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Detail of the wool and frame at the unfold show

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Detail of the wool and frame at the unfold show

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An opportunity to widen the interaction with a different audience at Pier street was organised for the last weekend in September. This allowed the group to collaborate together with an new space and an audience. It was agreed that the show would be a working in progress show. For me this meant I had to work in the space as I haven't yet been able to produce or play and explore my ideas in the current studio spaces. This did and pressure to my working process, however the need to see the work and produce a body of experiments in a space overrode the fear of putting unresolved work for the public to critic

The barriers I faced were not having a full understanding of other work and if the WIP ( work in progress show) would be received by the public. I do feel strongly that an artist should be concerned how they communicate their work to audience.

Once I decided that I would be working in the space with the frame, blue netting, wool and till role I found the experience to be rewarding. I helped show the audience that we were presenting a WIP show. I also had a new space to work with the frame and produce the ides that I had kept in my head since setting the programme.

For future developments I plan to photography the urban structures and map journeys. I will continue to explore the relationship between 2D and 3D. This was a confirmed realisation when speaking with the visitors at the show on Pier Street. I had been responding to the templates that I received from G.F.Smith . I had asked for the remmenties from the packaging they had produced over a week. When looking through these I can see plans and maps of cities and structures. I point of intrigue for me is the language between how a fold on a 2D plan communicates as a corner on a street plan or an elevation of two conjoining walls.

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I was enthusiastic to share in-progress work; I don't consider myself an artist who really makes 'final works' and I find WIPs actually much more interesting than final finished works! I have experience exhibiting WIPs (e.g. at both HARI and my MA Show) but appreciated others were anxious about showing 'vulnerable' works.

I have to admit I got frustrated during the planning process and ended up losing a lot of enthusiasm because of how long and difficult it was to make decisions/take action and how last minute it all ended up being. I find both of those things really stressful.

BUT the experience of learning to work together during UNFOLD was a good dryrun for the final show in May. For example, we've learnt that we need a lot of extra time to come to decisions, that Google Drive seems to be a good central point for sharing, and that we need to establish more of a planning structure to make things happen in future.

There was a really good pulling together at the end, with people helping one another to get documents made and printed, which is great to see (we're all proper nice so it's surprise!).

It was fabulous seeing everyones artwork up in a big space - it really elevated what people are doing and are interested in, and I think we curated it really well.

I found the actual 'artwork' side challenging. I have struggled a bit in general with focus and so what I had presented was a bit 'holistic'. My plans for a site-specific installation/costume is also fairly concept-based, and will continue to be until it all suddenly happens on a bigger scale and is documented... and so finding a way to share my thoughts in this WIP show was tough.

I think presenting my idea through a story was effective though - much more fun than arty bollocks! I think I'll use that moving forward.

I had original plans to create a bigger life-size maquette, but the the limitations of space and inability to affix things to surfaces made that impossible. My second idea was to create a large-ish floor-based interactive 'ritual' area that presented my makes and spoke to my ideas and themes, but again, there wasn't enough space. I do feel like I didn't advocate for myself as well as I could have, but I had lost enthusiasm during the planning process so it was easier to just concede after hearing how others wanted to use the space instead. I need to not do this for the final show though!

I felt my actual contribution was in turn very WIPpy in comparison (as in, some could be considered final works in and of themselves) and it left me feeling like my section was a bit hokey and 'lacking'. I interpreted 'WIP' as a presentation of what we had made so far and a rough indication of where we were going next, as opposed to a polished presentation of ideas. This won't be an issue for the May show as it is literally a 'final show', but I think it's worth remembering that clarification on how things are pitched could be useful for any future WIP shows.

The turnout on the Saturday was brilliant. I was pleasantly surprised!! I think it would have been good to open it for the Sunday as well, as I know there was a lot of interest from people who had heard about it online on the Sat and wanted to come.

UNFOLD has been a useful exercise in learning how to work with one another better and how audiences interact with work... as well as noticing my own assumption and foibles!

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Detail of Grief Window

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Grief Window 1 dismantled ready to reassemble to complete in studio

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Grief Window 1 Waste card packaging, black ragpaper stqapled in metal frame, insert  179 x 179cm 

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Grief Window

Planning

Working with group was both challenging and exciting. There were many factors that were obstacles in the process but they were mainly surmounted by the time we opened. I was happy to be the point of contact for Wykeland.

