There's no doubt that there are already a lot of paper cut artists these days but once you go through Emma's work you'll be left awestruck and you'll know why she's different from the rest.
This Melbournite discovered her love for paper cut art accidentally during her art school days and since then has developed her technique by picking up tips and tricks from here and there. By all means Emma is a self-taught artist.
"In India, paper cutting is practiced by a small group of artisans whose families have been the custodians of the skills and knowledge for generations. Their practice is bedded in devotion to the Hindu god Krishna, so everything they do in their daily working becomes an act of devotion by default. In the same way, I began to find my own practice, involving many solitary hours of careful and painstaking cutting to be an embodiment of my devotion to the act of creating, and in particular, of creating something beautiful from the everyday," she share on her website.
Emma's intricate creations has taken paper cutting and pasting to an entirely new level, that too using nothing but paper and stencil blade.
Happy reading!
1. Hi Emma, please introduce yourself to our readers.
Hello readers! I am Emma, I am a paper cutting artist and I live in Melbourne, Australia.
2. How did you enter the world of art work? Did you study specifically for it?
Yes, I did an Honors degree in fine art (painting) at RMIT University in Melbourne before working in a variety of odd jobs and then stumbling upon the technique of paper cutting.
3. How did you get into the world of fine art paper cutting? In your statement you liken the tradition of the Hindu tribe towards paper cutting to "devotion"? Do you feel the same about it?
To be honest, I never knew there was a world of 'fine art paper cutting'. I was making miniature theater sets during a collage assignment at art school and cutting little elements out for those works. Paper cutting was about solving a problem in a way that my usual medium (painting) couldn't. I developed and honed my technique over time, picking up tips here and there but mainly teaching myself.
Over the years I have felt that there was an element of 'devotion' in my practice. I also think of it as a skill or a craft in a way that weaving, carving, illustration or stitching might be. It's a repetitive, exacting skill that takes years to really hone and master, but in and of itself it's quite a simple and uncomplicated thing to do: draw something out, pick up a knife, and cut it out! So I guess I've felt that there is a strong element of the devotional or meditative in it.
Although I'm a bit more reluctant these days to draw strong and perhaps insensitive parallels with craftspeople whose practices are steeped in an ancient religious practice, of which I really have no proper understanding.
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| Consumed |
4. What materials do you specifically use for your paper cut art? In addition to that what tools do you use?
I just use a normal cartridge paper, generally – it's about 180 gsm. Other than that, I use a stencil knife and a cutting mat, and I always have masking tape on hand for little slips that can be fixed.
5. How do you choose the subjects that you finally illustrate in the form of your intricately cut fine art cut paper? The subjects that you have done are so varied. One question here - is the foam core a supporting structure?
The foam core is a supporting structure.
I generally choose my subjects from the artworks which are attached to particular points in history which I am interested in. For example, I have worked for many years with early medieval illustrations because I am fascinated with that time – the emergence, from the feudal dark ages, of these beautiful, vivid drawings which tell exciting stories of saints and kings. My interest shifts gradually and I have little personal rules about what goes in. For example, I never use mythical animals. And I have no idea why.
My work sits in the 'fine art' world but I have a lot of interest from the design world, and I do a bit of commercial design and illustration work so having a website is vital. But word-of-mouth and relationships between my galleries and buyers is what makes art sales. That's the area where I find that having a web presence is of less value.
7. Paper cutting artwork must be a very laborious process. On average how long does it take you to finish each of your cut paper drawings?
It depends on the size and complexity. I am getting a little bit more efficient these days, and generally from start to finish, for a piece such as Ingenue, perhaps 2 weeks. I am working part time and I'm a parent, but if I am on a deadline I will do it.
11. What other artists do you look up to? If you could peek into the toolbox of one other artist and collaboratively work with him/her who would it be and why?
Locally, I have always looked up to artists such as Sangeeta Sandrasegar – she has such an amazing, research-based practice of which paper cutting is just one part. Kate Cotching was the first person I saw make paper cuts which showed me the potential of the medium. In America, Mia Pearlman makes incredible installations. There are loads of talented artists just in the area of paper cutting, I could go on and on.
I don't know what I would do about a collaboration, I think I would have to do something with a non-paper cutter, perhaps someone who used light or movement.
12. What are your future plans as an artist?
I have a solo show coming up at John Buckley Gallery in a few weeks, a residency at the Lock Up Cultural Space in Newcastle and a workshop for Unleash Creative.
Longer term, I want to do a big, bold installation, using shadow and light (I have some exhibition applications in the pipeline). I would like to develop my commercial practice a bit. And just keep exhibiting and exploring. I'm hoping to learn about how to make little animations and I want to get into projecting things. I think I'll always be based in paper cutting but I am getting itchy feet a little bit.
13. From the lessons you have learnt what advice would you like to pass on to the younger generation of aspiring and budding artists?
