Invisible Cities, cut Tyvek, 9 yards long (click image to see it large)

The scale of the paper cuttings (she uses Tyvek for its durability) is almost impossible to capture in pictures – you really have to see them in person or look closely at the many detail pictures on her website of the many different parts of each cutting. The work is stunning not just because of the intricacy of the cuts, but the ideas and stories that she develops through these silhouettes.

Invisible Cities, detail (click image to learn more about this papercutting)

“My “Invisible Cities” are three nine-yard long papercuttings completed in 2008. I cut the three layers together, then separately. While the skylines are similar, the papercuttings show different versions of a world in transition. The “whole nine yards” format requires viewers to discover the territories as in an atlas, where every place is connected.” Bèatrice Coron

Heavens , cut Tyvek
(part of an installation titled “Hells and Heavens” – see more about this piece below)

“My silhouettes are a language I have developed over the years; my point of view is both detailed and monumental. Cutting from a single piece of material, the profusion of individual stories creates a coherent universe.” Bèatrice Coron

Heavens, detail

“In my graphic style, windows are used not to see out but in, placing the spectator in an outsider/insider situation. Shadows, reminiscent of film noir and voyeurism, leaves room for multiple interpretations.” Bèatrice Coron

This 2 minute video was shot by the Museum of Arts and Design (MAD), where Coron’s “Heavens and Hells” is part of the exhibition “Slash: Paper Under the Knife” (until April 4, 2010). She cut the piece during a three-week residency at the museum last year and in the video she is shown cutting part of the Tyvek installation as she talks about the meaning behind the work.  There is also a mind boggling time-lapse sequence of the work. More about “Heavens and Hells” here.

“Using the five senses, perceiving the natural qualities of the materials, I found that I am concerned less about the end, and more about “doing”. The process of creating is equally as important as the finished work.” Noriko Ambe

A Piece of Flat Globe Vol.9, Yupo, acrylic medium
6 11/16″ x 8″ x 3 9/16″

Drawing with an Exacto knife, Japan’s Noriko Ambe laboriously alters thick stacks of Yupo, a white paper made in Japan.  The resulting sculptures, rife with snaking curves and rippling lines, are meant to evoke not only the peaks and valleys of the earth’s landscape, but also the wrinkles and folds of the human landscape.

A Piece of Flat Globe Vol.6 (detail)

A Piece of Flat Globe Vol.4, Yupo
6 1/8″ x 8 5/8″ x 6 1/2“

Ambe’s art evolved from two dimensional drawings and etchings when she began to stack paper and work in three dimensions, eventually embracing the Yupo, a synthetic, translucent paper with an organic quality that makes it feel almost like skin. She also cuts books and catalogs from art exhibits as she reflects on the concept ‘what is art?’

Attention to Detail! 12 1/4″ x 14 1/2″ x 11 1/2″
Cut on catalogues of “Attention to Detail – Curated by Chack Close”
Flag Art Foundation

“When I am drawing or cutting lines, I am interested in observing the power of the changing growing shape. This dynamic shape becomes an entity in itself, “Another geography.” In a sense, the empty space is myself, and the materials represent the present world. Cutting book work is like collaboration for me. And it is important to choose the materials carefully because printed matter conveys a message automatically. The relationship between the linear actions and the materials is like the relationship between human beings and their restricted environment, a connection that is interested in me, too.” Noriko Ambe

via carrotbox

Brooches, parchment, silver

More! brooch, copper, paint

Polymorphous, necklace, etched silver, steel wire

The soft shapes, crisp geometric lines, quiet shades of neutral, bold splashes of rippling color, subtle textures, shadows and light Pårnänen achieves with these materials are beautiful and beg to be touched. I wonder what will capture her curiosity next?

Necklace, cow’s horn, silver, steel wire

Ordinary Beauty, ring, burned/dyed paper, cotton thread, wax

.

Recreating Myself

Changing My Mind

Glory Necklace

Best known for her crocheted niobium wire jewelry and sculpture, Dulla’s most recent work includes woven, crocheted money.  Money.  I need a Money Urn. That’s up next for me.