I especially enjoyed the planning process more once we had access to the Pier St space. It was exciting to work in the my studio space and Pier St space in the run up days. I prepared by using a square metal frame from which as was planning to suspend a square shaped collage of paper and card. In fact I ended up fastening the pre made sculptural sections directly onto the frame and onto each other by stapling.

The event

I continued to make the work at the event itself. It resulted in numerous mainly 1-1 conversations that I had not fully anticipated on the shapes and forms and spaces (voids) grief takes. I was impressed by the way the show came together and how being in the actual space facilitated where each exhibitor was located. The lead up day enabled ne to experiment and I ended up makinf a tonal pice of waste card as mid tone, black paper as dark tone and surprise to me..the white wall became the lightest tone.

Evaluation

Initially I was not in favour of a very public WIP show. I have changed my mind..A/ it helped us bond as a group. B/ dry run for May C/ I realised how the audience interaction has helped my work..(as it did when I did my first solo show last year)

!I look forward to clearer planning including timelines/Gants so that responsibilities are allocated in advance and decisions made where possible to avoid unnecessary additional work and stress. The work I made became the first (or second layer if I include the wall) of a larger composite structure, rather like vintage camera bellows.

I realise that the positioning of work in relation to walls in an exhibition is important unless I use another device such as transluscent paper screen.

UNFOLD has a strong visual identity via the poster and I look forward to seeing this continue into our future exhibition and book.

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Pier Street: Work-in-Progress Exhibition 

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Pier Street: Work-in-Progress Exhibition 

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Preparation: I was really pleased we were asked to contribute to the Pier street exhibition because the nature of process, for me, is far more important than the product, therefore this event was an ideal opportunity to share my ideas with a wider community.

As a whole group, I feel we needed a shared event where we could begin to get to know and understand each other’s working process a little better, not just our artistic process but the way we approach managing an event.

During the planning stage, I discovered that I’m not particularly good with zoom meetings, preferring to have people in one space. However, I totally understand this was/is impractical for the whole group. By the time the planning process was coming to an end, meetings became more structured and I feel this helped the whole group, not just myself.

Event: In terms of curating the space, there was really good communication regarding whose work would be placed where, both in terms of the flow of the exhibition and practicalities for each artists needs.

The event itself was well attended and for me it provided lots of opportunities to talk about the journey I had gone through up to that point . This in itself consolidated some thinking around my next steps.

I do feel it would have been nice to have been open to the public for the whole weekend.

Evaluation: I felt the event was worth the time and energy that had been spent planning it. I do feel that roles and responsibilities probably needed to have been allocated as soon as we knew we had the opportunity to go into Pier street and this might have helped those in the group, who found the process stressful.

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Installation of paintings based on Wetland and woodland sites. incorporating materials from teh sites and GF Smith paper offcuts

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Ceramic surfaces developed from Kaolin and materials found at wetlands and woodland sites. Paired with GF Smith colour plan paper 

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Untitled (wildfire), size?, mixed media on canvas (detail)

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Preparation:

- Productive: Having a public-facing event provided a focus which helped me produce fresh work.

- Challenging: Working with a new group of people was challenging, especially since I’m based at a distance and my practice is not primarily centred with the group in Bond 31.

Event:

- Positive: It was amazing to collaborate with such an inclusive, thoughtful, and talented group of artists on this program. We worked together to make the event the best it could be. Jay’s poster was fantastic, and Linda, Faith, and Jay all contributed excellent information about the space we would be using. Sue’s insights on slopes and adjusting spaces during the installation were greatly appreciated. We communicated well as a group, and participating in the event helped me feel more connected to the Feral cohort than I had previously (due to working mainly off-site and out of the area).

- Connection: It was beneficial to gain external perspectives on my current work and to reconnect with several visitors who had known my previous work.

Evaluation:

To reduce future stress for me:

- It would be helpful if events, including site visits, could be planned further in advance.

- Providing more notice and structure for group decisions would be beneficial.

- Setting dates and expectations earlier would allow for personal commitments and access needs to be accommodated.

It was fascinating to see how space and light affected each of our work. This has been a key learning point for me and will inform my future practice.

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Watercolour documenting the regeneration of a local protected woodland damaged by wildfire.

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painting from the camera obscura projections.

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I currently have four strands of investigation

Wetlands -

Referencing the potential role of wetlands in water filtration within the paper industry, I am making work based on an area of local wetland that filters polluted mine run-off from a disused coal mine.

Woodlands -

Recognising that wood lignin is a primary source of paper fibre, and the importance of ensuring the paper industry fosters biodiverse, sustainably managed woodland habitats. I am studying an area of local protected woodland, documenting its regeneration following a wildfire.

