Thursday, December 11, 2008

My Paper Sculpture Portfolio

"Maliko Gulch" 13 1/2 x 6 x 3- Handmade papers cast over a winter melon and embellished with layered leaves sewn up each side and unspun sheeps wool to finish off the rim.

" ipu heke 'ole" 15 1/2 x 14 x 12- Decorated paper vessel handcast from a Hawaiian gourd once used as a drum to accompany the Hula dance.
Embellished with seeds sewn up each side and unspun silk fibers finishes off the rim.

"Stilt Basket" 15 x 5 1/2 x 4 1/2- Paper vessel handcast from a honeydew melon, positioned on bamboo stilts and embellished with dyed orange fibers.

"Medicine Bowl" 7 x 7 1/4 x 8 1/2- Paper vessel handcast from a squash. A 4 piece plaster of paris mould was needed to cast the elaborate shape of the squash. Unspun tresses of camel hair adorn the rim.

Friday, December 5, 2008

Hand Cast Paper Sculptures

Hand cast paper bowl.

Another view of the paper bowl.

After much deliberation, my handmade paper bowls, vessels and sculptures are starting to manifest. I had some technical difficulties along the way and the weather was counteractive in the drying process. But here we are.

With my handsaw and clippers I ventured into the wilderness to harvest some of the grasses, leaves, flower stalks and inner bark from the plants and trees that I would be needing. I collect only from plants that are growing in abundance and have plenty to share.

Then the cooking process- about 6 -8 hours simmering on an outdoor burner in a caustic solution, then to rinse and wash in preparation for the relentless beating of the fibers. Each batch of cooked plants is beaten with a wooden mallot on a wooden cutting board for approximately 4 hours. The beaten fibers are then further cut up into smaller pieces and small handfuls are put into a kitchen blender with water and blended, repeating the blending process about 15-20x or until an entire vat is filled with pulp. Using my papermaking screen and deckle, sheets of wet papers are lifted out of the vat and set aside.

In the weeks previous, was the production of the plaster of paris moulds. For several weeks I would bring my equipment down to the beach- a bucket, the plaster powder, a couple of gourds, squashes and other fruits that have interesting shapes......I would bury the gourd halfway into the damp beach sand, mix the plaster in my bucket using ocean water and pour the mixture over the gourd, wait about an hour to set up and then flip it over and pour plaster on the other side.

After the plaster mould is bone dry I press freshly lifted, wet sheets of paper on the inside of the plaster mould. I use many different kinds of papers to get different tones and textures. When the papers inside the mould are dried, I pull the 2 piece mould apart and release the handcast vessel, a paper replica of the model that was used to make the mould.

This little piece pictured above is a paper replica of a pomegranite! The plant materials that I used to make the papers that went into this are, spider lily stalks, bird of paradise flower stalks, trunk of a banana plant, and the dark brown flecks are dried philodendron flower sheaths. I also put a PVA glue substance into the paper pulp vat so that when the paper piece dries it will be hardened. It looks delicate, but really, it is quite hard and durable. The tactile qualities of the plants really shine through in these hand cast pieces. I have more of these to come- some much larger and more intricate, we'll see what happens here.

Saturday, November 22, 2008

Arbor Day

Wiliwili, Erythrina sandwicensis
Arbor Day is a day to recognize and plant trees. Trees are the most massive, longest lived, and tallest organisms ever to inhabit earth. Trees support more communities of living things than any other organism on earth. Trees are our greatest natural resource. November is the month that we celebrate Arbor Day in Hawaii, usually the second saturday of the month.

The Maui Nui Botanical Gardens hosts the celebration on Maui and in honor of the event, give away many hundreds of trees. And these are not just trees, they are all indigenous, some endemic and endangered Hawaiian species that are rare and hard to find. 

A Celebration Of Tree Planters Around The World:
Arbor Day is also celebrated in other countries including Australia. Variations are celebrated as 'Greening Week' of Japan, 'The New Year's Days of Trees' in Israel, 'The Tree-loving Week' of Korea, 'The Reforestation Week' of Yugoslavia, 'The Students' Afforestation Day' of Iceland and 'The National Festival of Tree Planting' in India.
It seems that now, this time in our history, the world has a growing common concern; our environment. One of my favorite tree notations reguarding Wangari Maathai, known as the "Tree Woman" of Kenya, founder of the Green Belt Movement, winner of the Nobel Peace Prize for 2004, responsible for the planting of over 30 million trees,
“Peace on earth depends on our ability to secure our living environment.”

