"1829 Elmwood Avenue" - Front

Ron Shaull
This piece, entitled “1829 Elmwood Avenue”, has a base sheet made from cotton linter and abaca. The inclusions are natural materials including dried leaves, pine straw, and dried grass. In the center is a thin, rectangular map of the artist’s neighborhood.

Shaull's incredibly layered and complex piece features sheets of leaves and a map of a place significant to him.

Artist's Statement: "Material: Base sheet and veil are blend of 50% 2nd cut cotton linters and 50% premium abaca. Natural inclusions include leaves, grass clippings, ferns and other "Ohio backyard" botanical materials.

The inspiration for my piece of handmade paper came from several of the conference speakers whose papers, knowingly or not, were a unique reflection of time and place - paper that could only have been created on that day and in their particular location. Specifically, Amanda Thackray and her monoprints from beach debris, Henry Obeng and his nature photos printed on paper made from fibers taken from each place, and Ingrid Schindall's papers made with ocean water and directly on the surface of the sands of south Florida.

My paper is a reflection of my own place and time at this moment in October 2021. It's a 50-50 abaca-and-cotton-linters-blend base sheet with a map of my neighborhood from my property deed (imprinted on 50-50 handmade paper made separately and laminated to the base sheet wet), and plant inclusions taken from my backyard on a typical Ohio afternoon. You'll find bits of maple and cherry tree leaves, hydrangea blossoms, fern curls, grass clippings, etc...

I bought the pulp from Carriage House in dry board from, hydrated it overnight and beat it 4 hours in my Mark Lander Little Critter Hollander beater. I formed the sheets in a vat on an 8.5 x 11 mould and deckle split in half by masking tape to form two 5.5 x 8.5 sheets. As a last step, I couched a thin veil of the same blend on top of the sheets to better hold and preserve the inclusions. I did not press the sheets, instead drying them outside for two days on the pellons. I then removed them from the pellons (still slightly wet) and dried them between newspapers weighted with heavy books for an additional 2 days, changing the newspapers every 12 hours. I'm surprised (and pleased) by how much the natural dyes in the leaves and other materials colored the paper."

This piece, entitled “1829 Elmwood Avenue”, has a base sheet made from cotton linter and abaca. The inclusions are natural materials including dried leaves, pine straw, and dried grass. In the center is a thin, rectangular map of the artist’s neighborhood.

Fluid Practices - Back

Lian Brehm
A rectangular sheet of brown, green, pink, and navy pigments with a large cut-out raw edge on the top of the piece. The paper, made from abaca and kozo, was created using a pulp-spraying technique. The back of the paper is light pink flecked with shades of purple and yellow.

Brehm's experimental sheet of handmade paper features two speckled sides - one greenish-gray, and one pink.

Artist's Statement: "This paper was created with a pulp spraying technique onto plastic sheeting. FLUID!! The paper is a blend of kozo and abaca and pigments - using multiple passes of paper colors. Created while doing a workshop with June Tyler at Pondside Pulp + Paper in 2020."

A rectangular sheet of brown, green, pink, and navy pigments with a large cut-out raw edge on the top of the piece. The paper, made from abaca and kozo, was created using a pulp-spraying technique. The back of the paper is light pink flecked with shades of purple and yellow.

Fluid Practices - Front

Lian Brehm
A rectangular sheet of brown, green, pink, and navy pigments with a large cut-out raw edge on the top of the piece. The paper, made from abaca and kozo, was created using a pulp-spraying technique. The back of the paper is light pink flecked with shades of purple and yellow.

Brehm's experimental sheet of handmade paper features two speckled sides - one greenish-gray, and one pink.

Artist's Statement: "This paper was created with a pulp spraying technique onto plastic sheeting. FLUID!! The paper is a blend of kozo and abaca and pigments - using multiple passes of paper colors. Created while doing a workshop with June Tyler at Pondside Pulp + Paper in 2020."

A rectangular sheet of brown, green, pink, and navy pigments with a large cut-out raw edge on the top of the piece. The paper, made from abaca and kozo, was created using a pulp-spraying technique. The back of the paper is light pink flecked with shades of purple and yellow.

Fluid Practices

Karmena Ozola
This piece is a handmade paper lampshade made from handmade recycled paper, handmade natural dyes, watercolors, acrylic ink, cotton string, and cotton fabric. The lampshade is rectangular, with the interior dyed yellow and the exterior having a floral fabric strip sewn on, a hand-painted flower in the bottom left, and a linocut diamond pattern.

This highly unique piece by Karmena Ozola is designed to be a lampshade, featuring diamond-shaped cut-outs and floral fabric.

