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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. contactus@paperconnection.com

Big News April 03 2023

Introducing the ART ANNEX! Lauren Pearlman Sugita, founder and director at Paper Connection has partnered with master weaver and artist Suzi Ballenger of RealFibers to realize a long-time dream. The new ART ANNEX, opening this month, is greater Rhode Island's only educational center for paper and fiber arts open to anyone in the community. The ART ANNEX is located in one of the largest, remaining mill complexes in the state, called HOPE ARTISTE VILLAGE. The building complex is on the National Register of Historic Places. The ART ANNEX is the largest educational center for paper, fiber and book arts of its kind between NYC and Portland, ME. The ART ANNEX is a local makers' space created for the greater community - welcoming folks of all ages and from all backgrounds. The ART ANNEX 's mission is to create a safe and accessible learning environment for traditional crafts, such as hand papermaking, hand weaving, natural dyeing, and book making.
First up at the ART ANNEX?
@Hope Artiste Village, 999 Main St. Unit #109 Pawtucket, RI.
April 8: Handweaving Basics 10am Sign up here 6 week course. April 14: Monoprints & Monotypes 5:30pm Sign up here 2 -hour workshop. April 15 & April 16: Lauren and Suzi will be in-house after 1pm both days, Drop In to make your own handmade hemp/(or some relative fiber) paper postcard/small sheet (suggested donation $5.00) during the Coastal Cultivator Classic sponsored by Mother Earth Wellness.
While we prepare the space for future workshops- mainly papermaking workshops ;), please join us at our Wednesday pm Drop-In Clinics during the Pawtucket Indoor Farmer's Market.
When: Beginning April 12, 2023, Wednesday nights, during the Indoor Farmer Market; next door at 1005 Main St.4:00-7:00 pm.. (Some Wednesdays in the future, Suzi may be selling vegetables too!) Where: The ART ANNEX 999 Main Street, Unit #109 Pawtucket, RI.
Donations are much appreciated!
Please stop by to check out the beautiful looms and gorgeous items for sale in our shop. Both Lauren and Suzi will be in-house to help troubleshoot your paper, fiber and book arts queries and quandaries. BONUS! we all get to meet each other- expanding our worlds.
MORE HOURS COMING SOON We'll be adding more open shop hours later in the spring and we'll definitely keep you posted. For all of you outside of the area, please visit our online shop. We truly hope you can visit the ART ANNEX someday soon!
for more information please email: paperexperts@paperconnection.com

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

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 (mymodernmet.com) Diversity of Texture

Contact Lauren @ PCI for great paper options.

All images courtesy of Fricka

fricka - artist in residence - our papers help tell your story. want more? http://paperconnection.com/news/


Providence Monthly Focus on PCI February 26 2021

Check it out!

Lauren P. Sugita | Providence Media (providenceonline.com)
Get a glimpse into Lauren and PCI's match-making capabilities. Thank you Providence Monthly! . . . and Thank You Lauren for making a difference, in Providence for 25 years!! papermaking, washi, Japan, paper


Wind Up to Wind Down February 23 2021

Creative Break

Wind up chicken originally found on Etsy
Take a reprieve from the world. Each day - to un-stick. Encourage others. In fact, set the example and make a "Zoom" field trip to a gallery during lunch. Bring your friends along. See what others have done/are doing. It will yield wonderful results as you take a break and get out of your head. Guaranteed! You'll be doing "the sushi" from plastic nico before you know it!

