For several years my work in fibre has concentrated on the membrane of the "page" as an expressive form. As a medium,
papermaking attracts me because of the congruity between the material aspects of the process and human physical concerns:
wetness, pressure, thickening, dessication - the paper undergoes these successive conditions. Responding to nature and circumstance,
he sheet of paper embodies experience, as we do. The ability of flax pulp in particular to develop high rates of shrinkage,
translucency, and surface texture makes possible a language that can speak of the effects of time and change.
At the same time, paper is culturally linked to ideas, language, and communication, crucial features of our humanity.
I have often used the familiar layout of the folio -- two facing pages -- as a suggestive format for several series
of paper works concerning our desire to document and describe.
My work explores implications of embedding image and language within the paper, to give the "narrative" a material presence.
In earlier work the body and the codex form have been important. In recent pieces, I have given greater priority to text, allowing
words to form the entire structure. Here, the shapes and patterns of individual letters, words, and phrases dictate the physical form
of the "page" when inscribed in high shrinkage pulps. The result is a fretwork of language which
casts its shadow on the supporting wall.
This approach emerged from several overlapping areas of interest: in narrative as a kind of personal mapping; in the possibilities
of language as physical form; and in paper as the substance rather than the traditional substrate of a work of art. My objective with
this work was to explore the space between literal meaning and physical presence, to generate new forms from the shapes, rhythms,
and meanings of language as it encounters the physical nature of paper pulp.