Money Urn

Money Collar

Money Bracelet

Previous post about Dulla here

Sheller Bracelets, copper, paper

Click on the image of the Rosario necklace detail (above) to see several images of this piece, including an image of multiple Rosario necklaces worn at the same time.  Nice.

Bacello Pendant, copper, paper, pearl

Annabella Ring, paper, copper

“Paper crosses our everyday life continuously and in multiple forms: magazines, maps, shopping bags… I enjoy the idea that fragments of our lives will remain trapped in my paper jewelry.” Francesca Vitali

Find more photos like this on crafthaus

Frucci Design on Etsy.

Frucci was a Featured Seller on Etsy.  Read her interview here.

More Frucci jewelry on her Flickr site.

Roadside Scholar’s 2008 interview with Frucci.

Until then, take a look at Mandy Smith and Mike Wilson’s interpretation of house and home {the rest of the series here, here and here}.

Inspired by the distorted canal houses of Amsterdam and an abiding love for all things paper, Mandy Smith made the house above from paper, glue and foam board. No paint.  No color. The eye is naturally drawn to the lines and shadows of the paper pieces. It looks so peaceful and calm, even as it leans.

Mike Wilson’s idea to fold and glue a few paper houses painted on the inside and white on the outside took on a life of its own and he eventually created an installation of 160 of the little paper houses. I like the way the color on the inside makes these little beauties pop – and be sure to note the gradation in size and shape.

Wilson even shows you how to make your own little paper house here.  Be sure to stop by again this afternoon for another post featuring paper art – you won’t want to miss it.

Long Wheeled Construction, hand-cut and folded-paper, ink, acrylic and balsa
54″ x 168″ x 19″

Long Wheeled Construction, detail

She paints the paper first with acrylic paints, adding detailed line drawings on top of the paint. Next, South hand cuts the spaces between the lines before stretching the paper over thin pieces of balsa wood. Light and shadow play are important elements in the imaginary urban industrialscapes.

Red Square, hand-cut and folded paper, ink, acrylic and balsa, 63″ x 73″ x 12″

Red Square, detail

Most of my work draws on the experience of riding my bicycle around the city. When I first moved to Red Hook, Brooklyn, I was living amongst the remnants of 19th-century industrial architecture–wharves, cranes and windowless warehouses–and the burgeoning technological infrastructures of the twenty-first–giant satellite dishes, cable terminals…things that I don’t know the names of…these structures were right on the doorstep so I encountered them in all their structural mass and enormity, but by the time I was cycling over the Brooklyn Bridge, they appeared on the horizon as tiny and delicate linear structures. It is this constant shifting of perspective and scale that constitutes our actual phenomenological experience of architecture and the city and that I aim to get across, the moving through and around structures, the fluidity of our architectural experience. Jane South, from an interview on identitytheory.com

Tower, hand-cut and folded paper, ink, acrylic and wood, 15′ x 6′ x 5′

Tower, detail

The artist, who holds a BA in Theater Set and Costume Design from Central School of Art in London and an MFA in Painting and Sculpture from the University of North Carolina, recently exhibited Tower (seen above – more images here) in NYC, her largest and most ambitious work to date.

Susanne Vielmetter of Susanne Vielmetter Los Angeles Projects talks about South’s process in this video.

Here’s a short video that brings you up close to South’s most recent installation at Spencer Brownstone Gallery in New York (no sound).

The shadows, lines and angles of this white-on-white world are soothing, and speak to me of order amid chaos. I want to step inside and climb the stairs – I think there is a quiet room waiting with a view of sea and sky; an uncluttered space where I can dream and think and plan. Is it really only Tuesday?

The artist, who was formally trained as a sculptor, also has a portfolio of installation art and sculpture on his website – the work is a dark, bold contrast to his 2D crease drawings.

via toxel

Mushrooms
paper, embroidery thread, yarn, beads, wire, fabric, hand-sewn to wooden sphere, 4″ x 3.5″ x 3.5″

Warbler’s Biotope
embroidery thread, ribbon, yarn, seed beads, digitally printed fabric, polymer clay, paper, trapunto, applique, sewn to sphere, 5.5″ x 6″

Eyes
paper, embroidery thread, beads, wire, fabric, hand-sewn to wooden sphere, 4″ x 4″ x 4″

