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.

It was an essential compound; it is used in factories that make batteries, barometers and thermometers. on line cialis cute-n-tiny.com Other Parental Reactions The most common traumata engross either a serious danger to one’s life or physical integrity; a serious threat or harm to one’s kids, spouse, or other close relatives cheap levitra 20mg and friends; unexpected devastation of one’s home or community.” The parental reactions that professionals observed sometimes led them to conclude that these parents were unreasonable, dysfunctional, or part of the problem. The pills are very much helpful to generic viagra pills all for the erectile dysfunction (ED) disease. In a nutshell, ginseng is a magical herb that is also working in the same way that the branded tadalafil uk cheap over at this link works. TSGNY: From your description, Joomchi sounds quite daunting. Even though it frees you from the grid, does it create other challenges?

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.

Larry Schulte: The Half-Seen World

TSGNY: What is your medium?

Larry Schulte: I have never worked in just one medium.  The two kinds of work that I’ve done most extensively and have exhibited the most are woven painted-paper pieces based on the Fibonacci sequence, which I have been making for nearly 40 years; and screenprints, which I have been making for about 10 years.

"Grid 8," 34" x 34," woven painted paper. Collection Museum of Nebraska Art.

LS: I also make small works that I can create at home rather than in the studio.  These include woven photographs, paper-punched photographs, and stitched prints and photographs. I like to play with a variety of media – each medium teaches me something that I can apply to the other work.

"Metallic Red, 2008, "4" x 6", paper-punched photographs.

TSGNY: How does working in a smaller format in other media inform your larger work?

LS: The small woven-photo pieces don’t take much time — I can complete one in two to three hours.  The photos are of patterns and textures that I might want to create in a larger work.  With the small woven-photo pieces, the image is already there, so I don’t have to spend additional time in image preparation. This lets me see in a single evening how a circle image will interact with a square pattern image, which I can then translate into a larger woven painted-paper piece, or a screenprint. Similarly, the paper-punch pieces let me see immediately the results of layering one pattern over another pattern.

"Bridge," 2011, 4" x 6", paper-punched photographs.

TSGNY: How did you begin the woven-paper work?

LS: I was getting my Master’s degree in watercolor and at the same time I was taking several weaving classes.  At some point, I started weaving a paper weft into the fiber warp on a loom.  Eventually I did away with the loom altogether and wove paper with paper by hand. I start with two pieces of heavy white all-cotton paper, paint each piece with acrylic paint (one for the warp, the other for the weft), cut them into strips and weave them together.

Cutting painted paper strips to weave.

LS: When I was weaving on a loom, I worked with all kinds of techniques: ikat, overshot patterns. The woven painted paper pieces have a more simplified structure. Originally, I used a plain weave, simply over-under.  As the works increased in size, I made a modification to a twill weave, over two under one. This modified twill was also an iteration of the Fibonacci Sequence.  The twill weave also allowed the strips of paper to be closer together in a tighter weave, which keeps the painted image more intact.

"Red Field," 2010, 54" x 54", woven painted paper.

LS: The work has never really been about the medium, though, it was about creating a visual image of mathematical structure.  It’s just that the woven painted-paper medium was one of the most satisfactory ways I found of creating a visual structure.

TSGNY: That visual structure has a strong mathematical basis. How did the Fibonacci sequence come to play such a central role in your work?

LS: I chose the Fibonacci sequence many years ago, for several reasons.  I was a mathematician before I ever started making art.  I have a degree in mathematics, and taught math for a few years.  Yet when I first started making art, I was painting landscape.  I grew up on a farm, and nature is an important part of my work.  In a way, I feel that all of my work is landscape.  The Fibonacci numbers are related to the structure of nature. They occur in everything that is a spiral:  pine cones, seashells. One of my favorite places the numbers show up is in the head of a sunflower.  There are two spirals of seeds in a sunflower head, one clockwise and the other counter-clockwise.  The numbers of seeds in the two spirals are always two consecutive Fibonacci numbers. The width of the strips I cut always varies proportionally to the numbers in the Fibonacci Sequence (1, 1, 2, 3, 5, 8, . . . each number always the sum of the two previous numbers).

"Squares 1," 2005, 4" x 6", woven photograph.

TSGNY: Your other main body of work is screenprinting on both paper and cloth.  When did you add that to the woven-paper work, and how does its imagery differ?

