Paper has come full circle. What was once a common, everyday material has returned as both an art medium and an art form in its own right. My work is made entirely of handmade paper. The imagery and color come from layering thin veils of pigmented cotton pulp.

I use pigments rather than dyes to ensure the color remains stable over time and won’t fade in sunlight. The finished pieces are archival in quality.

Every papermaker approaches the pulp a little differently. What you see in the photographs reflects my process. I source my cotton pulp from Twinrocker Handmade Paper in Brookston, Indiana, beaten to the consistency I prefer, and from there begin my process by mixing it with water and pigment. This mixture is poured into a deckle box over a wire mesh mould, with a sheet of plexiglass used during pouring to help control the flow. When the plexiglass is removed, the pulp settles evenly across the mould.

From there, I shape the sheet or leave it as a simple rectangle. I then turn the mould over and transfer the pulp onto felt by applying pressure, a step known as couching. I repeat this process many times, building up layers of different colors, each one laminated onto the next. I also use more diluted pulp in squeeze bottles to add finer detail and define specific forms.

Before pressing, I may place materials like string or cut mat board into the surface to create embossed textures. I sometimes add other fibers as well to enhance texture and depth. Once the image and surface are complete, I cover the piece with felt and press it under 20 tons of pressure to remove most of the water and bind the fibers together. The paper is then stacked between wool felts and wood panels, where it remains under steady pressure as it dries over several days, helping prevent buckling or warping.