Here we are again – that old struggle in creating a body of work for exhibition.  Exciting, yes, terrifying yes, time-consuming yes.

I go back and forth between craving paint and feeling frustrated that I don’t have a studio standing by for 10 minutes of industry here and there, and in lacking the confidence to get the brushes out and commit to a decent session.   I will paint again – and there will be paintings in my next exhibition, but there will be paper cuts too.  White on white.  Fragile, delicate, labour-intensive hard work.

Paper can be so many things – a source of information, an enclosure for something hidden, a cause of so much emotion with regards to recycling and logging.  The bond to paper is such a human thing – a need to record our existence in scribbles and follies, in swooping words and scrawled notes.  Invaluable.

I’m loving exploring the fetishistic idea of using a product of nature to record the land that is protected from farming and logging.  Elevating something so fragile, and so easily destroyed.

I am enjoying also, how my efforts on the paper I’m working with are almost invisible.  You can see me by the absence more than the substance.

I like that.

4 thoughts on “cut

  1. so nice. Keep making anything I say. I’m about to move and give up my very tiny office/studio space for nothing…but fingers crossed a decent/bigger studio in the near future. Good luck with your exhibition.


  2. that is perfectly beautiful! the white on white is lovely in its subtlty and fragility. your sure cuts and outstanding sense of design would translate really well into linocut prints too (and you could do multiples!)

  3. I like the idea of ambiguity in some parts of this paper-cut Michele as much as the negative space you have left.
    Is this a new medium for you or something you have been working with over time?
    All the very best to you and yours for Easter, Dave

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