste and turning it into something of value.  I wanted to create something that resonates from something so ubiquitous.  I have created something from debris. I have built – out of waste materials destined for a trash heap – pieces that are no longer trash or waste; but objects with an intent shaped by a future purpose.

Bio

Born in the Republic of Panama in 1952, John de Wit earned his BA degree in 1976 at California State University at Chico where he studied ceramics and sociology.  He continued his studies in ceramics and glass following graduation and in 1978 began work with Orient & Flume Art Glass.  In the mid 1980s, Mr. de Wit moved to Whidbey Island where he opened his own glass workshop and began to focus his work as an artist, using “glass as a canvas”.  He is credited with developing the use of glass paints in the glass blowing process. Ultimately, his works are both paintings and sculptural vessels, with interiors and exteriors, multiple layers and all of the qualities of paint, metallic leaf and glass itself.

John de Wit is recognized internationally as a leading glass artist for his unique and ever-evolving work.  He has had solo exhibitions and been included in group shows across the United States as well as in Europe and Asia.   Mr. de Wit was recently the recipient of the Gold Prize at the 5th Cheongju International Craft Competition in South Korea.  His work is included in important public, private and corporate collections world wide, including the collections of the Boeing and Microsoft corporations and the Corning Glass Museum.

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Weaving, quilting, needle arts, silk screening, and basketry are areas of fiber I’ve explored over the years.  My current work is a culmination of reflections and experiences with techniques and concepts. When I first experimented with fiber, I worked in a two dimensional format. I found that I wanted to manipulate the flat surfaces into 3- dimensional forms.  The discovery of basketry techniques enabled me to construct forms without constrictions of size or shape.

My experimentation with paper began ten years ago after discovering a variety of exquisite kozo papers in a shop in Japan. I was intrigued by the transparency and strength of the papers. Returning home, I began to use them for printmaking and then to apply the printed papers to the surfaces of my basket forms.

I had previously cast handmade paper, but found the forms weren’t flexible enough to manipulate.  I experimented with layering mulberry papers using an acrylic adhesive to a basket form or other object, then removing it and manipulating it into the forms I desired.  Coming from a textile background, I enjoy that paper has a memory and retains the textures from the objects it is cast on.  It also has the freedom and flexibility to be painted, dyed, and altered, giving the illusion of weight, of being made of metal or clay.

I love to travel internationally and to visit Ethnological Museums. My work often reflects these experiences with other cultures. The woven and cast paper sculptures in this show were inspired by my recent exposure to the mysterious world of the Pre-Incan cultures, in particular, the Peruvian Vicus society.

Bio

Danielle Bodine has worked in textiles for over 30 years.  Her work has been exhibited in museums, galleries and art centers throughout the U.S. and is included in many private and corporate collections.  Originally from Seattle, she studied clothing design at the University of Washington, Art Therapy at Bowling Green University and received a BFA from the University of Michigan in Weaving and Textile Design.  Her work has appeared in numerous publications, most recently in 500 Baskets, Lark Books and Pulp Function, Fullercraft Museum.  Nationally she has been an invited artist, teacher, and lecturer in museums, colleges and arts organizations focusing on contemporary concepts, methods and materials in the realm of fibers.  In her studio on Whidbey Island, which has been featured in major publications, she offers opportunities for artists and members of the community to explore the many applications of fiber for creative expression.

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The main direction of my current studio work is an investigation of space and the distortion of that space.  I work with many common art materials, paper, graphite and ink: which I combine with industrial materials such as vinyl adhesive films and reflective tapes.  The resulting collages are minimal and graphic.  Many reference architecture and landscape as they seemingly collide to compete for attention.  My ongoing investigation celebrates this idea of conflicting views and ambiguous space, especially as it relates to the two dimensional depictions of a (imaginary) three dimensional space.

I am not interested in how man devours the natural world and replaces it with industry.  I am interested in how the two coexist, how one may dominate the other for a while only to give up that control later.  To undermine the objectivity of my subject matter, I throw into question the view.  Certain conventional depictions of space are used, the diagonal for instance, to show perspective, however, when combined with conflicting diagonals, frontal views and overhead views, the sensation of space is heightened.  The observer is faced with multiple readings, which work to evoke a sense of time.  Interruptions in the landscape engage my attention, whether it is the lone blade of grass in the center of a parking lot, or the over-scaled house surrounded by (controlled) nature.  They are each out of place, yet they rely upon their surroundings to make themselves distinct.

My images ask the viewer to glimpse the idea of the subject without actually seeing it.  Different views of the same space, distilled down to their core essence, are now engaged for inspection.  My goal is to illustrate how the man-made and the natural are in a state of unrest.  This unrest is often best shown via explosions.  The explosion is an interesting “object” to me.  It constantly changes as it forms only to disappear as ungraciously as it begins.  To capture the energy in the center of the explosion and show it as a frozen moment is vital in my collages. 

Bio

Born in Danville, Virginia, Robert received my BFA from James Madison University in 1984.  His undergraduate work in metalwork and jewelry gave him a high regard for craftsmanship and the importance of good design. Later, as a graduate student in the Fiber Department at the University of Washington, he became interested in the underlying structure that acted as a support for his work. This interest soon led to wooden sculptures that combined his craft skills and knowledge with emotional and aesthetic decisions. He has said that: “during his studies he became interested in bridging the gap between studio artist, industrial designer, functional designer and artisan.

