Thursday, December 11, 2008
Friday, December 5, 2008
Another view of the paper bowl.
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
“Peace on earth depends on our ability to secure our living environment.”
Saturday, November 15, 2008
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
Thursday, November 6, 2008
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.
Friday, October 31, 2008
Thursday, October 30, 2008
Friday, October 24, 2008
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
"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
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
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".