Direktor Iben From
KunstCentret Silkeborg Bad, DENMARK 2001

With the presentation of the exhibition “Papir Set Pany/Paper Revisioned” trends are connected with the history of Silkeborg – the city grew up from the 1940’s around a papermill, secondly a number of important artists, who today internationally works with the paper as the medium in their art works. As one will see paper is also in artistic context many different things. The exhibition and the catalogue give the visitors and the readers the possibility to get knowledge about paper as a carrier of cultural signals and about the working methods of the artists. They have all, for years worked with this medium.

Anne Visboll Curator
The title of this exhibition refers to Silkeborg’s paper history and to paper as an artist means of expression. Excitement was also the key to choosing the participating artists. These are artists whose works I have encountered at museums and galleries in Germany, Holland, Spain, and the US and Denmark throughout the past 20 years. The works of the invited artists did, on my first viewing of them, etched themselves into my memory in a very special manner. They met with sympathy and understanding thanks to their particular language-a language I sense strong ties to. It is this excitement in encountering the work that has inspired the contact to the participating artists.

The participating artists are:
Frederic Amat/Spain
Naomi and Masakasu Kobayashi/Japan
Joan Hall/USA
Natan Kaaren/Israel
Felix Droese/Germany
Michel Scarpa/France
Maibritt Ulvedal Bjelke/France
Steen Lundstrom/Denmark
Dietmar Buttner/Germany
Anne Vilsboll/Denmark


The Heart of the Sea 2011


Joan Hall’s locus is the vast sea, where flux is the only constant and nature is sublime in every aspect. She employs the power of suggestion, using little imagery, relying instead upon color, texture and light to imply such natural phenomena as water, wind, current and wave. This she accomplishes through nearly sculptural installations of works that neither truly drawing nor printmaking, but use paper as both medium and support. Influenced by Japanese techniques for producing a variety of exquisite, gossamer paper. Hall makes her own sheets, preparing pulp from natural fibers. She adds color by tinting and uses acrylic to create a shifting sensation of transparency. Although her works are primarily nonobjective, Hall includes imagery of navigational signs either by impressing a printmaking matrix (such as collagraph or photo lithography), or by drawing with fluid pulp directly in the papermaking process. She produces a wide range of textures, patterns, weights and densities by merging support and medium. Her multi-layered works hint at the depths of the seas, encouraging and then obscuring views into the mysteries that lie below. She negates and traditional sense of perspective, much as the waters themselves offer no obvious navigational clues other than the endless line of the horizon. An experienced sailor herself, Hall is fascinated with charts and other nautical systems, and also with instinctive ways of negotiating unmarked expanses. Through her sculptural paper installations, she translates this abstraction into an equivalent sensual experience to teach the eye and mind how to transverse the non verbal world of art.
Janet Farber, curator
Joselyn Museum of Art, Omaha, NE

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