The Process of Creating the Artwork
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The Paper This particular work is the result of many years of experimentation and exploration of various papers and dyes. The paper that I dye in all of the pieces is a silkscreen and lithography paper called "Arches 88". It is a waterleaf paper that is 100% cotton and is also acid free. The dyes I use with the paper are called Procion (Fibre-Reactive Dyes, which were introduced by Imperial Chemical Industries, Ltd. in England in 1956.) These dyes are unique in that the dye molecule forms a chemical bond with the fibre molecule to produce exceptionally brilliant shades. Salt is used in the process to force the dye into the paper or fabric. Soda Ash is then used to set the dye once the color has been attained. The paper normally stays submerged in the dye for 24 hours, is brought out and rinsed until all the dye, salt and ash are out of the paper and then it is hung up to dry. The black paper in the work is the only paper I don't dye because I am unable to get that deep black. Some of the pieces contain old marbled paper from the early 1900's. Creating each Work All the pieces that I construct are made on 100% cotton, acid free mat board. I start by making grid lines in pencil for reference points and to determine where the individual cuts will be for the paper. I decide on a palate of colors and usually start in the lower left hand corner and work my way up and to the right until the piece is finished. All the 20"X20" pieces were started in the middle and worked outward. The paper is always glued down larger so I can make the inside cuts. Once the paper is cut, with single edged razor blades, the next piece of paper is pushed up against the previous cut and then it is cut, and so on until the piece is complete. It is the same process with the border, where all the outside pieces are a quarter inch longer so that the boarder color fits tightly against the inside pieces when it is cut. I am always open for the piece changing as I move through it and certainly have a basic idea of how the piece will look, but I like making subtle changes that people may not notice for a while. One friend told me that she had looked at her piece often for many weeks and had just recently noticed not only the subtle color change, but also something different happening at one of the intersections. If I am working on a piece and run out of a particular color then I will simply substitute it with a similar color. The work is influenced by the Amish quilts that were made prior to 1950. All the pieces are framed in solid maple wood with glass. |