Material investigation - Papermaking

I'm investigating source materials through making paper using recycled wood and paper pulp, reused cotton fibres and plant based size. Reeds from the polluted wetland area are embedded in the surface.

Material investigation - Kaolin

Kaolin (a form of clay) is used as a filler in recycled paper production and as a surface treatment for paper to achieve diverse surface qualities. Kaolin is also a central material in ceramics, being used within glaze composition, slip and clay bodies. I am developing, testing, and refining new surfaces (slips, stains and glazes) that have kaolin as a base ingredient.

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Instability 'Towards New Worlds' MIMA, Middlesbrough

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Instability, 'Toward New Worlds', MIMA, Middlesbrough, 2024 

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Book binding with Les Bicknell : How beautiful to combine the passions of a bibliophile and artist to create pocket treasures to carry along as companions full of wonder and knowledge. Do we dare open this Pandora's box ?

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To edit a box, click on the three dots in the top right hand corner of the box and select 'edit post'.

To edit text, 'edit post' and just change the text. OR just double click the text itself.

To change an image box, go to 'edit post' OR double click the box title... and then at the bottom right hand corner of the template image, click remove. Then click the first icon in the row of five (looks like a dog-eared document with a plus sign) and browse/upload an image from your PC (landscape orientation works best).

Suggest you remove the title of Image 1/2/3 and put titles/explanations in the subtitle bit instead (just looks nicer)

When adding links - take the https:// bit out of the link and turn it into www. instead, so it's just clickable text. Otherwise it will turn the entire box into a 'link box' and it'll just mess up the curated aesthetic we're after!

PLEASE don't change the background colours from green/white. My thinking is that we do the next reflections boxes in blue, the next one yellow etc etc. It will help distinguish time-differences. White boxes indicate general/overview statements.

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www.faithrewilding.wordpress.com/

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Rewilding Blog : a-n The Artists Information Company

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Jessie Davies Blog - Rewilding Practice: www.a-n.co.uk/blogs/re-wilding-practice/

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Exploring sustainable practice, and artistic development, with Feral - Re-wilding Practice programme.

The process of paper recycling is essential for the environment, as it helps to conserve natural resources and reduce waste. However, the production of recycled paper requires a careful balance of old and new materials, and this is where clay comes in.

Clay is a vital component in the paper recycling process, as it helps to stabilize the fibres in recycled paper. When paper is recycled, the fibres degrade, and stabilizers like kaolin are used to help strengthen them. As a result, the addition of clay improves the quality and durability of the recycled paper [1].

The use of kaolin clay helps to mask the undesirable colours of raw pulp, thereby reducing the amount of bleaching agents required. This results in two benefits: firstly, it reduces the amount of whitening compounds added, and secondly, it reduces the amount of water purification needed as a result of the process. Clay is a natural material that has minimal environmental impact. [2]

In the paper recycling process, a mix of recycled paper fibres, kaolin, and new (virgin) pulp is used to produce fresh paper. The ratio of recycled to virgin pulp used in paper production varies based on the qualities and nature of the paper. Some virgin pulp or lignin source, such as wood, hops, grass, or seaweed, is needed to produce paper with the desired properties [3].

Although, historically, there have been concerns about the sourcing of wood for paper making, the fact that the paper industry requires a reliable and sustainable source of wood or alternative lignin sources, has driven better forestry research and stewardship. This has led to improved forest management practices and the development of new technologies that reduce waste and environmental impact [4].
Conclusion
In conclusion, the role of clay in paper recycling is critical. It helps to stabilize the fibre in recycled paper, leading to improved quality and durability. By using a mix of recycled and new fibre sources, the paper industry can reduce waste and conserve natural resources. With continued research and development, we can hope to see even more sustainable practices in the paper industry in the future.
Sources:

"Kaolin Clay: Functional Optical Additives," BASF Corporation
Kaolin In Paper Filling And Coating, ZMS,

Pulp and Paper (5) Bleaching - Aalto University Wood Science

"Recycling Basics: How Does It Work?" EPA.

"Sustainability in the Pulp and Paper Industry," Ecolab.

I am interested in finding ways to make paper using reeds from a local wetland area planted to help filter polluted mine water. To begin, I followed the methods outlined in my previous post and attempted to make paper by hand using recycled materials such as used paper, old cotton, and cardboard scraps. Although the process was time-consuming, each type of paper produced had a unique texture and qualities. After completing the process, I reflected on what I learned and have some tips to share. Hopefully, this will help others in exploring how to make and utilize eco-friendly handmade paper.
Test batch 1 -
Made from purely printed recycled paper, no size.