I guess to be persistent, to enjoy it and to work hard. I would also say I have definitely learned the hard way about the benefits of good communication (don't email angry), negotiation skills and assertiveness. Especially in today's climate, you're an artist and a businessperson as well. If you don't value what you do, you can't expect others to do likewise.
Thanks Emma for taking out the time and doing this interview with us. We'd like to wish you the very best for the future.
Stay tuned with E-junkie for more inspirational artistic stories.
I just use a normal cartridge paper, generally – it's about 180 gsm. Other than that, I use a stencil knife and a cutting mat, and I always have masking tape on hand for little slips that can be fixed.
5. How do you choose the subjects that you finally illustrate in the form of your intricately cut fine art cut paper? The subjects that you have done are so varied. One question here - is the foam core a supporting structure?
The foam core is a supporting structure.
I generally choose my subjects from the artworks which are attached to particular points in history which I am interested in. For example, I have worked for many years with early medieval illustrations because I am fascinated with that time – the emergence, from the feudal dark ages, of these beautiful, vivid drawings which tell exciting stories of saints and kings. My interest shifts gradually and I have little personal rules about what goes in. For example, I never use mythical animals. And I have no idea why.
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| Goyang Series III |
6. Apart from displaying at various galleries how do you promote your artwork? What is an ideal mixture of online and offline promotion? What are your views on word-of-mouth promotion?
The galleries promote my work, but also I exhibit in group, curated shows and I have a presence on the web. My website seems to be a good source for people and I have been interviewed on a number of blogs (such as the Design Files, a widely-read Australian design blog), as well as appearing on an ABC arts TV show, being in books and magazine articles.My work sits in the 'fine art' world but I have a lot of interest from the design world, and I do a bit of commercial design and illustration work so having a website is vital. But word-of-mouth and relationships between my galleries and buyers is what makes art sales. That's the area where I find that having a web presence is of less value.
7. Paper cutting artwork must be a very laborious process. On average how long does it take you to finish each of your cut paper drawings?
It depends on the size and complexity. I am getting a little bit more efficient these days, and generally from start to finish, for a piece such as Ingenue, perhaps 2 weeks. I am working part time and I'm a parent, but if I am on a deadline I will do it.
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| Ingenue |
8. I find your "Amoris Labor" series very intriguing. Tell us something about it.
Amoris Labor about the great sea explorations which brought the Europeans into the 'New World' and considers some of the implications of those first encounters. But it's called Amoris Labor (Latin for 'labor of love') because it was such a difficult exhibition to produce. I had just had my son, my extended family suffered several bereavements, and I somehow got this show together in my baby son's nap times. It was difficult but it gave me something to focus on and it really did feel like a 'labor of love'. |
| Come By Chance |
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| Cumuliform |
9. You must have received a lot of compliments for your work. What are some of the biggest compliments that you have received for your work and which do you cherish the most?
I have received some lovely and generous compliments. I received a big compliment when a prominent Australian collector and philanthropist came to the opening of my first solo show at John Buckley Gallery and congratulated me on my work. |
| Theodora |
10. When you are not working on your art form, how do you tend to spend your spare time? What do you find most revitalizing?
I have a little boy who is almost 2, so my husband and I spend a lot of time with him. He is very interested in drawing at the moment. He also loves Duplo, gardening and going to the beach so we do a lot of that. Otherwise, I go running, read books and newspapers, cook (and eat) and watch the occasional TV show (I just finished season 3 of Game of Thrones, which has reignited my love of medieval history).11. What other artists do you look up to? If you could peek into the toolbox of one other artist and collaboratively work with him/her who would it be and why?
Locally, I have always looked up to artists such as Sangeeta Sandrasegar – she has such an amazing, research-based practice of which paper cutting is just one part. Kate Cotching was the first person I saw make paper cuts which showed me the potential of the medium. In America, Mia Pearlman makes incredible installations. There are loads of talented artists just in the area of paper cutting, I could go on and on.
I don't know what I would do about a collaboration, I think I would have to do something with a non-paper cutter, perhaps someone who used light or movement.
12. What are your future plans as an artist?
I have a solo show coming up at John Buckley Gallery in a few weeks, a residency at the Lock Up Cultural Space in Newcastle and a workshop for Unleash Creative.
Longer term, I want to do a big, bold installation, using shadow and light (I have some exhibition applications in the pipeline). I would like to develop my commercial practice a bit. And just keep exhibiting and exploring. I'm hoping to learn about how to make little animations and I want to get into projecting things. I think I'll always be based in paper cutting but I am getting itchy feet a little bit.
13. From the lessons you have learnt what advice would you like to pass on to the younger generation of aspiring and budding artists?
I guess to be persistent, to enjoy it and to work hard. I would also say I have definitely learned the hard way about the benefits of good communication (don't email angry), negotiation skills and assertiveness. Especially in today's climate, you're an artist and a businessperson as well. If you don't value what you do, you can't expect others to do likewise.
Thanks Emma for taking out the time and doing this interview with us. We'd like to wish you the very best for the future.
Stay tuned with E-junkie for more inspirational artistic stories.
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