After graduation from University of Washington in 1987 with an MFA, Robert was offered numerous solo and group shows in the Northwest and nation-wide, and received critical reviews from Northwest and national publications.  In the late 90s he began receiving regional and national awards and honors along with important commissions. In 1996, he received the Betty Bowen Special Recognition Award from the Seattle Art Museum. In 1997 he received an Honorable Mention Award from Robert Storr for his work in "New American Talent, The 13th Exhibition" at CenterSpace, Austin Texas. And in 1999, Vulcan, Inc. commissioned an outdoor artwork for the Qwest Stadium and Exhibition Center in Seattle.

At about this time, The Seattle Art Museum made their first purchase of one of Robert’s works - Keeper Hill - for their permanent collection.

In Seattle, Robert is represented by Howard House Contemporary Art.  Howard House has presented his work in six solo exhibitions in 1998, 1999, 2000, 2003, 2004 and most recently in 2007 and  they have included his work in several group shows.  Through Howard House, his work is now included in numerous public and private collections, including those of Microsoft and Nike.

Robert’s first international show was in 2005. He was invited by curator Therese Stowell to participate in "Infrastructure" at Studio Voltaire in London, England. In 2006 the Frye Art Museum curator, Robin Held, featured his work "Sluice Gate" in the Fry’s rotunda.

In 2007 Robert was included in the "Eighth Northwest Biennial" at the Tacoma Art Museum curated by David Kiehl (curator of prints and drawings at the Whitney) and Rock Hushka (chief curator at Tacoma Art Museum, Tacoma Washington.) Also that year he was invited by James Madison University in Harrisonburg, Virginia, to exhibit new work on campus at Sawhill Gallery and hold studio visits and critiques with grad students. Later that year, he was in a group show at the Schneider Museum of Art, Ashland Oregon. In 2008, he had two solo shows, one in Portland, Oregon and the other in Berkeley, California and he has been in several group shows since then.  Robert has won grants from the Washington State Art Commission and the Pollock-Krasner Foundation.

In November 2005 Robert received the first annual Art Alumni Award from the University of Washington. This award recognized his artistic contributions along with his support for the arts at the University and in greater Seattle. In 2006 the Curator of Northwest Art at the Portland Art Museum, awarded Robert the Juror Award for his work in the Center on Contemporary Art Annual in Seattle, Washington.

In 2008 Robert was a finalist for the Portland Art Museum’s Contemporary Northwest Art Awards. In addition, he was a finalist for the Neddy Artist Fellowship, a prestigious northwest award sponsored by the Bhenke Foundation, and given to an outstanding painter in the Seattle area.

Artists Sample Works

I limit the materials I use to create my work. These self-imposed restrictions increase my ability to investigate expression.  At the same time, it is also my practice to see every material as fair game for art-making.  I try to incorporate my habits and routines into my art work. I’m committed to the reuse and recycle of materials. One important daily practice is handwritten journaling. I usually deconstruct these pages, fragmenting and restructuring language. The secret contents are intact, yet undecipherable, and much of my work incorporates these fragments. Drinking a lot of black tea is another daily habit where I recycle materials into art. For years I’ve saved the bags, and composted the tea.   For this show, I chose to restructure tea bags, forming another kind of vocabulary. This work is created out of hundreds of units of used teabags and tea tabs forming sculptural, totemic installations. Concealed but not revealed in these structures are conversations and silence, intimacy, and memory  - all centered around the taking of tea. I imagine the tea being sipped over the Sunday Times or daily newspaper, conversations between friends, intimacy between lovers, new ideas and discoveries, thoughts, and conversations that happened over the drinking of these teas.

Traditionally, tea bags have been square or rectangular in shape. More recently circular and pyramidal bags have come onto the market. I did not discriminate on the shape of bag or whether the bag was composed of paper or nylon for this project.

A surprising community of collaboration cropped up for these tea works. Many people around the country responded to my blog request, ‘Save the Teabags’. I received teabags in the mail from perfect strangers across the country, teabags delivered to my doorstep, people making steady deposits into my tea bank account. Total strangers chose to become participants in the composition of art.

This amalgamation of processes transforms remnants of time, personal history and the environment into a language of artifacts and personal archaeologies.

Bio

Daniella Woolf holds an M.A. in Design from UCLA, and a B.A. in Art from Cal State University Northridge. She is a 2007 recipient of the Gail Rich Award for excellence in the arts in Santa Cruz, and a 2008 awardee of the Rydell Visual Arts Fellowship.  Over her career she has worked in a variety of media, including jewelry and metal, fiber and textiles, collage, installation, book arts and most recently encaustic. She has studied in New York with R and F paints, and teaches popular encaustic workshops across the country. Her current work is about identity, privacy and memory, and is exhibited nationally and internationally. Important to her practice is fostering creative collaboration and community. She is curating an online exhibition and presentation for the upcoming Encaustic Conference in Boston, entitled Encaustic with a Textile Sensibility. She is an active member of the International Encaustic Artists, the International Association of Hand Papermakers and Paper Artists, the Surface Design Association, and President of the Lucky Girls Society. She maintains and works in studios in Santa Cruz and Whidbey Island. She writes a BLOG entitled Encausticopolis about all things wax, under the name Dotty Stripes.

Artists Sample Works