LS: I took a screenprinting class at Manhattan Graphics Center and responded immediately to the technique. I knew that I wanted to pursue it in depth.  I began creating patterns in Photoshop to use for the screens. Mathematics came into the work in the form of Moiré patterns as well as Fibonacci patterns of circles, lines, squares.

"Web Net Veil 86," 2010, 30"x 22", screenprint.

LS: My screenprinting images also include blueprints, EKG patterns, weaving patterns, topological charts.  I began layering all of these unrelated images to create new patterns. I called one grouping the “Chaos Series” because of the random way I was layering totally unrelated images.

"Science 65," 2012, 20" x 20", screenprint.

TSGNY: Does your choice of techniques enable you to do things you wouldn’t be able to do in other media?

LS: In all of my work, there is a kind of hiding, a kind of half-seeing, that requires the eye and mind to complete the image.  This is particularly true in the woven painted-paper pieces.  A circle painted on the piece of paper that become the warp strips still reads as a circle, even when half of the image is hidden under the weft strips.

"Culvert," 2010, 4" x 6", woven photographs.

LS: The same is true in the layering of ink in the screen prints.  The images I use always leave some open areas, so that the layers underneath show through. This “seeing through” would be difficult if you were strictly painting, or weaving, or drawing.

"Web Net Veil 10," 2009, 30" x 22", screenprint. Collection Dubuque Art Museum.

LS: I continue to explore this “half-seeing” in many media. When creating work to enter in the 9 x 9 x 3 exhibit, I experimented with layering felt for one piece, wrapping gridded wire with rayon in another, printing and stitching on cotton fabric for yet another.  Each of these experiments somehow involved layering, which seems to be a recurring theme in all my work.  The layering of felt started me thinking about other ways to create linear patterns.  The wrapped gridded wire started me thinking about other ways to create grids for screen printing that you could see through.  Stitching on cloth that has already been screenprinted is something I have been playing with for a couple of years, and may turn into a larger of body of work all on its own.  It’s a medium I want to investigate further.

"Untitled," 2011, 12" x 13", screen-printed stitched blacksilk.

TSGNY: Would you say your intent changes as a result of working with each new process?

LS: I am always amazed that I don’t know what my intent really is until a few years into a process.  For example, only in the past year did I begin to understand that part of what the layered screenprints are about is related to the internet, and the unlimited information that we take in each day.  The layering is a visual way of understanding and dealing with unlimited information.  Conceptually, I am dealing with the idea of creating pattern from chaos, mixing layers of unrelated images that result in a new structure. It’s as if I know intuitively what it is I am doing before I can verbalize what it is I have done.

"Untitled," 2011, 5" x 7", stitched photograph.

LS: My best work always comes when I allow the medium to work, when I don’t try to conceive too much in advance, when I simply respond to what has started.

"Science 84," 2012, 20" x 20", screenprint.

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

LS: Living artists whose work I admire would include painter Steven Alexander, fiber artist Maureen Bardusk, painter and blogger Joanne Mattera, and TSGNY’s own Nancy Koenigsberg. My other influences include Kandinsky (especially his writings, including “Point and Line to Plane” and “Concerning the Spiritual in Art”); Mondrian, Anni Albers, Lenore Tawney, John Cage, Agnes Martin, and Gertrude Goldschmidt (Gego).  I’ve also been inspired and influenced by many outside of the visual arts world, particularly poets Mark Doty and Dale Kushner, pianist Aki Takahashi, choreographer Mark Morris, fiction writer Louise Farmer Smith, composers Eric Richards and Michael Byron, percussionist Haruka Fujii, and mathematician Stephen Wolfram.

I’ve collaborated with performing artists in the past, creating stage sets and woven costumes for a ballet company and very large-scale woven paper stage sets for the Japanese saxophonist Ryo Noda, when he performed at the Asia Society.

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Woven painted-paper stage design, 1988, 6 panels, each 8' x 4', Asia Society.

TSGNY: You can see more of Larry’s work on his website.

Carole P. Kunstadt: Transforming Text

TSGNY: How would you describe your current work?

