2023: The Year of Paper in Rhode Island February 02 2024

TO: You wonderful people that continue to support my world of paper and fiber arts FROM: Lauren Pearlman Sugita
For me, 2023 was all about E X P A N S I O N! Only about 1/2 a year ago, a lovely, large studio space was found and a new partnership began. It's still a work in progress, but it has an official name the "Art Annex" located in Pawtucket, RI; 2 miles up the road from Paper Connection.
This new studio, which is about 1500 sq. feet, provides a creative space for gathering both the interesting and interested; it allows me the freedom to connect with folks in my community in person. and, of course, to finally get to enjoy using and sharing state-of-the-art tools and equipment via teaching and learning. Check out the very first blog post about the Art Annex. In the 2nd half of 2023, the Art Annex was able to open its doors for: a. fiber & paper clinics, b. papermaking, printmaking and weaving demos, c. open houses, and national conference tours, d. workshops in printmaking, book arts, weaving, and papermaking taught by us and by guest instructors.
In the Year of the Dragon: 2024- There is so much more to look forward to! Here's to even more art making in 2024!!
Thank you always for your continued support of my endeavors. PS. Will I see you in early April at SGC International? Happy to show you around the new space! PPS If you have a proposal for a workshop, presentation, event or collaboration at the Art Annex, please reach out via email.

Curating WITH PAPER September 12 2022

I recently curated a gallery group exhibit gallery at Pawtucket Arts Collaborative. Show Title: WITH PAPER, A PAC Gallery Pop-up, showcased works by Bayda Asbridge, Suzi Ballenger, Justine Chang, and myself, Lauren Pearlman Sugita. All 4 participating artists work with paper in different ways with overlaps. The basis, of course, was how we all work with, live with, and communicate with paper.
Lauren Pearlman Sugita, couching, SMFA
handmade paper A Book of Spinach & Feta
handmade flax paper Mollusks from Mars
handmade cotton paper, Laurelai Designs Woven Vines
Putting together such a quick turn-around event like this, definitely challenged my "juggling" skills. I was super-focused and in an abbreviated amount of time, it came together! The collaboration afforded me the opportunity to connect and deepen relationships with three super-talented artists, mainly by spending intimate time with their work. It was interesting for me that the act of curation, allowed me to know each one in a new way (including myself!). As I continually seek community, the experience provided a new path for connectivity and bonds. As WITH PAPER, the gallery show, assembled in just a few days, a "community" was formed. Those connections were the most rewarding gift of WITH PAPER. I requested each of the other 3 artists to send in a comment subsequent to the show.
Bayda Asbridge mixed media Our Village
BAYDA ASBRIDGE writes: I was invited by Lauren Pearlman Sugita from Paper Connection to participate in this pop-up exhibit WITH PAPER at the Pawtucket Arts Collaborative. It was short notice but still, Lauren worked extremely hard to put a very professional show together with our group while maintaining her business during the day. I was incredibly grateful to be invited and to be part of this beautiful exhibit because it gave me a deadline to finish a paper tapestry "San Diego on My Mind", an opportunity to bond with other artists, and the opportunity to reach a wider audience.
Bayda Asbridge mixed media fiber, paper, weaving San Diego on My Mind
Bayda Asbridge mixed media fiber, paper, weaving Blue Lagoon by Bayda Asbridge
SUZI BALLENGER writes: Thank you Lauren for your curatorial wisdom and vision. WITH PAPER became an opportunity to work through my thoughts on the series “To Be of Use”. These works reflect on the interconnection of vitality/detritus, growth/sediment, and need/sacrifice, an exciting exploration worth further investigation. Meeting the other artists was an honor. The work chosen for this exhibit made me feel like I was part of a common understanding and passion.
Suzi Ballenger handmade paper, onion skin To Be of Use
Suzi Ballenger handmade abaca paper, reed, porcupine quills I realized I was the one who was trapped. I just couldn’t swallow another fly!
Suzi Ballenger handmade abaca, hemp Suggestive Freedoms
JUSTINE CHANG writes: The show came together beautifully, and I was honored to be a part. As someone who is new to handmade paper, I’ve been constantly surprised by the generosity of other artists working with paper, including Lauren, Suzi, and Bayda. It was such a meaningful experience, to meet the artists, and to see the response of people who came to view the work. All of this confirms for me, that working with paper is an important way to reconnect with my body, my heritage, and nature.
Justine Chang photography on Korean paper. hanji Series: Margins
Justine Chang photography on Korean paper. hanji Series: Margins

Starting a Creative Collective May 13 2022

Imagine a world in which we share our gifts.

