Theresa Ellerbrock: Loosening Her Grid

TSGNY: What is your fiber process?

Theresa Ellerbrock: I work in Joomchi, which is similar to felting. However, instead of using wool, joomchi uses hanji, Korean mulberry paper.  You begin by layering the hanji — at least three layers – and spraying water between the layers to saturate the paper completely.  You roll or brush out each layer from the center to eliminate any air bubbles, which keep the paper fibers from bonding.  Then the long sequence of agitating the hanji begins.  First you roll the finished layered work between two sheets of bubble wrap, with the bubbles facing the paper, using a wooden dowel as the core support.  After an hour of rolling this wrapped tube, continually agitating with your hands, you begin another sequence without the bubble wrap.  At this stage the fibers have begun to bond.  Now you can fold and coil it in many different directions, continuing the squeezing and agitating process, all the while keeping the hanji wet.  This continuous agitation causes the wet paper fibers to tangle and adhere to each other. There’s a point in the sequence where you can actually feel the fibers relax, the moment when you realize the fibers are bonding.   Three layers are now bonded into one. You begin to sense the transformation of the material. Through the process of Joomchi, the hanji is transformed into a more flexible and durable material.

"Sea Change," 2014, 25” x 39”, Korean mulberry paper.

TSGNY: How did you start working in Joomchi?

TE: I’ve been weaving and papermaking for the past 30 years.  My current work began to evolve in a new direction after I studied the Joomchi technique at Haystack with Jiyoung Chung, an amazing Joomchi artist who has revived this traditional Korean folk craft and pushes the boundaries of its possibilities.

"Earthbound," 2014, 26” x 36”, Korean mulberry paper.

TSGNY: It’s one thing to take a workshop, quite another to bring the process back to the studio and make it the focus of your practice. How did you come to that decision?

TE: The first step was when I realized I did not need to go to a papermaking studio to make Joomchi.  I am not starting with wet paper pulp, which requires specific equipment to make.  I begin with already made hanji paper.  More significantly, I also realized that working with this technique gave me more freedom than I had in the weaving process.  I am not limited by the grid.  Yet Joomchi has some of the same qualities as a textile.  It can be sewn, dyed, cut, and burned.  The possibilities are endless. Joomchi felt new and familiar at the same time.

"Summer Fields," 2013, 25” x 36”, Korean mulberry paper.

TSGNY: Can you talk a bit more about the work you were doing before Joomchi?

TE: I was weaving with linen, cotton and horsehair.  I was also making paper, beginning with the wet pulp and collaging into the pulp while still wet. I love process and am always interested in learning different ways of working.  I begin my work by choosing material I am drawn to.  The ideas come from envisioning ways to transform that material into something visually engaging.

"Natural Mystic," 2014, 25” x 25”, Korean mulberry paper & raw silk yarn.

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TE: The challenge in working with hanji is understanding its properties and limitations. Although it is a strong paper it can tear during the agitation process if not handled carefully.  It takes a bit of experience to understand how far the material can be pushed.  The naturally dyed hanji paper can bleed — some colors more than others — during the wet agitating process.  You need to be aware of how the colors you choose will interact with each other.  Sometimes you can use this bleeding as an interesting effect. The time it takes to get fully through the Joomchi process can also be a challenge.  It requires perseverance and focus.

"Nightfall," 2012, 25” x 37”, Korean mulberry paper.

TSGNY: Given the challenges, does Joomchi enable you to do things you have not been able to do in any other medium?

TE: In the process of dobby weaving I am always limited to the grid. Joomchi offers complete freedom from this limitation.  It’s interesting that the grid is so much a part of my language that I am still incorporating into my Joomchi work, although in my latest pieces the grid is morphing into a less ordered set of lines.

"One Afternoon," 2012, 24” x 24”, Korean mulberry paper & raw silk yarn.

TSGNY: Finally, are there any living artists who inspire you who you feel we should know about?

TE: There are so many artists who inspire me.  To name a few:  Winifred Lutz, Martin Puryear, Sean Scully, Eleanore Mikus, Mel Kendrick, Paul Wong and Michael Olszewski.  I also take inspiration from ancient weavings, especially Peruvian, from the incredible craftsmanship of Japanese artisans, and the work of Navajo weavers.

"Indigo Blues" (detail), 2012, 25” x 25”, Korean mulberry paper.

TSGNY: Thank you, Theresa. You can see more of Theresa’s work on her website. She will be showing at ART101 in Brooklyn from September 12th through October 12th.

5 thoughts on “Theresa Ellerbrock: Loosening Her Grid

  1. Gorgeous, fascinating work. Looking forward to seeing it in person. In spite of your clear description of the process, how you are able to use it to create grids is still a mystery to me.

  2. Congrats on the show! Your work is beautiful… I was pleasantly surprised to see your face when I clicked on the link from the SDA blog. – your Haystack 2014 roomie