The thickness of the paper improved as I became more familiar with using the deckle. The couching process worked better on cotton canvas offcuts than on an old poly-cotton T-shirt. The canvas also left an interesting texture on the pressed paper. The thickness of the paper slurry caused uneven and lumpy paper sheets, indicating that adjusting the particle thickness is crucial for the texture and properties of the paper. Although the soaked recycled paper I used had its own size (glue) in~, Next time, I would want to use additional size in order to give increased flexibility to the finished paper.

Test batch 2 -

15% recycled cotton 85% recycled paper (fragments with less print), cellulose based size.

This paper was made by mixing recycled paper with 15% waste cotton fibre. Cellulose-based size was added to make it stronger and more flexible. Cotton fibres are shorter than the wood pulp fibres (in the recycled paper component), making the paper softer and more fragile, but the added size helped. I used a better quality screen for this batch of paper, stretched to higher tension on the deckle frame. This helped to make the paper more consistent and even. I added some additional cotton fibres direct to the slurry, to give variation in teh textures of the surfaces.

Test batch 3 -

100% recycled cardboard, my own size made from boiling okra)

The experience gained from previous trials has paid off, and now the sheets are much more evenly pulled. Adding okra size to the pulp vat has made a significant difference to the slurry by helping the fibres remain suspended. Okra size is prepared by boiling okra in water for one hour. Although the paper's colour is a dull brown, embedding reeds, dried foliage from the study site, and strands of old thread have given this paper an interesting texture and varying light reflection. The okra means that the paper is more flexible and robust to handle.
Embedding objects into the paper:
I found that adding reeds and organic materials to the paper worked best when the items were placed onto the deckle after pulling the sheet. This allowed the water to drain off and the objects to embed into the paper structure more effectively than if they were placed directly into the slurry vat. A combination of defined objects and abstract organic texture proved to be the most effective.
Summary:
Each paper type has a different surface and qualities, and it would be interesting to explore how these sheets could be collaged or combined together. Going forward, I would potentially explore coating the finished paper sheets with the two types of sizes to see how this affects how they respond to drawing and painting mediums. Overall, though, this lengthy exploration process has resulted in some lovely textural papers for my artwork and a lot of learning to take forward as I explore creating usable pulp from wetland habitats. I hope this inspires others to try their hand at hand paper-making using recycled materials and sustainable techniques.

More information:
Find out more about artists using handmade paper techniques in their work.

Recently, I have been studying a reed bed area planted to purify drainage water from a disused coal mine. Inspired by GF Smiths NotPla's seaweed paper (1), Gmund Bier paper made from hops (2), and the artwork of Jane Ingram Allen (3), I am keen to explore how I can make paper from the wetland reeds found at the site.

Making pulp from reeds is a complex process. The plant material, in this case, reeds, requires soaking and boiling in an alkali solution to break down the fibres before it can be processed in a Hollander beater or blender (4). As someone new to paper-making, I will start by learning the fundamental paper-making technique using recycled materials that are simpler to turn into pulp.

After researching various paper-making techniques, I did three trials using recycled materials, such as recycled printed paper, recycled cotton fragments, and old cardboard packaging materials. I used different methods for each of these and refined my technique after reflecting on each outcome.

Pulp can be created from these materials without boiling them first, by using mechanical processes such as blending or a Hollander beater. The Hollander beater is a machine that grinds and macerates the fibres into a pulp, whereas a blender cuts the fibres. Although more practical for small-scale use, the blending process shortens the fibres by cutting them, making the paper more fragile and coarser textured than the same fibre processed in a Hollander beater.(5)

Here's a how-to guide for other artists new to paper-making who would like to try this technique:

Break up the paper/card or other fibre source into small pieces

Cover the pieces in water, and soak the fibres overnight

Blend the fibres with plenty of water to make a pulp

Place it into a container that your deckle will fit into.

Add water (and other fibres, colourant or size) to make a slurry suspension

Use a deckle and mesh to dip and pull up a sheet of paper

Remove water from the underside of the mesh using a sponge and squeegee

Press (couch) the paper sheet onto fabric

Compress the sheets for 24 hours under heavy bricks

Lay out the fabric sheets to dry (this took around 5 days)

Carefully remove the dried paper from the fabric

I learned a lot from these test batches of paper. Although it is a time-consuming process, some of the results have come out really well. I'm looking forward to sharing the outcomes from these in my next post, along with some further tips and tricks I learned by making these.

