Papermaking is an ancient craft with deep roots in many countries worldwide. When everything that can rot is removed from a fibrous plant through cooking it is possible to form paper that can last hundreds of years. In Japan Kami is the word for paper, and Spirit.

To make individual sheets of paper handfuls of pulp are added to a tub of water and swished around. A special piece of equipment called a mould and deckle is then submerged into the water and agitated so that the suspended fibres can be 'pulled' on to the screen evenly. I’ve had the fortune to see how techniques differ East to West in this art. Making uniform sheets is an art that requires patience, observation and surrender.

 

I’ve gravitated more and more to working exclusively with natural materials in my art. Plants I’ve grown on my allotment provide colour, texture, natural materials for both 2D and 3D work.  The preparation of plants, extraction of natural colour all carry the essence and memory of places I have journeyed and the spirit that lives within the materials. Much of the time it is trial and error repeated many times in creating the palette for my artwork. On my allotment, I grow woad for blues and pinks, madder for reds, golden rod/weld for yellows and greens, hollyhocks for greys and continual experimentation in my dye bed. I take sparingly from each plant respecting and admiring the abundance that nature provides.

 

I find my equilibrium working on my allotment or walking in nature. Working with the earth has brought me solace at times of difficulty, energy when I’m feeling lethargic, solutions when I’m wrestling with decisions and grounds me when I’m chaotic. 

Working with the earth, being connected with the seasons and cycle of each plant, marvelling at the divinity of each seed transforming to plant, listening to the bird song around me, feeling the air reflect the time of year, the different scents, the uniqueness of each year’s harvest brings me joy, inspiration and a deep connection to the divine.