When resources are scarce, we can pull ourselves inward. Like the folk story, Stone Soup, where the villagers did not want to offer their food to strangers simply because they were strangers. They wanted to remain isolated - to shut out people they felt ungenerous toward, depriving themselves at the same time. We would all feel richer, sharing and receiving, with equal abandon and abundance. In the same vein as the Stone Soup strangers, Kelsey Pike and Adri Luna had the genius to create a vision of feast and good fortune that needed testing, and the journey of Cherry Pit Collective was born.
Simple Beginnings:
Kelsey Pike was looking for a studio space for her hand papermaking business. She longed to reignite a communal studio much like her art school days. Kelsey saw an article about Maker Village, a community wood and metal shop in an underdeveloped area of downtown Kansas City, Missouri. She inquired about available space, explaining her vision: The idea of a communal studio for artists, makers, and creatives where the work and vision of women, non-binary, and marginalized genders/communities are supported and celebrated. The building owners loved the idea as they had been rehabbing the space and were ready to install final details.
Looking towards the Collective's front-facing windows.
Artists need adequate lighting for work throughout the day and night, heating & cooling throughout the year and plenty of electrical outlets for various tools required to create.
Ignited by the first steps, Kelsey and Adri Luna began forming and refining. Working with the landlords, they designed and build-out (and eventually up) the interior space that would become Cherry Pit Collective.
Part of the Pit Collective.
Enter and feel a sense of comfort, inclusion, and safety.
The warehouse, nestled between Maker Village KC and Oddities Print Shop, resides in the center of Kansas City, MO, near the corner of 31st and Cherry. Kelsey and Adri loved the exposed brick interior, thirty-foot ceilings, and tons of natural light from its south-facing glass panel front. There is a mixture of wood and cement floors and an additional skylight at the apex of the roof. The vision was open-ended studio spaces ranging from thirty to two-hundred square feet with simple wooden partitions designating each maker space while still creating community. They kept the basement open with its ten-foot ceilings. Most of the work was completed in 2016. By the summer of 2021 the final touch of a loft, financed by the building owners, was completed. The loft area, built towards the back of the building, houses an ingenious papermaking set-up, washer & dryer, plus an area used for orders and shipping needs.
How did they do it? Money & Resources.
Viewpoint from the front door.
One: Friends & Family Two: Kickstarter & Exceptional Donors Three: Shear Hutzpah Kelsey and Adri wanted to create a space to support female-identifying and marginalized genders/communities.

- There was a story to tell.

A look-see at a workspace.

