The object is a metaphor for the discoveries I have experienced through my work with natural fiber and papermaking. I welcome this opportunity to share with you what I have learned. fiber preparation: I grow most of my own fiber on my farm in the Blue Ridge Mountains. I harvest cattail, bamboo, asparagus, okra, iris, and banana (from my good friend) at different times a year, capturing an array of colors and textures for embedding, pulp painting, and sculpture. In experiencing the transformation of the fibers from seed to artwork, I realize my own vulnerable state. Through trial and error, I have learned that variations in growing conditions can have a huge effect on how fiber looks and feels and I have had to adapt and use these changes. shaped deckle: I create a deckle from one-inch-thick Styrofoam insulation board, available at the hardware store. I draw and cut out the shape with an X-acto knife and then wrap and seal it with duct tape. base shapes: The lotus flower is assembled from a series of flat base shapes. Using a blend of cotton and unbleached abaca pulps with several plant fibers added, I employ Bridget O'Malley's technique—"The Disappearing Tablecloth"—to form the shaped sheets.1 If you are adding plant fibers, experiment with test forms to gauge thickness and to understand how the shapes will dry. For hanging pieces, save enough base pulp to apply a backing sheet to the assembled sheets. layering of fibers: Using strong fibers helps to strengthen and reinforce form. For the lotus petals, I added cooked and handbeaten Japanese gampi and kozo fibers. For the leaf petals, I layered banana fiber by separately cooking and beating the outer stalk, the inner stalk, and the leaf stalk. Each of these sections has its distinct color, from an off-white to a golden brown to an earthy-olive green. During this process, wire can be added inside the shape (20 to 22 gauge).2 You can use colored pulp painting to create layers of tones and colors. Fibers or colored pulp can be applied to both sides of the sheets. Press the sheets again to dry and strengthen. shaping the forms: This is the tricky and fun part of the process. Work on a piece of Pellon the size of the final sculpture. That way, you can move it around easily. Cut strips of soft Pellon to pad and support the shaped forms. If you are not happy with the shape, you can re-wet the forms and start the shaping process again. drying: Use fans (set on low speed) from different directions to promote even drying. On the second day, add fibers across the shapes to connect them. Be careful not to get them too wet, because it can change the shape or cause it to collapse. Keep adding more Pellon strips to hold the desired shape. final backing: If the piece is to be hung, this is the time to create a hanging mechanism for the sculpture. Once the final form is made, pour a backing sheet, dry it, and apply it to the back of the sculpture. Use archival PVA glue. Depending on shape and weight, you may want to add grommets to the backing sheet before adhering it to the sculpture. ___________ notes 1. Bridget O'Malley, "The Disappearing Tablecloth: A Sheet-Forming Recipe," Hand Papermaking vol. 28, no. 1 (Summer 2013): 12. 2. Helen Hiebert is my inspiration for using wire in my sculpture pieces. Her website is a terrific resource to see the process: helenhiebertstudio.com. gibby waitzkin Flowering of the Human Soul, 2014, 28 x 44½ x 7 inches, fiber sculpture (base form: Sarvisberry blend of cotton, unbleached abaca, iris, banana, lavender, okra with overlay of Japanese gampi and kozo, and banana). All photos courtesy of the artist.