Artist of the Month: Lisa Abbatomarco; Mixed Media Sculpture January 28 2016

This month we turn to a local artist who not only uses handmade paper as a material in her mixed media sculptures, but also uses it to teach young ones to respect the environment and become active participants in caring for it. Meet Lisa Abbatomarco and her unique approach to handmade paper. She has been an integral part of the Urban Pond Procession for the past 3 years. Last year Lisa completed a residency with the group in promoting the next generation to learn lantern making, creating puppets, all the while cherishing our precious planet. PCI: Thank you so much for doing this interview, Lisa. Please describe what you do and how paper plays an intrinsic role in your artwork. LA: I work with fiber arts, collage, sculpture, papier maché, I like to call it a “construction”, a combination of industrial materials, felt, wire, and paper. I’m doing construction, combining elements and textures that I like, whether in 2D or 3D form, it constantly evolves. I do a lot with kids, based in sculpture, puppetry, on an outdoor scale involving projects that bring awareness to various issues, like community, nature, and environmental concerns. PCI: How has paper inspired you with such a wide choice of materials, especially for sculpture? LA: I have always been interested in paper. I’m always the one saving the wrapping paper, from different objects, even candy wrappers. This has evolved to papier maché, with that top surface, top layer, turning into lanterns, puppets. PCI: The Urban Pond Procession, based in Providence, cultivates awareness of local nature paths and waterways in famous Roger Williams Park by having children work on various art projects, culminating in the procession in the areas around Mashapaug Pond and Roger Williams Park. How do your lanterns and puppets configure in this annual event? LA: I collaborate with a friend who is a story-teller, and the story telling culminates with a procession of lanterns and puppets. The forms, which can be puppets, characters, using reed as an overhead frame, and handmade paper, light up at night. The kids play with the paper, with the concept of creating lanterns-big or small-as imagery of bringing light, celebrating the night. LA: Last year, 3 different residencies and 3 different schools all came together to Urban Pond Procession. A personal awareness is involved, as there are neighborhoods surrounding the pond, and local wild life. PCI: How often do you decide to use paper for the puppets and lanterns? LA: I kind of like to say it is “structured improvisation”. Sometimes it depends on the length of the workshop. It can be simple to extensive. I tend to work with a theme in mind. For example, we’re going to work with Calder. His free form helps me to ask, “How many ways can I make a lantern?” The annual event of the Pond Procession celebrates the pond, and we are constantly deepening the process. To celebrate the night, we revolve around the idea of constellations. The process is constantly deepening. PCI: How were you introduced to Paper Connection? How have our papers enhanced your method or approach? LA: I knew an old friend, Joanne, who knew you. I go to Paper Connection without a goal, because there are so many pretty things. Like we’re doing turtles, colorful fish, what kind of papers can I use? It’s a good thing you don’t let us go in the back! PCI: Being in our paper warehouse is exactly like being a kid in a candy shop, that's why non-staff are not allowed in the back; it's way too tempting. :) Is it love at first sight when you see a particular paper? Does the idea come first and then you decide on what you will use, or do you choose the paper first, knowing that it will yield the results you desire? LA: Now that I have been there, (to the warehouse), I know which papers will work. I am usually on a budget, so I know, okay, I can look at these papers. For my own personal project, I will look at the paper and ask, what’s speaking to me? It’s very intuitive for me, and I get really excited about pattern. One time when you brought back a paper hat from Japan, and folded wallets, it got me very excited. These beautiful objects made me want to make paper. PCI: How are you able to explain the importance of handmade paper to your younger students? LA: What I like to do is explain how the papers are made so they have more of an appreciation for it. This really should be brought to their attention. I do tell them how much it costs, and $4 per sheet is shocking to them. But it would be a great thing to have them understand the concept of bringing old art forms back that require the hand to make them. Some of it is preservation. There’s a history to it, and all of that fits into what I teach. It doesn’t just appear. There is a process of getting a nice material before turning it into a nice project. What I like about Paper Connection is that somebody’s daily livelihood is affected. They spend their day making this. All of the work uses recycled and sustainable materials. So with the paper, we save scraps. We always have a scrap box, cut out what we want, and we collect sticks found in the woods, recycled wire. I find it easier to pull from things that already exist. PCI: So at the same time, you are inculcating the principle of being resourceful, and responsible to the children you teach. How do they react to the paper? LA: Like a candy store! It’s really fun. When I unroll colorful papers, they dive into it. It’s like a jewel. They gasp. The same goes for adults, actually. And I have to choose vibrant colors. I love the gorgeous white, elegant papers, but kids respond to colors. paper floats, sculpture, mixed media, environmental awareness, urban waters PCI: What challenges exist in teaching novices how to work with specialty papers? LA: I hear a lot of “I’m not good at putting the paper on this…or that…” but I ask, “Have you ever done it before?” I have to say, let yourself be new. Be the baby at something. You don’t know until you do it the next time. If the paper gets wrinkly, you will love the wrinkles. You work with the accidents. PCI: What advice would you give to someone who is following in your footsteps? LA: Give yourself room to explore. It’s very important. There’s a misunderstanding that you pick something up and get it right the first time, at any age. Kids can be quick to say, “I’m not good at gluing!” But I ask them, “Well, how often do you glue?” PCI: And what about the use of handmade paper for lanterns and puppets? LA: Notice the weight, the thickness. I’m particular about weights. For lanterns, I hold the paper up to the light, move it around. Perhaps it works for this form but not enough light goes through it, for example. You have to use the right tools for the job so you get the most out of the material. Allow the material to show you what you can do with it. Paper is a tactile thing. Explore it and take the time to be with it. Let your senses guide you. PCI: Which artist has inspired you? LA: Louise Nevelson, a sculptor who works in printmaking, then wood and metal for large scale installations that are very geometric, monolithic at times. There’s an element of being indigenous, a quality at being present, that also carries in her person. PCI: Well, we see that your enthusiasm for teaching and your love for paper carries in yours, and is evident in our local Providence community. Thank you so much. Lisa will be teaching classes for both children and adults at Cutler Mills, in Warren, RI. For more on Lisa please visit: Lisa Abbatomarco Urban Pond Procession Hands on at 30 Cutler

