PAPERQUILTS.COM

Materials of Production.


    My paper, silk and gold and bronze leaf piecework quilts are a result of over 25 years of collecting. As a formally trained painter and printmaker, (BFA Atlanta College of Art, 1974) I was introduced to handmade papers from Japan by my printmaking teacher, Norman Wagner. After college I started exhibiting collage watercolors using torn bits of these beautiful papers filled with chips of tree bark (chiri washi paper) and different natural; materials such as leaves, chopped straw and plant fibers. One of the reasons Japanese papers are so beautiful and easy to use is that they are stronger than most papers because they are made by hand in rural villages from plants that grow along the streams. The fibers are steamed and then beaten and separated by hand (as opposed to a machine chopping it up into small bits) and when these fibers interlock to form sheets of paper they are stronger and more beautiful because of their irregularity.

    KYOTO PAPERS PASTE PAPERS WASHI PAPERS

    In 1978, I was working on a series of mixed-media structured collages which were accented with German variegated bronze leaf (which I still use). This is a uniquely patterned and colored metal which repels watercolor paints. This series of work often used triangles, blocks and repeating rows of geometric shapes of paper, both cut and torn. At that time I was also developing the "Prism Series" which resembled shoji screens of grids made out of flat sticks tied together with Japanese paper glued over them and then hand painted and embellished. This work won many awards and I continue to use the basic images from this transformed into sewn piecework with accents of bronze and palladium leaf.


    I was looking at a paper sample book from AIKO'S ART MATERIALS in Chicago when I noticed that the papers in one section were the same colors as Amish quilts, bright true solid colors. I thought it was very interesting. The geometry and color play of these quilts made by such an isolated group of people fascinated me. This revelation gave the idea to sew all the papers together on a sewing machine. It was an experiment with a different form of collage, which proved to be instantly successful.


    The first primitive geometric piecework quilts were based on traditional blocks, Fans, stars and bear paws. Eventually I was making quilts of many blocks sewn together like whole quilts. The first ones were not stuffed with batting nor were they finished on the back with fabrics and tied through the layers. I discovered a paper from Japan called momi, kira-momi or keyosi paper which is used in traditional crafts there such as doll making, boxes, wrapping gifts and bookbinding. It resembles a wrinkled crepe fabric and sews very much like cloth. It is a naturally white sheet which is dyed many colors afterward and it wrinkled generally by "grandmother" and painted with a thick plant emulsion which sizes it like starch. It is often mistaken for leather and is available in metallics and there is a version that is painted with ground up mica which has a pearlized type of finish.


    Now I quite frequently paint and dye this paper myself certain colors for commissions. It has been difficult for me to get good thick sheets of Keosei paper lately as more and more paper makers are getting elderly and there are fewer young people who are willing to do this physically demanding work I started using silk to supplement the papers when I couldn't find the colors and patterns I wanted. I also liked the way patterned silks complimented the papers when pieced together. Sometimes it is easier to put these piecework quilts together if I alternate paper-silk-paper, etc., because it is easier to fold flat and iron. All of my work is sewn on a commercial SINGER sewing machine with a #9 needle with a wide stitch. If I used a bigger needle and a shorter stitch it would be like tearing a check out of your checkbook. I use a zipper presser foot and do seams that tend to be between 1/10 and 1/8 inch. I use rotary cutters and the smallest size I sew is generally cut at ½ inch. I don't generally have a problem with tearing and if I miss sewing an area I can generally sew it twice or rip it out with a seam ripper and fix it.


    Although my work is "handmade" I do use a machine. I assure you my hands are right there during all of it. There is no advantage to sew it totally by hand other than to make it weaker and mindlessly difficult and boring. Often large pieces of my work have over 2,000 pieces of paper less than 2 inches in them already. Generally it takes me more time to prepare the materials, search for, separate or paint the colors I have chose, and clean off my worktable than it takes for me to sew.


    I traveled to Japan for the first time in 1985 with my ex-husband Dan and with Clarence "Gatemouth" Brown, a Grammy winning Blues Legend on a six city tour. Dan worked for "Gate" playing the piano as part of his band for over three years. In Kyoto I found a paper store (called "washi" in Japan) which had hundreds of papers I had never seen. I bought a sheet of everything and gave the rolls to the road crew to pack along with the bands equipment. In Tokyo I visited the Origami Kaikan (Center) which is a wonderful store which has been in the family of Mr. Kabo Kobayashi for over 170 years. His family is one of the oldest paper making and sellers in the country and his knowledge of all things paper is extraordinary. Additionally he is one of the friendliest people and will stop everything in his store to give a tour and demonstration of his craft. He manufactures many tie-dyed folded papers which are rare and unusual. He has collected my work and has invited me to participate in the National Collage Show and Takashemeya Department Store in Tokyo.