Like many makers and artists, most work from home, their bedrooms, kitchens, dining room tables, and ill-equipped basement spaces doing double duty. Creators pushed projects aside to accommodate family, children, roommates, day jobs, side businesses, and housework, with a lack of professional places to discuss collaborations and projects that were safe and quiet enough. Cherry Pit Collective would provide dedicated spaces for members to create, meet, and make, leaving home responsibilities to arrive at Cherry Pit Collective. Folks could come ready to work, focused, with space, light, comfort, and community, no longer isolated but in a safe environment for the development and growth of female-fronted businesses. Members would work together to support and promote each other through a shared workspace, shared environment keeping, costs, benefits, and risks. The collective would include monthly programming and skill-sharing events while creating a community of local makers - fostering collaboration over competition. So, in June of 2016, Kelsey and Adri ran a Kickstarter to raise $10,000 for a building deposit and final build-out expenses. For thirty-six days, Kickstarter offered possibilities. Cherry Pit Collective supplied their vision video and perks to backers for exclusive items made by local artists and folks who would be bringing their creativity and community to the Collective. In addition, throughout the campaign, the fledgling collective-to-be hosted a final push event called the Cherry Bomb-A-Thon. The campaign was a success and ended up $180 over the $10,000 goal. ​The Kickstarter took care of much-needed lighting, heating, cooling, and the build-out of electric outlets, making the space more affordable for its members at the get-go.
Welcome to Cherry Pit Collective.
Paying for these expenses upfront, with funds from friends, family, colleagues, and patrons keeps the space more affordable for members. In addition to crowdfunding efforts, they supplemented with annual fundraising events, classes, and monthly fees from members. If you are an artist or craftsperson in the Kansas City area, you may benefit from the minds at Cherry Pit Collective. They host workshops and classes on topics small art businesses need to succeed, such as craft fair booth set-up, filing taxes, fine-tuning SEO for your online shop, and how to get products into local businesses. Q & A with Kelsey Pike What are some obstacles to creating a Collective? In the beginning, we had trouble finding the right balance of work between members. As members grew to know and trust one another and felt autonomy and agency as members of the collective, it was increasingly easy to divide tasks based on personal interests and skills.
Crysta Henthorne - Illustrator, Graphic Designer, and Painter.
Members handle all aspects of managing the collective, including cleaning, promotional work, class programming, event coordination, and member recruitment. What is the significance of being a female-only space? The original mission was to fill the studio with hard-working artists & makers. The first dozen happened to be female-identifying which worked so well that we intentionally moved in that direction, making members feel comfortable, safe, and relaxed while working, freeing themselves, which is sometimes challenging in male-centric workplaces. How important is networking for artists and makers? A community feel is deeply integral to networking, rather than trying to meet the right people or make specific connections. Our collective builds on members with varying skill levels and backgrounds. Businesses are a decade or older, while others are just starting. The aim is to learn from each other. Fresh perspectives help seasoned makers see different vantage points, and established artists offer experiential advice. Members encourage each other to try new approaches, share unique specialties and support each other.
Kelsey Pike working in her papermaking studio.
Kelsey, how did you begin your business - Sustainable Paper+Craft? I learned papermaking in 2010 when I took a class at KCAI called Materials & Methods. I fell in love with the process and decided to make paper for the rest of my life. I started an Etsy shop at the end of that year. The original concept was to sell handmade paper sketchbooks I made as a studio project. The initial sketchbooks sold out. I did the math and realized the direction had to change, and selling loose paper sheets to other artists became the focus. In my senior year, dreading graduation and no longer having access to the paper studio, the thought of never making paper was disheartening. I finished with a degree from the Kansas City Art Institute in Art History and a minor in Printmaking. I tried for grants and got rejected, so I combined my Etsy profits with graduation gifts and purchased my own Hollander beater and other studio equipment that I still use. Initially, how important was branding to you with Sustainable Paper+Art? At the start, my concern with branding was minimal. My primary focus was making the highest quality papers that would perform in a way that brought people back for more. Over time, I made a logo, picked a font, created a website with photos, and it all went uphill from there. Did you have a mission when starting Sustainable Paper+Craft? I had no mission. I just knew I loved making paper and was good at it. More than anything, I wanted people to use what I was making because of its beauty, functionality, a pleasure to the eye, and forgiving qualities.

Kelsey's advice for fledgling makers/starting their own company

Sharpen your craft ⋅ Spend hours, days, and months learning ⋅ Become the expert ⋅ Travel if you can ⋅ Learn from masters ⋅ Read the books ⋅ Never stop practicing and stretching yourself ⋅ Listen and give back

