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WaterCity by Béatrice Coron, 2005.
Collection of the artist. Photo: Antoine Tempé
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In Vladimir Nabokov’s novel
Invitation to a Beheading, the pencil is described as the “enlightened descendant of the index finger.” That sounds about right, especially considering the pride of place that artists often afford their pens, brushes, and pencils. For many artists, however, the jumping-off point for creativity can also be the surface on which a subject is rendered.
Canvas, linen, panel, and paper—each has its own unique appeal. All have distinctive textures and appearances, and they respond differently depending on what is applied to them. Oil painter Sonya Sklaroff, who was profiled in the April 2010 issue of
American Artist, swears by birch plywood and Masonite panels. “I love a smooth, slick surface,” she says. “Even a bit of give drives me crazy. Panels allow me to apply paint vigorously, juicily.”
But sometimes it isn’t the qualities of the surface itself that ignite artistic visions, but the mutability of the material. In that context, paper is leading the charge. This would make sense given its affordability and accessibility, but many artists find it appealing because it can be so easily transformed. I recently went to an exhibition at the Museum of Arts and Design, here in New York City, that showed me just how mutable paper can be.
Slash: Paper Under the Knife showcased the work of 50 artists whose pieces were made solely by manipulating paper. It was cut, painted, torn, burned, inked, shredded, built up into sculptures, and pared down to intimately sized silhouettes. I was blown away by the virtuosity and skillful execution of the pieces, and also surprised that such dynamic works of art could come from paper alone!
Even if an artist works in traditional media, paper manipulation can be an intriguing prospect. It offers the opportunity to think about process and how treating or layering paper can affect a final artwork before ever making a mark. Also, painting and drawing on paper can result in so many different art objects: collages, books, prints, dioramas, sculpture, puppets and dolls, and even sets for the theater. The exhibition reminded me that all art forms talk to one another, and that snippets and ideas from one form can be translated and incorporated by artists who work in other media, or take on different subject matter.
Are you drawn to one particular surface when you paint or sketch? Do you manipulate it to achieve certain effects? I’d love to hear about it, and I’m sure other ArtistDaily.com members would, too. Leave a comment and let us know. If you are interested in exploring the intersections between printmaking, bookmaking, collage, and fiber art, the book
Printmaking + Mixed Media provides information on new techniques that can propel your work in new directions.