Carole P. Kunstadt: The Sacred Poems series, which I’ve been working on since 2006, has been an ongoing exploration generated solely by the materials: two editions of an antique book, dated 1844 and 1849. As an art student and in my first years as a freelance artist I was a calligrapher, and have always been fascinated by illuminations in manuscripts and books.  I purchased the first book in Vermont in 2000 from a used-book seller without any specific idea in mind. In 2006  it occurred to me to use the paper as the ground for a collage.  But to my surprise I was enticed and captivated by the  responsiveness of the paper: the inherently facile, tactile, tender yet strong pages. Soon I was transforming them in unexpected ways. The series has grown to 75 unique works celebrating life and the beauty that’s contained within the Psalmody.

TSGNY: What’s the range of the transformations you’ve subjected the paper to in this series?

CPK: I’ve layered pages and machine-stitched through the lines of text, leaving a fringe of the threads; I wove strips cut from the pages, fascinated by the random patterns created by the letters. It had been over 25 years since I had been involved in tapestry weaving. The process was truly satisfying: to find previous skills resurfacing unexpectedly and from a different orientation.

"Sacred Poem LV," 2009, 5.5” x 5.625”, 24K gold leaf, paper: pages from Parish Psalmody dated 1844. Photo: Kevin Kunstadt

CPK: My lifelong fascination with texture came into play when I found that releasing the pages from the binding and cutting towards the crease created a ‘ruffle.’

"Sacred Poem XVI" (detail), 2006, 6” x 8” x 1.5”, thread, paper: pages from Parish Psalmody dated 1844. Photo: Kevin Kunstadt

CPK: I am in a constant state of discovery in this series as new ways of working with the paper evolve. I just completed a piece in which I gilded strips of pages with 24K gold leaf. The gilded strips were then woven, and hand-sewn/knotted with thread.

"SACRED POEM LXXV"(detail), 2011, 9.625” x 9.75” x .5”, 24K gold leaf, thread, paper: pages from Parish Psalmody dated 1849. Photo: Kevin Kunstadt

TSGNY: What was your work like before you embarked on the Sacred Poems?

CPK:  I had been working with handmade papers, layering with other ephemera and natural found objects, for over twenty years.  I was intrigued and inspired by found papers, and used old receipts, labels, currency and tickets that I collected in my travels, but also purchased antique postcards, ledgers, etc. for use in my collages. The series I was working on prior to this one, Markings, consisted of  6” x 6”  paintings in gouache that incorporated lines of script itemizing New Hampshire farm/estate sales, which I cut from a ledger from the 1860s.  I added lines of stitching by machine-sewing right through the paper. They were fluid and spontaneous – an immediate record of the day’s energy, incorporating the collage fragments from the past in an intimate and delicate manner. Towards the end of the series I worked graphite into them as well to accentuate the marks of script. Each one has its own presence but they also work well hung as groupings.

"Markings No.27 "(detail), 2004, 6” x 6”, gouache, collage and thread on paper. Photo: Kevin Kunstadt

The man may experience http://cute-n-tiny.com/page/49/ cialis properien many emotions, such as, anger and outrage, and a feeling of loss. It has all the beneficial components inside it which helps in proper levitra in uk click address erection to the man. When you are suffering from this disease, your penis develops scar throughout look these up buy cialis in india its length which causes your penis to bend. The mistake most men cute-n-tiny.com viagra ordination make is that they double the dose without consulting their doctors. TSGNY: It sounds like this new series puts many more demands on the paper than your older work. Is the fragility of 150-year-old paper an issue? Does it constrain your choices?

CPK: The pages from the book dated 1844 were amazingly flexible. The discoloration from aging is a honey color that provides warmth and depth. The paper wasn’t brittle – to the contrary, it was very forgiving. After a few years of focused work on the first book, I found myself running out of pages and tried to locate another book in similar condition. This has proven to be elusive . . . like the holy grail! I finally did buy an 1849 volume online and was surprised to find it so different in color and texture despite the few years’ difference. This book has led me to work a little differently. The pages are slightly larger, lighter in color, and less flexible. Inspired by working in the 9” x 9” x 3” format for the upcoming TSGNY exhibit, I ventured further into the realm of three-dimensional boxes. It has been a very liberating experience to work on an object as sculpture rather than a single surface.

"SACRED POEM LXIV," 2011, 4.75” x 4.75” x 2.25”, wire, 24K gold leaf on wooden egg & paper: pages from Parish Psalmody dated 1849. Photo: Kevin Kunstadt

TSGNY: Does the content of the manuscript pages affect your work? Is it different working on a secular text like the ledger and a sacred text like the Psalmody?