Saturday, November 15, 2008


Original Oil crayon drawing on Rives BFK hotpress drawing paper 19" x 24"
This is one of a series of drawings that I did in the early '80's after reading newspaper articles concerning the tension in the middle east.

"All art can be placed somewhere along a political spectrum, supporting one set of class interests or another, actively or passively, at the very least supporting existing conditions by ignoring other possibilities, silence giving consent." M. Stevens

Saturday, November 8, 2008

Watercolor Drawings

Original watercolor drawing; part of a series of watercolor studies, I really enjoy doing figure drawings using a model.

Thursday, November 6, 2008

Paper Samples

Beautiful papers made from various plants; hibiscus, philodendron and spider lily.

Papers from various plants grouped together. The light brown paper on top of the pile is a piece of tapa. Tapa is a polynesian word for bark cloth. Tapa is made from the inner bark of plants and trees. The inner bark is obtained by peeling off the outer bast or bark, soaking and pounding the fibers until the bark piece becomes very soft and the fibers have spread out to the desired size of cloth. Its very similar to making handmade papers except tht with tapa there is no cooking involved. For this little piece of tapa, I used the inner bark from a Ficus or Banyan tree and pounded the piece with a wooden meat tenderizer.

A very loose, lacy, fibrous brown paper made from the cooked and pounded leaf sheaths of a philodendron plant paired together with the soft, blotterlike white papers made from the inner bark of Hibiscus.

Useful Uses For Handmade Paper

The handmade papers on the left are folded into envelopes and used as very rustic stationary. The envelopes have two paper layers, the white paper for the base layer is made from the bast fibers or the stripped inner bark of hibiscus branches. Each branch is cut, peeled and cooked. Hibiscus paper is naturally very white and soft like cotton. The second layer of paper is made from a mixture of different plant fibers, the dominant brown flecks come from the shed leaf sheaths of a Monstera plant. The leaf sheaths are reddish to dark brown in color. The fibers are very coarse and really hard to break down. I love the effects from this plant, the papers have a really lacy look to them and are a great combination layered with papers made from softer, blotterlike fibers such as hibiscus.

Friday, October 31, 2008

Papermaking from Plants

Bird of Paradise plant

Cooked and washed Bird of Paradise fibers on a wooden cutting board, ready for the beating process.

These lovely handmade papers are made entirely from a Bird of Paradise plant. I harvested the stalks and leaves, cut them up into pot sized lengths and cooked the plant pieces in water with 1/4 cup washing soda for about 6 hours.
After the cooking, I washed the fibers till they came clean using a paint strainer and then beat the fibers with a wooden mallot on a wooden cutting board. Beating the fibers took approximately 3 hours.
After beating, the fibers were further pulverized in a kitchen blender and finally poured into a papermaking vat, then using my screen and deckle, lifted into sheets of paper and transferred onto glass windows to dry.
There are many things to do with papers like these. I like to use them in bookbinding and when making my handmade paper journals. I also use the papers for making three dimensional sculptures, when I do my cast paper pieces- I take dampened sheets of paper or straight paper pulp and press into a plaster of paris mould. I also love to combine my basketry and papermaking; one technique is to dip a freshly woven basket into a vat of paper pulp, as the paper pulp dries it shrinks into all of the indents from the pattern of the weave creating sort of a tight outer skin. The effect is very interesting, it makes the vessel look like it was dug from some ancient ruin. I also prepare the papers with photo sensitive chemicals and print my photographs onto the papers, this technique can get real interesting and I'm still experimenting with different types of alternative photo techniques.
I've been working hard on my botanical photo series which many of will be printed on papers made from all different plants.

Thursday, October 30, 2008

Cordage & Basketry

This tiny basket is not much bigger than my thumbnail. I wove a series of necklaces made from different strands, twisted and braided cordages that were made out of the inner bark of different plants. Some of the baskets had lids on them. This is the only one I have left, it is made from Hau bush.

Friday, October 24, 2008

Fiber Art Project, Making Cordage

Pictured here are the beautiful golden pink colors of the inner bark of Hau, Hibiscus tiliaceus. One of the canoe plants of ancient Hawaii.

"Seeds and cuttings of hau were brought by early Polynesian voyagers to Hawai`i Nei, and planted by the settlers...and is held in high regard for its usefulness to the traditional life of oceanic people.

Hau grows well near the ocean, streams, and in moist sloping areas up to the 2000 foot elevation. This shrub spreads to form a creeping jungle of interwoven, curved and twisted springy arching branches.