What are the challenges creatives face in your city? Kansas City is a great place to live because it is still relatively affordable. As an artist or entrepreneur, you can pursue your creative interest and still afford to live comfortably. This idea is not lost on the community here and has created a saturation of creatives. With saturation in any field comes competition, the fear that every new venture is somehow detracting from your own. I confirm there is space for further cultivation of new ideas to develop success.
Kelsey Pike and Lauren Pearlman at Cherry Pit Collective in Kansas City, Missouri.
What physical aspects of your co-working community make people feel at home and welcome? The space has several shared areas, open to all members, making it feel like a cozy home. The kitchen, large communal eating area, lounge, and a big backyard with a fire pit give space to individuals outside their studio. Workspaces are open to the communal area, encouraging exchange between studio mates. It is impossible to arrive and not see who else is working, welcoming conversation and closeness. What are your top 3 tips for people hesitant to join a co-working space? We designed our membership admission process to ensure a mutual best fit. Our written application requires answering personal questions, then informal interviews and coffee meetings with members. If the candidate passes all these gateways, we know they will be a great addition, ensuring we have chosen them based on fit and what they offer the collective, as much as them choosing us. For any collective, Kelsey suggests the following:
  1. Test it out. Depending on the space, this might mean attending an event, going for a tour, or checking out open studio hours.
  2. Be your authentic self from day one. You want to connect with meaning and sincerity. These are people you'll see regularly. Allow them to get to know you and be a support system.
  3. Once your space is secured, spend time there. You make connections by showing up.
  4. If applicable, try volunteering in a way that will make you a valuable member of your community.
Cherry Pit Collective stands on ancestral land, honored with gratitude, the land itself and the people who have and continue to steward it - to the people of Kiikaapo (Kikapoo), Wazhazhe Mazhá (Osage), Kaw (Kansa), and Očhéthi Šakówin (Sioux). Kelsey Pike co-founded Cherry Pit Collective, a communal studio space for artists, makers, and creatives, where the work and vision of women are emphasized and celebrated. Kelsey is the cornerstone in creating an environment of members who work, support, and promote each other through a shared workspace and creative communing. Cherry Pit Collective hosts programs fostering collaboration over competition. You can locate Kelsey and view Cherry Pit Collective: Cherry Pit Collective on Facebook Cherry Pit Collective on Instagram
Fricka Jones - Artist, Writer, Editor
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SUSTAINABLE PAPER+CRAFT on Ancestral Land in Kansas City, MO April 04 2022

KelsKelsey Pikeey Pike, papermaker, printmaker, and art teacher in Kansas City, Missouri, creates fine handmade papers and products using varied materials that may include rags, raw plant fibers, filaments, threads, gold leaf, and whatever she can get her hands on. Her aesthetics are pure magic. “I have been in love with the obscure and tedious art form of hand papermaking since . . . art school.” In 2021, Pike aimed more of her time making single-run handmade papers. While white papers were her bread and butter, she longed for variety, experimentation, and collaboration with fellow artists/designers. Kelsey’s Monthly Paper Parcel was born with curated and unique colorways offered as a cyclic subscription.
Kelsey Making Paper at Cherry Pit Collective Kelsey Making Paper at Cherry Pit Collective
“. . . the sound of the water, the repetitive motions, the solitude – they put me in a meditative space.”
Monthly Paper Parcel Examples Monthly Paper Parcel Examples
Wet-process, two-sided, de-bossed or gradient sheets, and papers with varietal inclusions such as gold leaf, threads, or fabrics. Each month subscribers receive a package perfect for artists, imagineers, and the creatively curious. “Good craft is important to me, and I am continuously studying, practicing, and learning to make the best paper.” Cherry Pit Collective Kansas City MO Kelsey Pike also co-founded Cherry Pit Collective, a communal studio space for artists, makers, and creatives, where the work and vision of women are emphasized and celebrated. Kelsey is the cornerstone in creating an environment of members who work, support, and promote each other through a shared workspace and creative communing. Cherry Pit Collective hosts monthly programs that include classes and events for skill sharing within the community, fostering collaboration over competition. All are welcome, but female-identifying artists and members of other marginalized communities take priority. ​Cherry Pit Collective resides on ancestral land belonging to the people of Kiikaapo (Kikapoo), Wazhazhe Mazhá (Osage), Kaw (Kansa), and Očhéthi Šakówin (Sioux). “We honor with gratitude the land itself and the people who have and continue to steward it.” You can locate Kelsey and her gorgeous papers and products through: Sustainable Paper+Craft Cherry Pit Collective Instagram Facebook Etsy
Kelsey and Lauren at Cherry Pit Collective Kelsey and Lauren at Cherry Pit Collective

fricka - artist not in residence

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Paper Crafting: Calm within the Storm April 12 2021

