In 2010 I decided to resume my activities as an artist maker in order to reconnect my ability as a maker with the skills and experience developed as a rural animateur.

Light for a Dark Night

I decided to work in paper (rather than metal) to remediate and atone for my involvement with the rising tide of paper required to get money, record decisions and discussions and ‘make the case’.

It occurred to me that the substrate which in everyday life bears bad news, precipitates stress, boredom and disenchantment might also, pulped down and  thoroughly processed, be a thing of beauty, transition and transformation. It certainly has been in the past, both in our own culture and many others.

The processes involved in making paper are haptic, messy, measured; require patience, attention and time.  Though basic paper can be made in a classroom or at a kitchen table, it can also be highly technical and require a good deal of experience, knowledge and craft skill. It is open to a very wide range of uses and forms. A paper object can be intentionally ephemeral or break down in a controlled manner, or given the right processes and care, last many generations.

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