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I have been working with Japanese paper since the 1990s. This handmade paper - manufactured in small family businesses - has its own peculiarities. It is flexible, stubborn, vulnerable, strong and perishable.
This ‘white’ paper is pure and modest in its presence, without meaning to be.
I use three approaches in dealing with this paper.
1. Folding.
2 Cutting very narrow strips and then turning them.
3. Puncturing holes to allow light to pass through.
It fascinates me how you can make something, which is almost not there, visible anyway. Through rhythm and repetition. It is exciting to push the limit. No matter how small, an image always emerges.
Light - sunlight makes an important contribution. It creates shadow and fills the spaces.
It can be hard or soft, but is always present. Light is given free rein.
I draw with Indian ink. Like the works on paper, they are all about rhythm and repetition.
However black they seem, there are always points of light shining through. In almost nothingness, an image emerges.
The work is not protected by glass, and so is allowed to be as it is meant to be. Here, time passes slowly. Bit by bit, not actually observable. A new kind of tension emerges, in letting go and accepting this time.
The small gesture, few words.
The almost nothingness, the stillness, concentration in rhythm and repetition.
The result
Time glides over it
Nothing is for eternity.
Atie Pruijssers, April 2025
This ‘white’ paper is pure and modest in its presence, without meaning to be.
I use three approaches in dealing with this paper.
1. Folding.
2 Cutting very narrow strips and then turning them.
3. Puncturing holes to allow light to pass through.
It fascinates me how you can make something, which is almost not there, visible anyway. Through rhythm and repetition. It is exciting to push the limit. No matter how small, an image always emerges.
Light - sunlight makes an important contribution. It creates shadow and fills the spaces.
It can be hard or soft, but is always present. Light is given free rein.
I draw with Indian ink. Like the works on paper, they are all about rhythm and repetition.
However black they seem, there are always points of light shining through. In almost nothingness, an image emerges.
The work is not protected by glass, and so is allowed to be as it is meant to be. Here, time passes slowly. Bit by bit, not actually observable. A new kind of tension emerges, in letting go and accepting this time.
The small gesture, few words.
The almost nothingness, the stillness, concentration in rhythm and repetition.
The result
Time glides over it
Nothing is for eternity.
Atie Pruijssers, April 2025
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