Sources used:

Notpla Paper

Gmund Beir Paper

Paper-making Artist Jane Ingram Allen

Making paper from plants - Paper industry technical association

Hand Paper making - selecting source fibres

More information Paperslurry - how to make paper Making paper from denim - Jonathan Korejko
Stephanie Hare - Papermaking artist
Paper artists directory

During my recent visit to the GF Smith paper factory, I was impressed by the community and hand-made processes that underpin their work. I saw firsthand the skills and processes involved in creating bespoke products from a huge variety of papers, from embossing to cutting and folding. However, one particular paper caught my attention due to its unique visual and textural qualities. It's called NOTPLA and it's made from seaweed in a zero-waste process. (1)

NOTPLA is an environmentally friendly alternative to traditional paper-making processes that typically rely on virgin tree pulp. Instead of using wood, NOTPLA uses fibres derived from seaweed. Fibre is sourced from the by-products produced by industries that extract and use gelatinous compounds found in seaweed. Designed by Rodrigo Garcia Gonzalez and Pierre Paslier, NOTPLA is a full composite biodegradable paper. (2)

Seaweed is a macro-algae. Algaes are aquatic organisms which range in size from tiny single-cell organisms (micro-algae) to 100-meter-long seaweeds like kelp (macro-algae). Seaweeds, together with microalgae, play an important role in aquatic ecosystems globally. Seaweeds often grow into large underwater forests, providing nutrients and shelter for other plants and animals. Algae, both micro-algae, floating seaweeds, and single-cell organisms, produce over half of the earth's oxygen. (3)

Sustainably farmed algae are increasingly being used in many industries, such as skin care, food sources, and bioplastics. Research suggests that feeding cattle seaweed-derived food sources reduces methane. Seaweed has also been used for centuries as a fertilizer for land-based crops. (4)

Similarly to reed beds, seaweed can be used in wastewater purification. In particular, it can help remove heavy metals from contaminated water and reduce phosphorus and nitrogen content prior to water entering rivers and seas. (4)

With increasing numbers of industries using seaweeds, from cosmetics to sofa padding, farmed and managed seaweed crops are increasingly used to ensure that these algae and their ecosystems are supported and managed in a responsible way. (5)

The use of seaweed paper and bioplastics is a significant step towards a sustainable future. It is inspiring to see designers and innovators creating practical and sustainable solutions as we continue to search for eco-friendly alternatives to traditional manufacturing processes.

Researching the processes of making NotPla paper from seaweed fibre has inspired me to explore how papers could be made from alternative plant fibres found on the damaged sites I study.

Sources:

NOTPLA - https://www.gfsmith.com/notpla

Royal College of Arts: NotPla paper

Ocean Service: How much oxygen comes from the ocean?

Seaweed and micro-algae

5 unusual ways seaweed is being used to tackle the climate crisis:
More information: Tim Flannery, Can Seaweed help curb global warming?

GF Smith produces eco-friendly papers used by artists, printmakers, illustrators, and graphic designers. I recently visited the G F Smith paper factory, thanks to the Feral Art School's re-wilding practice programme. During my visit, I was impressed by their commitment to sustainability and was inspired to try out some of their papers in my artwork.

My artwork focuses on habitats that have been affected by the climate crisis. Currently, I am studying a woodland area that was burned in a wildfire on the hottest day of 2022. I am documenting both the damage caused and the gradual regeneration of the site. I use mostly wet media such as ink, watercolour, or water-based paints in my 2D work, both on-site and in the studio.

GF Smith provided me with some sample sheets of their colourplan papers (made sustainably in the UK) and Neenah Environment paper (made from 30% post-consumer fibres). I tested both papers using a variety of techniques and mediums. Here are my findings:

Fibre structure - The Neenah paper produced amazing, non-linear fibrous torn edges that contrasted well with the colour plan, which produced a cleaner straight tear. Contrasting edge style is very useful in collage work.

Dry mediums - Pen, pencil, and chalk pencils all worked really well on both papers. The fibre qualities of the Neenah paper meant that there was more contrast in how the pencil/chalk pencils sat on the surface compared to the pen marks. Both papers gave clear detailed marks with dry media.

