A partial family tree by fabric, each work represents the trace of a relative via a fragment of their clothing.
In repurposing clothing that I have worn to create the paper for this series, I am embodying myself in the work in an effort to connect the present with the past, painting a self portrait of my ‘long body’ in this series, acknowledging the presence of my ancestors in physical and mental self.
Embodiment and embedded meaning is an indigenous approach to paper making which historically in process and product differs significantly to the mechanical European historic process and product of paper making.
I like to refer to these works as sculptural paintings. Some of the forms are created in a more chance based way - when ‘couching’ the drained fibres from the screen to the felt blanket I encourage the fall of the fragile wet paper to create creases and folds with a gentle flick. Other times I sculpt intentionally with the wet paper - as in the concertina pleat of Mum’s last dress, my fifth Great Grandmothers Pākē, and my second Great Grandmother’s Poffer.
Egg tempera with collected ground earthen pigment features on two works acknowledging my connection to the land and water in my home town of Kerikeri. All other works are sealed watercolour on handmade sculpted cotton, linen rag paper.