    There were times I couldn't get the colors or patterns of paper that I wanted so one day, while looking at a silk dress I had ruined with salad dressing, I realized I could use silk along with the papers in my work. Trips to thrift stores would reward me with dresses and shirts for $2 or $3, which were a yard or two of silk once you cut them up. I've purchased silk for up to $75 per yard, so the idea of getting a deal and also re-cycling was great. The best silks generally come from the Junior League Thrift Store and are size 6. Old Kimonos are also treasured but men's ties aren't really enough fabric for the effort of tearing them apart. My favorite silk is dupponi from India with its irregular slubs and iridescent sheen. Silk is a naturally triangular fiber so that you always see light reflected off of two surfaces.


    My next trip to Japan in 1989 was highlighted by the discovery of gold and silver papers unlike any I have ever seen. They are used in making the dolls in the glass boxes and traditional crafts. I also discovered bronze leaf made in the mountains near Kyoto which comes in a myriad of colors which traditionally is used on laquerware, folding screens and dancers folding fans. I also use 23K (karat) gold leaf from Italy and Australia and a rosy 22K leaf from Russia and pure Palladium (Moongold) from Germany. Additionally I use bronze leaf which looks like real gold and variegated bronze leaf. The variegated has a pattern on it which is random from a flame and a chemically heated patina. No two sheets are exactly the same and a package of 500 sheets is generally in the same color range. I also use Japanese bronze leaf which comes in many solid colors such as red, blue and coppery oranges. The Japanese leaf has tissue paper between each sheet (which is famous in Japan for use as a blotter to get oil off ladies faces) and is about 5 1/4 x 5 ¼ inches square. 500 sheets with the tissue paper are about 1 ½ inches tall (how's that for thin?) and cost about $325.00 U. S. depending on the exchange rates for the yen. Imitation gold leaf is about $50.00 for 500 sheets and is much thicker which makes it easier to handle and to glue down to paper. I glue all the leaf to black Japanese paper before cutting it up and sewing it. Pure gold leaf is lighter than air and melts to your fingers. It is difficult to work with and there is waste.


    Upon arrival back home, Dan gave me a box of Godiva Chocolates for Valentines Day. As I unwrapped and ate each piece I noticed that the foils were different shades of golds and the outer box was pure gold. I said to myself, "I wonder what would happen if I sewed all these different shades of gold together?" It would either be wonderful or awful. The "Power of Gold" series was created and has to be one of the most striking, powerful examples of my work. One of the most popular, too.

    I am probably one of the few artists you will ever see who used thrift store dresses (silk only) and pure gold in their artwork. Few people sew any longer and the good fabric stores are about all out of business. Silk is hard to find and when you do it is expensive. The beauty of my work is the combination of all the parts. The paper, silk and gold leaf piecework constructions are uniquely my work. I take great pride in my craftsmanship and of being able to re-invent a traditional craft tradition. It is tedious and exacting work and I am not interested in, nor am I able too, mass-produced. In 1998 I developed a technique of inlaying my piecework into plaster for presentation boxes and crosses. This series does not have to be framed under glass and is sealed, something which cannot be done with silks.


    SOURCES FOR JAPANESE PAPERS AND PASTEPAPERS
    (Click here for a printable sources page)


    SOURCES FOR JAPANESE PAPER – UNITED STATES

    PEARLS ART AND CRAFT – New York City (Canal Street) and other locations
    around the country.  Pearls occasionally has some great paper but they frequently
    get it and never again have that paper.  The NYC store is really fun, funky elevator,
    and the paint store is out the back door and across the alley.  I have purchased from
    Pearls in San Francisco, Tampa, Fort Lauderdale, and Chicago.  Their prices can’t
    be beat but you better buy a lot of something really wonderful.  Currently they are
    buying a lot of their papers from Graphic Products Corporation in Illinois (Black Ink
    and Wyndstone papers).  Pearls is generally cheaper than purchasing directly from
    Graphic Products using their Artist’s purchasing program.

    AIKO’S ART SUPPLY – Chicago.  Aiko’s truly has the most beautiful selection of
    real Japanese papers.  (Founded in 1953)  Most all of the other paper stores are
    carrying less expensive papers that resemble the Japanese papers but are made in
    India, Thailand and China.  You get only the real thing at Aiko’s and Chuck, the
    owner, will attempt to help if there is something special you need.  I use a lot of his
    momi papers as the foundation for my sewing.  He also has a great selection of
    papers for collage.  Get his sample book, it is worth the price.