Watercolour/gouache - Both papers performed really well for wet-on-dry use of watercolour and gouache. The properties of the colour plan paper meant that the wet mediums were kept nearer the surface than the same marks on Neenah. Neither paper showed any degradation of the paper structure, allowing detailed mark-making to show really crisply.

Wet-in-wet - Both papers struggled with wet-in-wet techniques, giving a quite muddy effect. The Neenah paper buckled more than the colour plan paper. Impressively, though, neither paper disintegrated. Once dry, the papers could be worked into using dry media.

Overall, I was very impressed with how both these papers performed. In particular, they coped with wet-on-dry watercolour, gouache, and inks well, giving clear detailed brush marks. The colour plan paper performed slightly better than cartridge paper for similar styles, and the Neenah has many unique properties that merit further testing and exploration.

GF Smith papers are eco-friendly and sustainable. Before visiting GF Smith, I did not realise how many different paper surfaces are made from different materials. This is definitely something I wish to learn from for my art practice-for example, the interaction between visual, tactile, and sound qualities for each paper type was unique.

Many thanks to GF Smith for providing me with the paper samples to test!

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Further Information: Neenah Environment paper Colour Plan paper GF Smith

www.jessiedaviesart.co.uk

Instagram: @jessie_davies_art

First through paintings and then ceramics, raising awareness of local wetland and woodland habitats impacted by the climate crisis.

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Exploring sustainable practice, and artistic development, with Feral - Re-wilding Practice programme. The process of paper recycling is essential for the environment, as it helps to conserve natural resources and reduce waste. However, the production of recycled paper requires a careful balance of old and new materials, and this is where clay comes in.

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Ideas in Progress (ongoing): www.laurensaundersart.co.uk/portfolio/rewilding-practice

Into the Woods (March 2024): www.laurensaundersart.co.uk/rewilding/

Factory Visit (April 2024): www.laurensaundersart.co.uk/rewilding-gf-smith-factory-visit/

Lost in the Woods (June 2024): www.laurensaundersart.co.uk/rewilding-lost-in-the-woods/

Need Resourcing! (July 2024): www.laurensaundersart.co.uk/rewilding-need-resourcing/

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My end goals from this project is to have an established practise that informs and strengthens my teaching. I want to create work that links my relationships with architecture through folds and layers. I plan to explore this by drawing the light of the positives and negative spaces in architecture that I habitat. The work will also be chambers for the viewer to move around like we do as we work around a room for the first time. I like the idea of blue prints being the 2D instructions to become a 3D structure that accommodates humans functions. This thought came from observations of the templates of the envelopes at G F Smith .

Creating a city that encourages the viewer to stay in touch would be my end goal.

I've worked from drawings of the street projection from the camera Obscura along with photos of exoskeletons structures to buildings that relieves the secrets to the interior space. When touring G F Smith and seeing the constructions of the envelopes and boxes that were like small scaled building that had their own language of construction. A fold,a seal and overlap would result in a handmade structure to house a letter, gift or an invite.

I've started to explore the 2D into the 3D by making structures that invite interactions, create a intermit space like receiving and reading a letter or the movements we make through a space, and the process of making shares its story with the viewer.

I plan to do this by working with a self standing frame that will have different domestic materials like netting and tracing paper will be used to project, draw, cut and fold. I will continue to photograph exoskeletons of building along with writing a letter to the new tenants in places that I lived.

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My end goal is to expand my practice to be part of collaborative projects which giving me a the opportunity to go deeper into my longstanding fascination with the presence of absence; generating self-reflection and interrogation of space and memory through a variety of processes - photography, drawing, dreaming, sound, printmaking, now adding paper sculpture as part of my painting process.

My exhibition Ghost Windows enabled me to have a taste of how my work has a visceral and emotional quality which connects to the audience, something I wish to investigate further.

So far I have flipped between mediums whilst beginning to find a language of mark making. I’m exploring the marks in the misty veils and dark rainy daubs of the paintings through paper.

I’ve begun to translate the frantic marks of my paint pens in paper by creating sculptural forms fast. These have been both cylindrical which I want to hang to see how they behave in changing light and air movement. Something I want to develop further is working with sound which I can interpret in paper marks as I have done in paint previously. I also resuming research into philosophy around folding, holes, memory and other things I come across.

Practical skills learned from making include long arm stapling, tearing, often ambidextrously.

What started this material engagement was my obsession with demolition of the grain mill buildings in Hull and realising that working in these ways in paper gives me the chance to explore notions of absence and presence – in a way to enrich my practice.