I make environments where everything represented is made out of something else – imitative materials: fabric, paper, applique, embroidery thread, paint, beads, oil pastel, and wax. I re-imagine the landscape and objects from nature, altered through my life and experiences of the human body. I mix anxieties and secrets, physical symptoms and the love and fear of being mortal with fabricated roots and leaves and pods and insects and blooms. I mimic the quickly changing natural world through man-made materials with a longer shelf life, an attempt, though illusory, to slow change, to consider and to hold on to life longer. Amy Gross

Lichens
paper, embroidery thread, yarn, beads, wire, pom poms, fabric, hand-sewn to wooden sphere, 4″ x 3.25″ x 4″

Grown
embroidery thread, ribbon, yarn, seed beads, digitally printed fabric, polymer clay, paper, trapunto, applique, sewn to sphere, 9″ x 9″

Amy Gross at itty bitty artshow

Amy Gross website

Amy Gross on Flickr

Read an interview with the artist here

Close up images of her work here

]]> http://dailyartmuse.com/2009/10/19/sally-hayden-gilmores-cast-paper-sculpture/feed/ 2 http://dailyartmuse.com/2009/10/16/hila-rawet-paper-jewels/ http://dailyartmuse.com/2009/10/16/hila-rawet-paper-jewels/#comments Fri, 16 Oct 2009 13:44:55 +0000 Susan Lomuto http://dailyartmuse.com/?p=14202 Hila Rawet calls her jewelry “gutsy with a feminine edge.” Rawet studied industrial design in school and coupled that experience with a love of jewelry to develop three collections of work using paper, plastic, grommets and springs.

The jewelry shown here, part of the Kipul collection, is made from a series of folded sheets of paper – visit her website to see the Kishut collection, made with plastic and grommets – equally compelling.

Hila Rawet

Read this short interview with Rawet on MocoLoco

Untitled Neckpiece
porcelain, silver, linen and polyester thread, paint, glass beads, pva

Anemone Cup Ring, fine silver, polymer clay, cubic zirconia, paint

Stilt Cup, silver, linen thread, pva, paint

Urchin Ring, fine silver, buckram, paper, paint

My method of designing and making jewellery is spontaneous. I like my work to retain the energy of a quick sketch, which can often be lost during the process of making. The use of fine silver shim allows me to make impulsively. My method allows me to fabricate objects that have a paper-like fragile quality unexpected of metal.

Katherine Wheeler

Read this interview about Wheeler on the Melbourne Jeweller.

I don’t make sketches or design the installations ahead of time—it all happens on site. In advance I will take photos of the space, which I hang in the studio, and get the dimensions of the walls and ceiling. By the time I do the install I usually have some idea of what I’ll do, but it always turns out different than I imagined.

See more of Pearlman’s process here.

A video on the artist’s website homepage lets you listen in as she speaks about her work. I found it interesting to hear how she started out moving towards something and then one small shift unexpectedly led her in an entirely different direction.

I am interested in those moments in which its impossible to tell if a form is contracting or expanding, coming or going, etc. The ambiguity of form, the fact that everything in life is in flux, that we are not really in control although we might like to believe so, the constancy of change—the ephemeral form of the work reflects the ideas within.

Read an interview with the artist at The Open End.

Announcement from DaMuse!

Come back in a little while when I will announce the three winners from the blog giveaway.  If you haven’t entered yet, but you want to – it’s not too late. I am extending the deadline until 11 am EST and I will post the winners at noon (check the “Latest Posts” category). Details to enter here.

Look twice at these insects.  They look real, but they aren’t.  They are paper.  Folded paper to be exact. Paper folded from one sheet of paper if you want all the facts.  No cuts.  None. Robert J. Lang is one of the foremost origami artists in the world with a portfolio that boasts much more than insects. It will amaze and delight you. More Lang right here.

Goliath Beetle, paper

Water Strider, paper

Praying Mantis, paper

Don’t miss Lang’s Ted Talk, Idea + Square = Origami.

Can’t get enough? Everything in this Mitsubishi commercial is paper except the car.  Lang folded the dragon and had help with the rest of the origami set that included hundreds of folded trees.  Must have been a folding frenzy. A team of modelers animated the figures, bringing his dragon to life. Wonderful stuff.