Artist of the Month: Joan Son March 11 2014

Her name evokes light, bright, warm light to me, and when you see her AMAZING works, (yes, that is all in CAPS for a reason), you will feel the same light too: paper transformed into creatures and works that come alive, and feel like they can float away, tempting you to put your fingers on them, feel the fiber that encases them, and even wear them. Meet the one and only Joan Son. I have had the privilege of giving 2 presentations with Joan Son and have been to her studio/residence several times in Houston, TX. Joan is a most gracious host. I cherish her warmth, kindness and years of friendship. Joan's glowing personality is truly manifested in her incredible talent of transforming paper into life-like sculptures. I hope you enjoy reading her perspective on paper as much as I did. PCI: What kind of artwork do you do? What or who has influenced and inspired you? JS: I am an artist working in the medium of paper based in the discipline of origami. For the past 21, years since my debut in the windows of Tiffany & Co. (Houston Galleria), I have devoted my career to the exploration of contemporary origami as fine art. My art has developed into finely crafted gift items for museum shops beginning at the Smithsonian in 1995; larger commissioned works for public and private venues and origami instruction nationally at Origami Conventions and in Houston at numerous educational facilities.
Bamboo Bamboo
PCI: What attracts you to working with paper? JS: I have always loved paper. My first love was designing paper doll dresses when I was 9 years old. So even my mother’s typing paper, lined school papers and tissue paper were attractive to me from very early on. I was totally intrigued making carnation like flowers with tissue paper. Even now when paper towels or napkins are on my grocery list I get excited wondering what patterns will be available. The commercial stuff is always changing. zooslide PCI: What do you like best about working with paper? I'm so curious as you have such a literal hands-on approach. JS: I like to say that paper is sculptable and forgiving. I love that about paper. It works into to all of my art pieces. It is much more durable that most folks think. PCI: I love the choice of words "forgiving" and "durable", it's almost like you are describing an amazing person. Please share how we met. JS: Your wonderful papers were represented by a commercial paper company (Clampitt Paper in Houston, TX). Their representative gave me your contact information and I have been passionate about your papers through all your evolutions. Since 1993 when I was working in a design firm, creating brochures, annual reports… and dabbling in my own creative process, I've been using them for everything from butterfly pins, collage works, to 8-foot tall paper Kimonos. PCI: Hopefully I've been evolving in a progressive way! And our papers reflect that. We are so happy that we have such a long-term solid relationship. It's reliable artists like yourself that help small business keep going. Did you have much knowledge about Japanese papers before using our line? JS: Very, very little… only Origami papers. PCI: In what ways did Paper Connection help navigate and perhaps inform you about Japanese paper? JS: In every way. You and I did a presentation together for Texas Art Supply here in Houston a few years ago. It was fascinating to see and hear about your travels in Asia and all the details and nuances of these exquisite papers. PCI: What papers do you use of ours and for what process? What did you like about those papers that aided in your creative and/or technical process? JS: Japanese Yuzen and Katazome paper are delicious, the Laurelai design papers, (see the Yoga Garden Robe), are fun and add a distinct personality to my designs. Looking through the catalog now I see there are so many more I still have to work with. I can hardly wait! I use your papers for many of my collage pieces, origami pieces and display.
paper sculpture Yoga Garden Robe by Joan Son, using several of the Laurelai papers
The Robe Series by Joan Son The Robe Series by Joan Son