    BLACK INK, WYNDSTONE AND GRAPHIC PRODUCTS CORPORATION, CARPENTERSVILLE, ILLINOIS.  WWW.GPCPAPERS.COM.  This probably is the
    largest supplier in the States now and carries a commercial line of cover stocks,
    acid free commercial papers and a vast assortment of inexpensive papers from all
    around the world.  Their sample books are pricey but worth it for someone setting up
    a store, or really getting serious.  Many of the other stores carry these papers
    (Pearls, Sam Flax, Kate’s Paperie, and Binders) so you will see some of their stock
    but you won’t see all 800 or more unless you get the big sample book.  To me, some
    of the papers are cheap and mass-produced, you see them everywhere and many
    are “gift wrap” quality, not what I would use for my work, but there are a few that are
    really great.  Their “artist volume discount” isn’t anything special as far as I am
    concerned but if you need it and they have it – well, you get it promptly.

    KATES PAPERIE – New York City (2 locations, one on Broadway within walking
    distance of Pearls and the other is on the upper East Side.)   A Flashy crowded
    store with lots of paper.  Generally pretty expensive compared to the other stores
    and I’ve never gotten any kind of break buying there but I still check them out to see
    what is new and buy a few sheets that I know are great additions to my quilts.

    TALAS BOOK BINDERY – Tales is a school for the handmade bookbinding arts
    and related stuff.  They are up-stairs near Kate’s Broadway location.  They carry
    some unusual lines of papers for the insides of books, Italian Marbled, Pastepapers
    and contemporary marbled papers from small suppliers.  Worth looking but pricy.

    NEW YORK CENTRAL SUPPLY – 62 Third Ave.  Near Cooper Union Art School
    and within walking distance of Kate’s and Talas, near Washington Square –
    Subway exit is Astor Place, I believe.  This is a really great art supply store and the
    paper department on the second floor is wonderful.  A do not miss on my list in NYC.
    Fair prices and they will ship it to you – all you have to do is write it down.  They carry
    some funky papers from Moth Marblers from California, ask to see them. 

    MAZIARCZYK PASTEPAPERS – Claire Maziarczyk lives outside of New York and
    sells to both Talas and New York Central.  You can also get in touch with her through
    her web site.  She teaches and demonstrates occasionally in NYC at the Book Arts
    Center in the Chelsea Area.  (I don’t know much about this.)  Her pastepapers have
    become a very important part of my work.  Her colors are bright and clear and just
    seem to give my art that special something that makes it sing.  She has a sample
    book available and encourages artists to use her papers in their original work.   

    STATIONARY SHOW – JACOB JAVITS CENTER – MAY  ??? – I understand that
    many independent sellers of papers and creators attend and have booths at the
    annual stationary convention in May of every year.  I have never been able to attend
    but would like too.  I hear it is great.

    PAPER CONNECTION – 166 Doyle Avenue, Providence, RI 02906  (877) 434 –
    1234  www.paperconnection.com   I first purchased from them many years ago and
    really don’t know their current inventory.  I had a difficult time finding a particular
    paper and asked the owner, who was traveling in Japan at the time, to see if any
    paper maker there  would be willing to make me 100 or more sheets as a custom
    order,  I haven’t had any reply from them so I guess they have plenty of business and
    aren’t set up to do anything custom.

    HIROMI PAPER INTERNATIONAL – 4223 Glencoe Avenue, #c-107, Marina Del
    Rey, Ca.  90292  (310) 306 – 8008.  I have never visited Hiromi Paper but from their
    catalog they carry a traditional line of mostly Japanese papers, doll-makers papers
    and woodcut papers.

    PAPER SOURCE – Boston.  One of 9 stores nationwide. 

    PAPER TREE – San Francisco.  1743 Buchanan Mall.

    PEARLS ART AND CRAFT – San Francisco seems to have a good selection
    where it seems to me that the New York Store is always sold out of anything I want. 
    Other locations in most major cities – selection varies a lot but the prices are good.

    HOLLANDER’S PAPER STORE – Located at Kerrytown Shops, Ann Arbor,
    Michigan.  407 N. 4th Avenue.  (313)  741-7531.

    PAPER-YA – Vancouver, Canada.  Never been here but I have heard it is a good
    store. 