CPK: The handwritten script from the ledger I used in Markings provided curvilinear marks that captivated me with their fluid human strokes and implied personal history. The  fragmented words and letters suggested intriguing insights and anecdotes of another time. Combining a selected strip of paper from this recorded experience with a sewn and painted surface develops a new presence that builds on the remnants of previous generations. The persistence of time merges with the tenuous quality of life.

"Sacred Poem XLV" (detail)

CPK: The Sacred Poems’ use of a sacred text has been central to the methods of alteration of the papers’ nature. The repetitive actions of sewing, cutting, weaving, and knotting mirror the actions of reciting, singing, and reading: implying that the repetition of a task or ritual offers the possibility of transcending the mundane. Transformation and the possibility for revelation are primary elements of the work. This exploration led to a greater depth and connection to my creative core. The books have revealed themselves as vessels containing a rich source of history, and personal experiences which I am responding to intuitively.

The intended use, as well as the nature of a psalm as spiritual repository, both imply a tradition of careful devotion and pious reverence. The physical text evocatively and powerfully serves as a gateway to an experience of the sacred and the realization of the latent power of the written word. This process of interaction plays out visually in the piece, mimicking the internal experience. Through the individual evolution of each page, culminating in a transformation of the whole volume, the material and the conceptual interact delicately and suggestively with one another.

The casual purchase of a book ultimately changed my creative path.

TSGNY: I’m sure a lot of artists would recognize a similar moment of serendipity in their own lives. Finally, are there any artists whose work inspires you that would like us to know about?

CPK:  Zarina Hashmi‘s work has inspired me to explore the idea/intent as well as the materials in my work. Her ability to extract simplicity from complexity and present a vision of the world from her personal experience is fortifying and compelling. Her use of gold leaf – and Wolfgang Laib‘s — are thought-provoking and profound. He masterfully reorders and redefines materials and gets to their very essence. His work is unadorned, yet powerful in its simplicity.  Viewing his work is a sensory experience.

TSGNY: Thank you, Carole. You can see more of Carole’s work here, and in a solo exhibit at the Corridor Gallery at the Interchurch Center in New York City, Sept. 19 – Oct. 21, 2011.

Bonnie C. Epstein: Embroidering the Story

"Safety Net Fragment" (detail) 8 3/4" x 8 3/4" Newspaper, joss paper, cotton interfacing, thread. Hand and machine stitching. Photo: D. James Dee

TSGNY: How do you describe your work?

Bonnie Epstein: I am a hand-embroiderer.

TSGNY: You embroider, but not on fabric . . . .

BE: No. I construct lace-like structures made of paper intercepted on its way to the recycling bin – – maps of all kinds, ledger sheets, catalogues, fliers, newspapers, magazines, ads, envelopes, almost anything except scented papers. I harvest clippings, coat them with matte medium, machine stitch them to cotton interfacing, then use basic hand-embroidery stitches to connect and embellish the paper elements.

TSGNY: What kind of artwork were you doing before you developed this method of combining found paper with embroidery?

BE: I would say I first became “an artist” in the technicolor paradise of my grandmother’s yarn store.  During sweltering pre-Salk vaccine summers in the Catskill Mountains resort village where I grew up, I begged to be allowed to work in the store rather than stay at home to play in the backyard. I fell in love with threads, yarns, and texture; and discovered the transformative powers of color and pattern.

BE: I was also taught that every woman had to be able to earn a living, that an artist could not earn a living, and that a teacher would always be able to support herself.  So after college I was a teacher. I lived abroad, moved to Manhattan, changed professions, married, lived abroad again, and returned to Manhattan in 1978.  Walking along Broadway with my children, I discovered the Thread Company and Lisbeth Perrone’s needlepainting classes. I have been an embroiderer ever since.

For years I designed and embroidered functional items – – one-of-a-kind ceremonial cloths sold at museum shops, a succession of accessories sold at boutiques, and numerous embroidery samples and prototypes for the garment industry.  Although I read  Fiberarts  and visited fiber exhibitions, my work had to conform to color and trend forecasts.  Membership in TSGNY offered options and encouragement.  In 1998 I covered my 9X9X3 box with photographs embellished with embroidery.  It was my first experiment with embroidery on paper.