Hau cordage, called `ili hau, provided tying material used daily. The cordage is made by cutting off stems and younger smooth branches, making a slit lengthwise and removing the bark with the hands. The bark strips are then soaked. When the outer bark is slipped off, remaining are cream-colored smooth fibers for braiding and twisting into cordage. Hau cordage provided ropes for hauling and many other needs. Hau is a true hibiscus. The bright yellow flowers have reddish centers and as the day goes by, the flower changes color to orange and then to reddish-brown, before it falls off the plant, usually by the next morning."

A dye color can be made by collecting and cooking the flowers when they are yellow. It yields a most surprizing robins eggshell, baby blue color. I add this dye color to my paper pulp vat when I am lifting sheets of handmade paper. The papers have a beautiful soft blue color.

The photo above show strands of Hau that I harvested, stripped, soaked and set out to dry in preparation to make cordage. I use the hand twisted or braided cordage for bookbinding and as embellishment for my sculptures.

Thursday, October 16, 2008

Museum Forest

"Growing on the lava fields of Auwahi land of Kahikinui, southern slopes of Mt. Haleakala, Maui; elevation 2600 feet,... about seven miles from Ulupalakua, is a small area of forest on the lava fields of Auwahi. Unpromising as it looks from the road, this forest is botanically, nevertheless, one of the richest in the territory".
~Joseph Rock in the year 1913

At the present time, the forest at Auwahi is sometimes described as a museum forest because so little of it remains as a result of severe degradation brought on by human activities and now without action is threatened with total extirpation on Maui.
" Auwahi is a biological and ethnobotanical treasure. Of the 50-odd species of rare Hawaiian trees found here, 41 species had specific Hawaiian ethnobotanical uses, 19 as medicines, 13 in making specific tools, 13 in canoe construction, eight in kapa making, eight to make widely ranging dye colors, and at least seven of the trees have religious significance. Without our efforts, all of these trees, their uses, their associated animals will all perish forever".

The Auwahi Restoration Group is a coalition of private and public agencies and a group of concerned community citizens working together in a historic effort to try and save a Hawaiian forest by planting and weeding exclosures in order to "jumpstart" this unique ecosystem.

Friday, October 10, 2008

The Mighty Silversword Allience

" Imagine you are a mere California tarweed seed, hoisted in the air and blown by a restless wind 3,000 miles across the Pacific Ocean. By some lucky chance, you fall onto the new soil of the Hawaiian Islands. You have found plant heaven- little competition and few predators. You settle into your new home, shed now useless barbs, thorns and propellers and over tens of thousands of years, you creep up mountains and into valleys, evolving into thirty species filling every niche you stumble upon. From a lowly tarweed with wanderlust, you have grown into the mighty Silversword Allience.
This story describes many of the plant and animal species found in Hawai'i before the arrival of humans. For 70 million years, these islands evolved in isolation. On the average, a single species every 35,000 years survived the journey and successfully established itself here. They came in the muddy feet of seabirds, marooned atop ocean debris, and in strong gusts of wind which span oceans. After arriving they began to evolve. Adapting to their new home-an island chain boasting of ecological zones from rainforest to alpine desert- the first Hawaiian residents developed new, fascinating characteristics distinguishing them from their ancestors. A rather drab looking finch evolved into forty species of spectacular honeycreepers. The radically curved bill of the I'iwi perfectly fits into the blossom of another pioneer, the lobelia. This phenomenon, an example of adaptive radiation, makes Hawai'i an unparalleled showcase for evolutionary study."
~Shannon Wianecki author of the Maui Time Weekly article entitled The Lee Altenberg Project Replanting Ancient Hawaii

Monday, October 6, 2008

Arboreal Disneyland

The Wiliwili, Erythrina sandwicensis, is the feature of native lowland vegetation up to 1,500 feet. It thrives in the hottest and driest districts on the leeward sides of all the islands. This wiliwili is growing in the dryforest at Pu'u o kali, the lava fields on the southern slopes of Haleakala, Maui. Native wiliwili trees are a keystone species in Hawaii's lowland dry forest, one of the most endangered ecosystems in the world.

Unfortunately, an invasion of a recently-introduced insect to the Hawaiian Islands has infested the leaves of the native wiliwili trees seriously affecting the health and perhaps even the existence of the wiliwili tree.

In August of 2005 a small group of photographers hauled their camera equipment into the wiliwili forest at Pu'u o kali to photo document these trees in their healthy state. These are just a few of the images I was able to catch that day. Pu'u o kali has been appropriately described an arboreal Disneyland, "a kaleidascope forest of fairy-tale trees with bark that glows and blossoms that glitter".