Meditative Repetition

Paper Connection's Artist-in-Residence talks about rhythmic ease.
Using PCI Papers
It's wonderful to create but sometimes there is hesitation in starting something new or sometimes we don't consider ourselves a real creator. News Flash: We are creators and have been from the get-go. Take a jog back to your newborn self. You're hungry and wet. Your baby self thinks, "look what happens when I cry." And guess what? That baby got fed and diapered, and all was good in the world. That's the creator speaking. That baby didn't think, "I can't do that." That baby said, "I need to solve these issues I'm having." So don't fake yourself out or analyze too much. Take a minute to realize every solving proposition, every yearning, every curiosity is an opportunity to create. We do it every day without a second thought. Yes, well, we aren't all Michaelangelo. Sure, that's true, but then again, no one is you, except you. I mean - like read Dr. Seuss. He knew this stuff. So here's a fun project to make you laugh out loud and say, "Whoa, look what I just did." Make no mistake, you need to learn. Once you get the hang of creating individual origami-like modules, you'll own your own build. You can repeat and grow your design. Whether waterfall, topographical map, caterpillar, pyramid, or whatever makes you twinkle. No two, like those amazing snowflakes, will ever be quite alike. Get out your paper, straight edge, flat surface, and maybe a gluestick (tape, glue gun, stapler) and I'll show you how to get going. I've even provided a video for all you visual thinkers. Note: This project is meditative, repetitive, and soothing. So put on a rerun of "Sisters," "Sabrina," "Grace and Frankie," "Six Feet Under," or "Chef John." Watch or listen to what makes you happy and if your table needs to be set for 6 p.m. dinner, find an out-of-the-way place to fold, cut, and glue. BTW, easy on the gluestick. It's super great to make your piece changeable. Don't be intimidated. You can do this. It's building blocks that fit together. There is no right way, just your way. Trust in yourself and I beg you, don't hyper-criticalize . . . is that a word? My video helps. I also pulled from the internet a line-drawn folding tutorial you might find helpful module making. So you know, the beginnings of my process did not start with beautiful paper. No way was I using Lauren's (PCI's) handmade paper when I had no clue what I was creating. Be experimental and curious. For example, I used the pages from a catalog the first time around. The paper was way too thin. One sheet wasn't enough so I doubled up (or more). I also found that humidity with "catalog" paper caused major bowing of edges. Fine for an experiment but not great for an end result. Final materials for my piece:
  • PCI Papers: Lokta Paper from Nepal, Hand made An-Jing from China made from Xuan Fiber, Echizen from Japan, Moyou-Shi from Kochi Japan (Note: this process requires that each piece of paper is square and the same size)
  • Straight edge
  • Sharp cutting edge (scissors, Exacto, knife)
  • Matt board (something to cut on that you don't care if your knife makes a mark on)
  • Gluestick (tape, glue gun, stapler)
If you get into the whole origami aspect of this process, here's another cool tutorial area to take you further. I would love to see your creations! Learn How to Make Origami With These Easy Online Tutorials ( Diversity of Texture

Contact Lauren @ PCI for great paper options.

All images courtesy of Fricka

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PCI Yuzen Paper in Kit Davey's Books! October 02 2020

Check out Kit Davey's new video using our yuzen paper. And while you're there take a walk around Kit's Found • Object • Art site. Way too much fun is being had thanks to intricately pattened yuzen paper. If you haven't had the pleasure, yuzen paper, sometimes called chiyogami, are multi-color screen printed mulberry papers using patterns directly from the Japanese textile world. We carry 100+ colorful patterns of these hand-crafted papers decorated with Japanese motifs and designs, using several screens to hand print each sheet. This heavily inked paper has a thousands of uses, excellent strength, and is fade resistance. Thanks for sharing Kit! Below is Kit's Instragram post of a pocket accordion book with our silkscreened yuzen and cotton papers.