"Window Box" (detail) 9" x 9" x 3 Wooden box, photos, fabric, thread. Photography, hand stitching. Photo: D. James Dee

TSGNY: When did the found paper become central to your work?

BE: After the 9x9x3 show, TSGNY members Ann Kronenberg, Colette Wolff and Joan Pao goaded me to continue exploring the possibilities of stitching on paper.  Their incredible friendships, insightful critiques and patient mentoring are invaluable gifts. In 2003, frustrated by the growing piles of paper awaiting recycling, and provoked by increasingly angry red, orange, and yellow terror warnings printed on many of those papers, I challenged myself to make good use of the mess.  I wanted to maintain the integrity of the papers rather than printing or copying their texts and images on fabric, but I had to find a way to strengthen and preserve them. Months of experimentation led to the techniques that I continue to use.

TSGNY: So your paper isn’t fragile?

BE: Paper coated with matte medium then machine stitched to cotton interfacing is parchment-like: tough, yet wonderfully pliable. It is a perfect base for embroidery.
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TSGNY: How do you decide which of the incoming paper to incorporate in your work?

BE: I work at home; some days the papers that arrive are so compelling that they call me to deal with them at once. Often their potential is obvious, but it takes me a while to make use of them.  Five years’ worth of charts and graphs from the financial pages are currently being stitched into a series of “safety nets.” I am also exploring the possibilities of envelopes.

"Mail Box" (detail) 6 1/2" x 6 1/2" Paper envelopes, cotton interfacing, thread. Hand and machine stitching. Photo: D. James Dee

TSGNY: How has this choice of recycled material affected your artwork?

BE: Needless to say, much of my work is infused with text. I use it as pattern, and as visual texture. Frequently the text determines the path of my work. A fully text-based work in progress is “No End in Sight,” a documentary series composed of “Names of the Dead”  lists clipped from our newspaper almost daily since the autumn of 2005.  These lists include names, ages, hometowns, and military units of American service members killed at war in Afghanistan and Iraq.  “No End In Sight” is a series of annual documents of deaths.  So far I’ve completed two years of the series:  “Autumn 2005 – 8/ 8/ 2006,” and “8/ 9/ 2007 – 8/10/ 2008.”   I’m just beginning “8/11/ 2008 –  8/9/2009.” There were 30 names on the list I clipped yesterday and sadly, there is no end in sight. 

"No End in Sight 8/2006- 8/2007" (detail) Approx. 68" X 45" Newspaper, cotton interfacing, thread. Hand and machine stitching. Photo: D. James Dee

BE: Selectively harvested materials enable me to explore issues and events, capture a mood, comment quietly, and hopefully stimulate discussion.

The treated paper also enables me to construct deceptively fragile-looking structures. When suspended, their flickering shadows playfully deflect evil and fear. I  think of my first pieces as talismanic and call them Security Blankets. To increase the potential for shadows, I stitched bits of metal hardware cloth mesh (aka Rat Wire) among the paper squares.  I continue to construct unique lace-like paper structures, happily mining the seemingly endless potential of the daily paper crop.  Each harvest sparks fresh ideas for new work.

"Security Blanket" (detail) 31" x 26 1/2" Paper, cotton interfacing, hardware cloth, thread. Hand and machine stitching. Photo: D. James Dee

TSGNY: Finally, is there any living artist whose work inspires you who you’d like us to know about?

BE: Since I began exploring the possibilities of recycled paper, I have become increasingly interested in the work of artists whose innovative use of recycled materials enables them to explore a broad range of issues.  Several years ago I discovered the fascinating installations of Guerra de la Paz, a collaborative of two Cuban-born artists working in Miami.  The pair builds lush, seductive, politically resonant environments of recycled textiles. Used as construction materials, these textiles remain secondary to the message of the work.  The team’s skillful twisting and knotting so totally transforms their materials that it is shocking to suddenly realize that the foliage above your head is composed of masses of green patterned, solid, and printed sweaters, shirts, dresses and pants.

TSGNY: Thank you, Bonnie. You can see more of Bonnie’s work here.

"No End in Sight" (Autumn 2005 - 8/ 8/ 2006 and 8/ 9/ 2007 - 8/10/ 2008) Each approx. 68" X 45" Newspaper, cotton interfacing, thread. Hand and machine stitching. Photo: D. James Dee