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Over the last 4 months, I must admit I have sketched countless potential projects that may never come to fruition. Ideas seem to have flown as far as the page and then settle without the need to jump back off the page and into anything 3-dimensional.

This being said, it has been a very rich period of learning, which has fed and satisfied the crafter in me, and as a result, I have explored many new processes that include, experimenting with several paper making process’; making books; felting and paper sculpting.

All of these techniques will inform my future practice, however I’m currently experimenting with the Japanese technique of kneading paper called Momigami. It appeals to me as a technique and a product because it’s so versatile. Once softened, it can be stitched, moulded around a structure, and even, be made into clothing.

I’m intending to use it in a final project, but at the moment nothing is fixed, process is taking precedent and playing is key.

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I am concentrating on my painting practice and discovering ways to present the pieces in a more sculptural way. As suggested by Dom I am also experimenting with much larger canvases and presenting the work to a professional gallery ready standard.

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I started with impossible paper. From here considered the ways to explore beyond the dimensions of a flat sheet of paper: shadows, reflections, folds, cuts, flips, enveloping, pop-ups, tricks and fidgets.

I have a few outcomes in mind, I am hoping to create a ‘playful paper’ zine with interactive tactile paper elements, and tricks for people to try themselves. Another outcome is a small book of found paper - I am currently collecting windowed envelopes with printed patterns on the inside. I would also like to create something larger scale and sculptural which plays fluorescence and shadow, which are both elements which ‘jump’ from the boundaries of the paper to the wall or surrounding area.

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My end goal is greater engagement with the local Hull arts scene. I moved to Hull after having a very difficult time in a workplace back in 2018. I moved for a learning producing role at Ferens Art gallery and my contract ended a few days before the first lockdown. I was burnt out and needed to rest, I was hoping to start my freelance art career at this point alongside working at the college but due to not having any savings I had to take on a full time maternity contract at Derby museums. After doing an art programme at Humber Street gallery in 2019 I knew I wanted to stay in Hull despite working in Leeds so I returned back to Hull 2021 and I've been trying to be an artist since. I haven't managed to join any openings or private views due to being immunocompromised so being part of a Hull collective is connecting me to where I live.

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developing new ceramic surfaces (slips, stains and glazes) with kaolin as the main component. 

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I began by exploring the communication methods used by trees, including chemical signals, mycorrhizal networks, electrical signals, root communication, and sound. I imagined two trees, one acting as a speaker and the other as a microphone, with hundreds of piezo discs attached to the leaves. The sound from the 'microphone tree' would be played through the 'speaker tree', creating a feedback loop. I'm not sure why.

I made basic speakers using magnets, copper wire, and paper. I then used piezo discs as transducers to convert paper into rudimentary speakers. This led to attaching a piezo disc as a speaker to one end of a piece of card and another as a contact mic at the other end. Playing sound from the speaker, the microphone would pick it up; theoretically, the difference between the input and the output is the effect of the substrate on the sound.

I attached multiple pieces of card together to see how vibrations travel between them. I focused on different ways of connecting card and paper to enable the vibrations to travel through, and explored ways of manipulating and interacting with these connections.

Following this playful exploration, I am planning a semi-rigorous phase of research into the sound properties of paper, including resonant frequencies, the effects of paper thickness, the qualities of different connection options, and the effects of scale.

For the audio I've been using sine waves from a signal generator app, moving on to using white noise to analyse the resonant properties of the paper and card sheets. Eventually, this will involve a different audio source. I'm considering how the paper and environment can generate sound, which the connected paper then processes, creating a self-sustaining audio source. I want the sound to feel authentic, I am looking for a genuine connection between the audio and the sculpture.

Currently, the goal is to create an audio sculpture that is dynamic in some way, interacting with its environment and/or itself. I aim for the sonic elements and their connectivity to dictate the form.

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For a long while I felt an overwhelming sense of stuckness due to a variety of reasons, and had a period of just making whatever for the sake/joy of making it.

But I'm now in a place where I'm building upon my MA research into environmental kinship and human:non-human creative collaborations.

I realised that it's a bit too much of a jump in perspective for most modern, Western audiences to get fully on board with what I'm pushing for (i.e. respectful, equitable kinship with the natural world) because they haven't gone through the years of thinking and feeling that I went through to get to that point.

Therefore, I feel the next steps in my practice are around creating stories, practical examples and aesthetic experiences that offer audiences a clearer and accessible 'route in' to nature connection. Folk myth-making, ritual and song now feels an important element of this.