Artist's Statement: "Artwork: Hand made paper lamp shade - folded, colored, stitched and printed (linocut). Materials: hand made recycled paper, hand made natural dyes, St. Petersburg extra fine artists' watercolors, acrylic ink, cotton string, cotton fabric.

This work began with the idea to make folded 2-minute books. Afterwards I decided to paint on the paper. A lot of inspiration came from my trip to Morocco and Moroccan culture - colors, shapes, the way of life, religious practices, nature, symbols, even spices and clothing. Fall is the season of melancholy. We let go of something, we remember and we notice the the passing of time probably more than other times of the year. Due to the situation in the world, there is also uncertainty, fear, hatred. There is darkness. I wanted to bring the warmth of summer and some joy of life into my work - to share the light. So, the books turned into lamp shades. I am reaching out to say - no matter how dark it is, one day there will be light again. And no matter how lonely or desperate one may feel, there will always be someone who cares even if that person is a stranger. Let there be light..."

This piece is a handmade paper lampshade made from handmade recycled paper, handmade natural dyes, watercolors, acrylic ink, cotton string, and cotton fabric. The lampshade is rectangular, with the interior dyed yellow and the exterior having a floral fabric strip sewn on, a hand-painted flower in the bottom left, and a linocut diamond pattern.

Fluid Practices

Judy Tobie
This piece is a rectangular sheet of bronze-brown handmade paper made from daffodil leaf pulp and bronze pigment. On the front left side is a collage made from collagraph print, pulp painting, and lines drawn with paint pen.

Tobie's piece this month features abstract doodles, collaged layers, as well as a subtle, glittery sheen.

Artist's Statement: "Base sheet: daffodil leaf pulp with bronze pigment. Collage: collagraph print, pulp painting, paint pen."

This piece is a rectangular sheet of bronze-brown handmade paper made from daffodil leaf pulp and bronze pigment. On the front left side is a collage made from collagraph print, pulp painting, and lines drawn with paint pen.

"R is for Repulp"

Judi Tentor
This piece, entitled “R is for Repulp” is a rectangular sheet of light pink handmade paper with raw edges. There are inclusions made from orange-brown colored paper scattered throughout, making the piece look like granite. A large, dark pink “R” was letterpress printed onto the bottom center of the piece.

"R is for Repulp" demonstrates to viewers that, though it may take some time, research, and energy, reusing and recycling one's resources can create a stunning piece of art.

Artist's Statement: "Someone gave me a stack of somewhat brittle (low folding-endurance) burnt orange brown colored paper (a color that was popular in the 1970's.) I was excited to reply the paper to cast it or to make some thick textured sheets. I soaked torn sheets in water for 36 hours and nothing happened, the paper was the same except it was wet. I put it in a blender to pulp it. The paper did not turn to pulp, it just broke into small bits of confetti. I went down internet rabbit holes looking up repulping and found that large scale commercial repulping is complex and takes lots [of] energy, but probably not as much energy as using virgin materials. We have to recycle more of our waste stream. Reply, recycle, reuse, reduce. I put the confetti into the vat with 100% cotton rag and pulled about 30 sheets. I think it looks like granite. Letterpress printed R."

This piece, entitled “R is for Repulp” is a rectangular sheet of light pink handmade paper with raw edges. There are inclusions made from orange-brown colored paper scattered throughout, making the piece look like granite. A large, dark pink “R” was letterpress printed onto the bottom center of the piece.

"Traces, Traced"

Jill Odegaard
This piece, entitled “Traces, Traced” is two separate sheets of paper. One, a large off-white rectangle made from abaca, has green and purple circles drawn in colored pencil on it. The other is a much smaller square stencil made from wire and abaca, with identical circular holes matching the rectangular sheet.

Odegaard's beautiful piece, entitled "Traces, Traced", reminds viewers of the majesty of life's patterns and repetition.

Artist's Statement: "Abaca, wire, and colored pencil"

This piece, entitled “Traces, Traced” is two separate sheets of paper. One, a large off-white rectangle made from abaca, has green and purple circles drawn in colored pencil on it. The other is a much smaller square stencil made from wire and abaca, with identical circular holes matching the rectangular sheet.

Fluid Practices

Georgie Cunningham
This piece is a square sheet of white, unbleached abaca with papyrus inclusions sprinkled throughout. The piece has raw edges.

Cunningham's piece is a subtle sheet of handmade paper that include small "threads" of papyrus scattered throughout, creating a visual "breath of fresh air".

Artist's Statement: "Unbleached abaca with papyrus inclusions."

This piece is a square sheet of white, unbleached abaca with papyrus inclusions sprinkled throughout. The piece has raw edges.
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