PCI: What are some of the differences between our papers and others you have worked with? JS: Paper Connection always has the highest quality papers. PCI: Thank you so much! We really try to represent the best in handmade papers for those like yourself who truly appreciate them. Word game for you: fill in the blank, if you had to recommend a Paper Connection paper for a particular application: JS: I like Daitoku papers for their simple gold touches and natural beauty. Plus they have saved my life on two projects where I needed a very large sheet. These measure 37 x 72 inches. Perfect!
bookmarks, Laurelai Designs Laurelai bookmarks by Joan Son
money holders, business card holders Joan loves the Laurelai papers for many things, including bookmarks and wallets.
PCI: That paper is an oldie but goodie. Our famous bonus question: If you could have a conversation with any artist present or past, who would it be? And would you talk about paper? JS: PATTI SMITH. As I strive to make my work more deeply meaningful first to myself and that it be illuminating for others… this veteran rock and roll artist transcends all levels for me. She continues to inform our world with her tenderness and fury. And that she continues to evolve her art into all the years of her life. I think the conversation of paper would come up easily with Patti. I’m sure we would be tearing it or making it into butterflies right away. PCI: Yes! A musician! To say the least. A poet. You surely would. Can I dance along? Thank you Joan, for all you do for Paper Connection and the paper world. Check out this BIG NEWS for Joan! She opens a new body of work in Houston at the Jung Center Gallery in April 2014. We have included the Press Release:
looking back to move forward
a retrospective
a coming full circle
a beginning
When: Opening night Saturday April 5, 2014 Where: Jung Center Gallery 5200 Montrose, Houston, Texas 77006 Time: 5:00 to 7:00 On view through April 29, 2014 If you are in the Houston we highly recommend you attend. We wish we could be there ourselves.
Joan Son is an American artist who has devoted her career to the exploration of contemporary origami as fine art.
Now, through an Individual Artist Grant from the city of Houston through the Houston Arts Alliance, she shows a side of herself that has been hiding for 50 years.
TIME TRAVELERS brings her art full circle with paper doll dress designs she created when she was 9 years old. From these early paintings (that luckily her mother saved!) Joan is constructing full size paper dresses that will be displayed on lighted 6 foot plexiglass cylinders suggesting portals of time. Her story is inspired by this quote from Carl Jung...
“What did you do as a child that made the hours pass like minutes? Herein lies the key to your earthly pursuits.” Joan raised additional funds through her Kickstarter campaign and may be best known for her origami art that debuted in the windows of Tiffany & Co. in 1993. During the past 21 years she has developed her art as gift pieces for museum shops around the country beginning with the Smithsonian in 1995, been commissioned for larger art works both public and private and worked as an instructor of origami nationally and locally.
Much more of the story here on Kickstarter...
paper dresses
paper sculpture
Time Travelers. These 2 dresses use very common onion skin paper and letterhead papers on which Joan Son painted.
For more information on Joan Son, please visit her website: www.joanson.com
You may recognize her works:
Cliental:
Houston Museum of Natural Science
Lady Bird Johnson Wildflower Center
Menil Collection Artist Eye presentation
Neiman Marcus
Tiffany & Co. Houston Galleria
Ellen Noel Art Museum
Japan America Society Houston
Houston Center for Contemporary Craft
Houston Grand Opera
C. G. Jung Center Houston
National Gallery of Art Museum Shop
Smithsonian Museum Shop
Dallas Museum of Art Museum Shop
Art Institute of Chicago Museum Shop
St. Lukes Hospital
Memorial Hermann Hospital
Texas State University, through Art + Artisans Consultants
Veterans Administration Austin, through Art + Artisans Consultants