I'm wanting to work on a few things simultaneously now (I tend to take a holistic approach of working on lots of differing-but-related-things and trusting they'll come together later):

1. Using myth-making within an outdoor, accessible nature connection amplification ‘portal’(sculpture-come-stage-come-altar) in which it’s easier to ‘hear’ the voice of the natural world better and be heard themselves by it.

2. Explore mycelium as a material for sculpture and set-building

3. Build my seed-ball back up again.

Full reflection HERE.

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Platonic portals to amplify communicative energies between people and the natural world.

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Investigating materials through making paper using recycled wood and paper pulp, reused cotton fibres and plant based size. 

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Scribbley notes about what's important and what I'm excited by at this moment in time

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Grief Ball 1 made from scraps of GF Smith colourplan

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Making work based on an area of local wetlands that filters polluted water from a disused coal mine.

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I am interested in...

if an Art teacher is just an art teacher are can they have their own art practise and be an artist teacher.

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I am interested in the deconstructing and reconstructing of architectural spaces which I explore through a variety of processes and media.

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I am interested in the notion that presence, the lived moment, is not the same as the memory of it and as such, everything we remember is essentially a shadow, a trace or even a document. What that document may/could be through the use of paper is informing my current practice.

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I am interested in deep diving into a biography of emotive colour, navigating complex bronchial branches of my global family tree to discover a sense of purpose and place . My paintings are parables of narrative expression where the feminine experience frequently takes centre stage. Fantastical topography is an intriguing backdrop to host this blend of mythology, psychology and realism, what will you interpret?

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I am interested in exploring repetition and playfulness of materials, whilst considering how paper could be transformed from its usual dimensions and relate to the space surrounding it.

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I am interested in neuroqueering ecology, considering embodied neurodivergent approaches to interpreting landscapes whilst being critical of capitalist frameworks

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Through painting and then ceramics, I am interested in sustainable woodland ecologies as a paper source, the potential role of wetlands in filtering wastewater from the paper industry, and the structural and surface uses of kaolin in paper production.

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I am interested in paper as an object, its relationship with its raw materials, and the multifaceted sound and sculptural properties and possibilities of both.

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Instagram @miss_i_dru_this

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www.instagram.com/linjamart21

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www.suewhiteartist.wordpress.com

Instagram @suewhite_artist

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Insta: @teddy _lucine_ art

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www.instagram.com/faithwaif/

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www.sammetz.com

@chippedpale

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www.jessiedaviesart.co.uk

Instagram @jessiedaviesart

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https://jaymoy.art/

twitter @jaymoy

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Rewilding Practice is a year-long programme offering up to 10 emerging artists an intensive research and practice-based programme developed with an industry partner, G F Smith (paper manufacturer). This part-time programme encourages artists to observe and research paper production processes, particularly those aimed at reducing environmental impact.

The Rewilding Practice artists will communicate their responses through distinctive creative practices to audiences including art & design practitioners, schools, further & higher education students, educators, local communities and the industry & business sector. The programme also provides opportunities for in-person and online peer dialogue sessions with students on similar-level programmes at alternative art schools including TOMA (The Other MA, Southend), New School of the Anthropocene and the MESH project (Into the Wild, at Chisenhale Gallery, London) The work produced by programme participants also contribute to professional level portfolios to support future creative or career pathways.

Participating artists are offered studio space, regular tuition including careers advice, industry visits and input from industry professionals and visiting artists. For those who live beyond easy travelling distance it is possible to participate remotely for certain parts of the programme. This is organised in 4 blocks with space in between each block for independent practice. Outcomes include 1) an exhibition of work by participants (physical and online) to a range of audiences as above 2) presentations and events 3) a publication featuring the research process and the creative outcomes (hard copy and online). Throughout the project students maintain blogs and journals recording the progress of their work and their research findings.

This project offers a blueprint for future collaboration with other industry partners and contributes to ongoing research by alternative art schools to formulate productive ways of assessing quality, value and distance travelled by students. Students are closely involved with planning, evaluating and contributing to the future development of this programme.

The next run of this programme is due to start in September 2025.

You can follow activities on Instagram @feral.rewilders and @feralartschool

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Painting, Drawing, Projecting, Crafting... working intuitively without purpose

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I'm interested in using creativity and storytelling to help people develop radical levels of kinship, compassion and care towards the more-than-human world (in the context of the climate crisis).

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www.laurensaundersart.co.uk

www.instagram.com/lsaundersart