     
    JAPANESE PAPERS IN JAPAN

    The best way to find out about paper in Japan as a tourist is to find an English
    Yellow Pages.  Artists Craft papers are generally listed as “Washi” in Japan.   You
    will generally find the bigger stores in the yellow pages but smaller ones can be
    found by asking around and getting someone else to look them up in the Japanese
    phone book at your hotel.  Sometime they are little holes in the wall so make sure
    you get good directions and write it down clearly in Japanese and have the phone
    number or a copy of the ad.  You can spin in circles for hours trying to find some of
    the stores.

    TOKYO – (My information is old and addresses change and stores go out of
    business.  Check for current information before you rely on my list.)

    ORIGAMI KAIKAN, YUSHIMA NO KOBAYASHI CO. LTD.  (In Tokyo since 1859)
    7-14 Yushima 1-Chome, Bunkyo-ku, Tokyo, Japan 113  Phone: (03) 3811-4025 
    This was my first paper store in Japan and it is run by a delightful man, Mr.
    Kobayashi, who will show you all over his store and “factory”.  He is the ultimate in
    origami, a world known master of the art and he travels extensively to conventions
    and workshops.  His store has lots of printed and hand stained Chirogami papers
    which are quite unusual and the largest selection I have ever seen.  He also carries
    a lot of other papers which are used primarily in crafts, collage and doll making.  Mr.
    Kobayashi arranged for me to exhibit in Japan at the National Collage show and
    also had reporters fly to my home in Atlanta to interview me.  He is a national
    treasure.  Located near Ochanomizu Station.

    HAIBARA CO LTD., (Purveyors of Paper since 1806)  The easiest way to tell you
    how to find this store is to go to Takashimaya Department Store at Nihombashi  and
    go out the exit xxx.  When you see the sky you should be in front of this store.  They
    have most of their papers in books in the back that you have to look through and they
    will pull your order.  There are several sizes of some of the papers so make sure that
    you write down the size or you could get a sheet of paper that is approx. 3’ x 6’. 
    (actually – that is about the same as three regular sheets – that’s good.)  They also
    have a good selection of gifts, like photo albums, notebooks, paper wallets.

    YAMADA SHOKAI – Near Tokyo Station.  I found a really great selection here. 
    Most of it is in the sample books in the back of the room.  You can buy the sample
    books and order through the mail.  Packing and shipping a bit pricey.    

    ITO-YA, slightly behind Ginza Matsuya department store as you go toward Nihon-
    bashi.  Washi is on the 4th floor of annex 3.

    TOKYU HANDS, in Shibuya.  Washi on 4-c.  A hobby and crafts store.  Located in
    other cities also.

    KYUOKYUDO -  near the big Ginza intersection that you frequently see on television
    depicting the people congestion in Japan.  It is on the right when you head to
    Shinbashi.

    ITSETATSU – across from the Daienji Temple it has a selection of blank dancer’s
    fans which you can embellish and other crafts like dolls and boxes.  Nearest station
    is Sendagi on the Chiyoda subway line.  Take the Dango-zaka exit.  This area is lie
    “    old” Japan.  The shops in the area are interesting to wander in and out.

    WASHIKOBO – Head toward Roppongi from the Nishi Azabu intersection, it is on
    the left.

    KURODAYA AT ASAKUSA – A nice little paper store near the Asakusa Temple. 

    THE PAPER MUSEUM – This little museum is near Ueno Park and has a lot of
    interesting displays relating to papers and a nice bookstore.  1-1-8 Horifune Kita-ku,
    Tokyo, Japan 114. 

    OZU WASHI – 2-6-1 Nihombashi Hondo, Chuo-ku, Mitsukshi-mae Station, Ginza
    Line, 81-03 3663 8788, in the basement of the building.  Nice store. 

    JAPANESE PAPER TOUR, Fuji Paper Mills Cooperative, C.P.O. Box 114,
    Tokushima, 770 Japan,  0886-54-5556

    KYOTO

    RAKUSHIKAN – Near the Museum of Kyoto on Sanjo-Takakura, Nakagyo-ku.  I
    actually wrote a letter and sent cash to these people to purchase additional paper
    after I got home after a trip.  They didn’t have the whole amount of paper and
    promptly refunded me with a crisp $20.00 bill through the mail.

    MORITA JAPANESE PAPER CO. – Kyoto (and has branch in Osaka).  This store
    had a great selection of paper but somehow doesn’t seem very interested in selling
    to Americans.  Maybe they just don’t speak English.  In any event they are worth a
    look.



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