I use fadeless art paper. It’s like origami paper and comes in rolls of many different colors. It has a colored side and white side. When cut with a sharp knife, it creates clean edges. I go through a lot of knife blades to make sure I’m slicing and not ripping the paper.
My process is very fluid. I take in clues from my surroundings, shapes and patterns that intrigue me. I then use my time at the drawing board or cutting table to try to bring some of those complicated 2 dimensional and sometimes 3 dimensional images come to life in my paper. The decision is often about whether the object appears in the negative of the positive and in the case of some of my words and names interlaced throughout, I go back and forth. And lastly I know when I’m done because the piece has become balanced and has a completeness in and of itself.
I have always been drawn to artwork that pulls you in with a trick of the eye such as Bev Doolittle and M.C. Escher, who in turn was influenced by the tiles and ceramics of the Moors in Spain. Escher and similar artists create works that convey more than just what one sees at first glance, that force you to pay attention and be observant, yet allow you to carry that into the greater world around you, beautiful and raw.
Celtic patterns are a big influence as well as psychedelic artwork from album covers of the 60s and 70s. I also really love Thomas Hart Benton and his protégé Jackson Pollock, especially the latter’s early work. Kit Williams an English artist, illustrator and marquetry master was a great influence in making art a puzzle to solve, and he obviously loves rabbits too.
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