Kit Davey: Visual Bookworm September 23 2020

Kit amongst her tools Kit amongst her tools
Paper Connection was thrilled to catch up with true paper lover, Kit Davey from Found • Object • Art

Circuitous and Non-linear

Kit loves paper and saves every scrap. "I am constantly thinking about making books. I usually get the germ of an idea while walking, or by being inspired by other artists on Instagram or Pinterest. I jot down or sketch the idea, put it in a clear plastic sleeve and then add it to my project box. When I find papers, ephemera or other bits the might work with the idea, I slip them into the sleeve. I work in my studio every day and I make about a book a day. I look through my project box and pick out the idea that calls me. Each book unfolds through trial and error. Selecting the perfect paper is crucial. I use my “gut-o-meter” to tell me when something works or not."


PCI: Kit, talk about your interests and why this is your form of expression as opposed to a straight up “printer-ly” technique? KD: What I love about paper/collage in my bookmaking is the spontaneity, making changes as I go along. I don’t need special aptitudes, other than the ability to combine. I have choices of dozens of bindings, most of which don’t require skill with a needle and thread. I sometimes print out words or a story, digitally, because my handwriting is bad. I do admire the books made by printers, but don’t like the process for my own work. Printing a book requires planning which interrupts my spontaneity. PCI: How have your life experiences brought you to create Found • Object • Art ? KD: When I was a little girl I loved found objects and using them to create something new. I made houses for field mice with shoeboxes, matchboxes and bottle caps. I made books like “Love is…” with paper bits and crayons. I took art classes along the way but felt constrained by two dimensions and needing ‘skills’ like drawing or painting. I started to find my “inner gleam” by experimenting with collage and assemblage on my own. I was introduced to a collage class and began to learn the endless possibilities of working with paper and found images, often making books. One of my classmates suggested I join the Bay Area Book Artists. There, I found my tribe, learning a myriad of book structures and bindings from my fellow bookmakers. I continue to hone my skills by taking classes and learning from others.
The Flag Book has an accordion spine, using 18 small strips of paper that flap past each other when you open the book. The Flag Book has an accordion spine, using 18 small strips of paper that flap past each other when you open the book.
PCI: What happened next and bring us up to the present? KD: I began selling at art fairs and bookmaking events then started teaching about 15 years ago. I decided to widen my reach by adding Found • Object • Art to share a variety of my work (artist books, matchbox art, greeting cards, etc.) and promote learning opportunities for folks around the world. During this pandemic, I created five live, on-line Zoom classes. Each bookmaking class has a non-standard structure and a no-stitch binding, making it doable for all levels and capabilities. Anyone with curiosity and interest can delve into my classes. I am so impressed by the creativity. Two more classes were requested by my students so number six is up and running with one more in the works. I added Instagram, posting new work almost daily. I receive so much wonderful feedback from my followers (I have over 32,000!). The Instagram community has been so supportive, I attribute a lot of my success to this social network. PCI: Tell us about your 'Button Books!'
Kit Davey Button Book Bird Button Book by Kit Davey
KD: Several years back I saw a book made with tiny buttons on Pinterest. I jumped out of my chair, immediately searched through my stash of antique buttons for a matching pair. I experimented with different ways of making pages, binding them together and finding content to embellish. Over time I created a foolproof process which I teach. PCI: Would you share your insights and process regarding projects that have set you on a new path?
Sea Glass Journal 1 by Kit Davey Sea Glass Journal by Kit Davey
Kit Davey Sea Glass Journal pg.2 Sea Glass Journal pg.2
KD: I am continually inspired by things I find on the ground. I know I can use it in a book or art piece! Recently I discovered a weathered wooden stake on the ground in my local park. I cut it into sections to be used as ‘pages.’ Coincidentally, Instagram’s #areyoubookenough monthly challenge was “Sea” and an idea for a book popped into my mind - I could attach sea glass and shells to the pages to create a book. I drilled holes through the wood so I could strap on the found objects. Holes on the edges of the wood allowed me to use copper wire loops as a binding. PCI: Which artist/people in your life most influenced/inspired you and in what way? KD: I honestly don’t have any particular influencers or inspirers. Creations by unknown artists and bookmakers have led me to learn processes and to experiment. Trial and error is my greatest teacher. My own “voice” comes forth as I follow my experiments and make choices. I know that by making lots of art I get better and better as an artist. PCI: Can you describe the importance of paper in your work and what type of paper do you use?
Pop Up Buildings & Accordion Map by Kit Davey Pop Up Buildings & Accordion Map by Kit Davey
KD: Paper is my foundation. Each page has carefully selected papers culled from my substantial stash of dictionary pages, images from vintage books, music scores, letters, ephemera, card stock, rice papers, scrap booking paper, maps, wrapping paper, craft paper, grocery bags, used envelops, magazine pages, textbooks, tissue papers, printed napkins, calendars, posters. When I finish a book I save all the little pieces in a bag called “Bits.” Even the tiniest piece of paper has potential to become part of my art. PCI: Are there particular questions no one has asked you with regards to your creative process, philosophy or recent experiences you’d like to share? KD: Yes. One question is “What is your mission as an artist?” My answer: “To spread delight across the planet.” PCI: So, If you could have a conversation with any artist present or past, who would it be? KD: I would have wanted to be a fly on Joseph Cornell’s work room ceiling. I'd love to have seen his work surface, the ingredients of his boxes strewn about, and his many image files. I’d silently cling to the ceiling and watch as he created one of his magical boxes. PCI: Anything else you like to add? KD: Every piece of paper has potential! All images thanks to Kit Davey.