Paper Rock Stars November 09 2012

Have you ever considered yourself a superstar? A paper star, at least? I had the privilege of spending a week around the seasoned, paper legends as well as the new generation of paper stars at the Watermarks Conference, (the 2012 meetings for both Friends of Dard Hunter and IAPMA.) sponsored by and held at the Morgan Art Papermaking Consevatory & Educational Foundation, in Cleveland, Ohio. When I booked this trip, I wondered, what can I do in Cleveland for one week besides make, eat and dream paper? I realized that Cleveland, has Lake Eerie, a seriously well-deserved local pride and die-hard fans of their sports teams. Since I was still a little jetlagged, and the pre-conference workshop I signed up for hadn't started yet, my colleague said " why don't you go to the legendary Rock n' Roll Hall of Fame?" So I did.
Giant guitars outside of RRHF.
My reasons for going on this Cleveland Magical Mystery Tour, started becoming clearer while inside the RRHF. Not only did I get to learn so much about the history of the Rock n' Roll era, I was able to surround myself with (at least simulated versions of ) Rock Star Legends. The RRHF primed me for the rest of the entire week when I got to hang out with the Rock Stars of Paper; paper gurus and paper masters from all over the globe all came together in Cleveland, Ohio!
Tim with Carolina Larrera. Carolina is not only a Tim Barrett groupie, but Paper Rock Star from Chile.

Who Wrote the Book of Love, I mean washi?! Premier paper legend and MacArther Grant recipient, Mr. Tim Barrett of the University of Iowa, Iowa City, IA did. His many fans want to have their photos taken with Mr. Barrett; ...dang, I didn't get a good one of me with him! tsk, tsk.

Asao Shimura mixes konnyaku with pigment.

There were so many Paper Rock Stars there...Mr. Asao Shimura who taught a 2-day workshop on konnyaku intaglio printing. Like waiting in line for tickets to the biggest concert of the year, I tenaciously waited for my spot in his class, and got it! Asao hasn't been stateside in years and he traveled from his home in the Philippines to teach in the US. I've been a fan for years, but finally got to meet him and take his workshop, with more of his fans.

Asao Shimura definitely marches to the beat of his own drummer, and we should thank him for it, as he trail-blazes in the world of paper arts, he teaches too, sharing his insight and skill with eager students. He's a soul man of a paper culture...(I've got rhythm, but I AM asking for more Paper Rock Star Fame!)

Aimee Lee: Young Paper Rock Star- crowd is starting to gather...
A fairly new talent in the group is Ms. Aimee Lee, now an author of a new book: Hanji Unfurled, One Journey into Korean Papermaking, I swear- when she walked into the room during my pre-conference workshop, a group of fans formed a circle around her; I heard "Aimee!, Aimee!" coming from the crowd. I was an Aimee Lee groupie before even seeing her live. I could catch on fairly quickly; I tried to blend in with group-playing the coy paperazzi. I am still very much part of Aimee Lee's fan club, and therefore so thrilled a host to her, while she's in New England promoting her new book via artist's talk, demo and workshop both in Boston, November 10th and Providence area, November 14th. Blood, Sweat, and Tears, may be a RRHF inductee, but have no doubt, the vatman or vatwoman produces blood, sweat and tears on a daily basis, as they toil and create paper with their two hands, keeping the art of handmade paper true, pure, and alive-ensuring that Papermaking is Here to Stay! At least at some level, I continue to aspire to Paper Rock Star status. When asked: “do you make paper?” I reply: "not exactly, but I am an agent, a promoter, a paper Shake, rattle and roller and total groupie of the Dardos!" Watermarks 2012 was more than about reuniting with friends and colleagues I haven't seen years, and more than about discovering new Paper Rock Stars. It was a week of Letting the Good Times Roll, a week of re-inspiration to continue down The Long & Winding Road to bring handmade paper to the likes of you. My Cleveland experience was the necessary step towards attaining Hall of Fame status or at least a couple of my own fans.. I am now determined more than ever to create a (paper) hit in my hometown of Providence. A really BIG hit. Thank you Watermarks 2012 , the Morgan and Cleveland ,OHIO!: you keep on rockin' me baby! For more photos, check out our FACEBOOK page for the Watermarks album. Don't forget to "like" us!

Dreaming of Paper Clouds November 04 2010

Sleep soundly under these papers in the Clouds Room at the Maison Moschino Hotel in the heart of Milano. A former railway station, it now is an apparently exquisite boutique hotel with surreal and dreamlike decor.
For fashionistas, there is the Ballgown room:
The only problem with the website-no images of their menu, with sushi Italian style! It reads delicious though. Italy has always been on my top ten list of dream vacations. Someday I will make it there. found via the style files