For one of the recent proposals I started roughing out an idea for an installation inspired by this classic Japanese textile pattern of repeating scalloped shapes. The version I started with looks dramatically different than the rest of the work in progress I am sharing here, but it was a rough prototype. I chose five different shades of blue paper to work with and have been playing around with patterns to incorporate into the piece, as well as spacing, and overall assembly.

These are four variations as I play around with adding more patterns to the pieces, and whether or not to cut all the shapes or leave them mixed with uncut pieces. I’m really enjoying working with colour in this. I think I’ve cut about eighty individual pieces of paper into a scallop shape with the goal of assembling a sizeable finished piece.

I’ve been focused on writing proposals rather than producing work over the last few weeks, but an opportunity that came up last minute with a short deadline led me to some very productive studio time this week. I needed to create a piece using recycled materials, which is something I used to do more with my altered book work. Luckily I still have plenty of reclaimed paper tucked away in the studio and I realized my collection of security envelopes was the perfect thing to use.

I’ve never used patterned paper in my cut designs before because I tend to think it’ll be too busy when combined with an intricately patterned composition. Based on the work in progress pictured here, I was wrong. It works really well.

This is one of the two pieces I created for the call for artists that was due last Friday. It explores an idea I’ve had in my head for about nine months combining patterns, and taking inspiration from quilting blocks. It was good to find a new way to use security envelopes in my work because I’ve always found the material extremely compelling, and I have a box full of it still to make use of.

I ended the summer by finishing work on the third tyvek scroll. In the photos shared at the beginning of August I’d completed the larger design elements and the next stage was to do freeform cutting over the entire length of the piece. I chose to work on the floor for this part because I wanted to lay the tyvek flat so I could get a better sense of how the design flowed from end to end.

In the photo below you can see the container beside my work in progress full of off-cut pieces which I’ve collected during the making of this piece. I don’t usually do this but early on I decided to try and keep most of the tyvek bits, with the intention of using them in a related piece of work that still needs fleshing out.

I found this part of the work challenging because making a random pattern is hard for humans. Working on the floor was also not great for my back and knees so I made sure to take lots of stand up and stretch breaks.

The finished piece is lovely and feels the most like a piece of textile art out of the three pieces. I was surprised by this when I finished it.

It feels amazing to bring this small series of three large pieces of work to completion after two and a half years. I’m already working on where and when to exhibit them all together next year.

I took a few quick photos this morning of the three tyvek scrolls laid out together on the floor. I’m still working away on number three but I wanted to see how the previous two would look alongside it.

I really do hope I can display these together in a gallery someday soon.

In paper cutting news, I started working on my third 7 foot long tyvek scroll in mid-July and it is going very well. I needed a big project to focus on for awhile and this one came to mind. I’ve been saving one last roll of tyvek to create the third in a series of these pieces and I realized the time to do it was now (or rather the now of a few weeks ago).

I chose to create a composition using the flowerburst motif I use often in my work. I almost got caught up in the need to do something new, but with these scrolls it is important to me to use the shapes and designs that have become personal symbols within my work.

I’ve been struggling with a lack of focus and motivation over the past few months, as well as a desire to set my art aside completely. Making art is the easy part of being an artist, but finding an audience, viable opportunities, and making a living feel impossible sometimes. I’ve wanted to give up, but I’m trying to make my way through this period of struggle and frustration. It’s not easy though.

This meditative and meaningful work has been guiding my way back to why I make work, so clearly it has been the right thing to work on.