fricka - artist in residence - our papers help tell your story.

Simple Snowflake Origami January 01 2019

Let it snow, let it snow, let it snow...or so it usually goes - but, with a 55 degree New Year's day it seems like a far off notion. Maybe we need to come up with a little "snow dance?" For now, we will share a simple snowflake fold that is quick and easy. Make a few with colorful papers and viola - overdue on your holiday cards? Or, just need to send a million overdue thank yous? This is your chance! Happy New Year everyone! Here is a PDF with very basic instructions: Origami Snowflake Instruction

Paper Warehouse Open and Coupons November 24 2016

If you're local, our warehouse is open again for SHOP SMALL SATURDAY November 26, 10:30am-3:30pm. 2017 Calendars, decorative handmade papers: hand-marbled papers, recycled cotton silkscreened papers, woodblocked papers from Nepal, blank notecard sets, bulk vellum envelopes, Japanese fabric stickers, masa printmaking papers, paper sachets, scented greeting cards, paper balloons, print your own- ink-jet compatible washi business cards, paper for digital printing, vintage folded and dyed Japanese papers, unique gift wrap, wheat starch glue, scrap packs for doing collage, small papermaking deckle and molds (sugeta), and more. decorative paper, handmade paper, recycled cotton paper, khadi paper If you enjoy shopping from the comfort of your own home, here are some coupons for items shown on our webshop.
NOV. 25, 26, 27th, this Friday through Sunday- TAKE 10% OFF *all internet orders (*see restrictions below). USE COUPON CODE: CYBER10NOV. 28th, next Monday- All day *FREE FREIGHT for all internet orders (*see restrictions below). USE COUPON CODE: CYBERFF.

Get Ready for 2017! November 02 2016

For you super organized people, we have good news. For you not-so organized people, we have good news. And for those who can't wait to start shopping for gifts, even better news. We got you covered for 2017-calendar-wise anyway. (Calendars are already selling a fast clip, so get your orders in!). You have so many choices to start the year off on the right handmade paper foot: 2017 calendars Our famous collection of Midori Calendars, featuring eye-catching images of seasonal flowers, images, and the like. Some of these calendars are reusable as you are able to pop out the image and send as a card, or simply frame. And the collectible Serizawa desk calendar- printed from Mr. Keisuke Serizawa's original "katas" or stencils.
Helen Heibert 2017 Calendar: 12 MONTHS OF PAPER by Helen Heibert
12 Months of Paper by Helen Hiebert: We are proud sponsors of Helen Hiebert's labor of love; each month features a handmade paper craft. Look out for us in November 2017! Roll up your sleeves and try a new paper DIY project each month. What a fabulous idea and we were so happy to be a part of this fun calendar. So many choices: which calendar suits you?