Category Archives: Paper exhibition

Bianca Severijns, paper art, paper artist, paper,

Paper Art – Bianca Severijns – Displacement Series

Paper art – Bianca Severijns – Displacement Series

Dear friends, blogging this time about my own paper art!

Over the past year my paper art has focused on abstracting the essences of Earth skins like: Leaves Gathering & Grasslands. I am especially intrigued by the cycle point at which there is total bareness, vulnerability, decay, and disintegration; the feeling of being transient in the world, of having only a temporary presence. As source of inspiration for my paper art I am photographing nature in states of total bareness and decay.

paper art, paper artist, Bianca Severijns, Earth Skins
Grasslands & Leaves Gathering form the Earth Skins Series

My recent works in the “Displacement” series I continue to explore stages of nature and intertwine them with the human conditions like being uprooted, nesting, enmeshment and revival.

Bianca Severijns, paper artist, paper art, paper
Nesting 2 – Displacement Series

As a Dutch-Israeli artist I have uprooted myself. Uprooting is painful. It makes people very vulnerable. But uprooting is also optimistic, an opportunity for growth. Whether used as a metaphor for emigration or to describe the botanical action – uprooting is a multi-layered cyclical sequence of destruction and regeneration which I seek to investigate, blend, and reflect in my art.

Bianca Severijns, paper art, paper artist,  uprooted
Uprooted – Displacement Series

The artwork “Uprooted” I created in my beloved paper medium, using hand-torn pieces, multi layering techniques and weaving. My hand-tearing technique functions as a metaphor of being torn away from all ties and belongings. The color is monochromatic white for as white is free of any symbol, association or values – much the same as the uprooted feeling of no longer belonging to one’s native cultural and emotional soil. The layered texture and monochromatic color scheme aim to capture global, regional, local, familial and personal dimensions of uprooting on the one hand while on the other hand forming a unified holistic and humanistic theme.

Amazingly and quite artistically, the force of environmental-nature and of human-nature has the capacity to rise from this low point into a phase of renewal, bloom, and liberation.

For me as a natural follow up of uprooting is the stage of nesting. Sharing with you my latest artworks dealing with nesting while I continue to explore this intriguing theme in my paper art.

Bianca Severijns, paper art, paper artist, nesting
Nesting 1 – Displacement Series

Bianca Severijns inspiration photos of nature

Bianca Severijns inspiration photos of nature

Jane Ponsford blog

Paper artist Jane Ponsford

Paper Artworks by Paper Artist Jane Ponsford

In my quest for interesting paper artists, I tend to drown in an ocean of paper-craft artists on Instagram. So you can imagine how pleasantly excited I got after finding this jewel of a paper artist: Jane Ponsford. I feel much emotion for Jane’s artworks, as they are deliberately textural and analogue by nature.

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Jane Ponsford blog 4

Jane Ponsford is a London- based artist and papermaker. She exhibits all over the UK and often teaches within an outer landscape or in galleries and museums. She works using repetitive processes, constructing sculptural forms made up of hundreds of near identical fragments to make bookworks, sculpture and installations.

Although in the past she has used a variety of materials, recently she has mainly concentrated on working with handmade paper, which she makes herself.
“I enjoy using this material because it brings together surface and form. It is evocative, reminiscent of documentation and archives. Staining and tearing easily, it can be seen as the receptive surface for forensic investigation or a blank form to catch light or shadow. Much of my work outside involves papermaking. I love the contradictory nature of working with a fragile, ephemeral material in difficult, dirty surroundings at the mercy of the weather”.

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In 2007, Ponsford was awarded an Arts Council grant for a 12-month papermaking project named Papertrails. This project was inspired by the natural environment and and included a series of papermaking workshops and sculpturing outdoors.In 2015, she has taken part in Select Showcase, Cheltenham and CHALK, Winchester UK. Recently, Ponsford began experimenting with twisting and dyeing Lokta paper to make thread, which she weaves in order to create sheets of paper for her next art project.
I strongly recommend following paper artist Jane Ponsford and her work process on her Instagram page. It’s worth checking out!

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Lauren Collin - blog Paperartview 5b

Paper Bas-Reliefs by Paper Sculptor Lauren Collin

Paper Bas-Reliefs by Paper Sculptor Lauren Collin

It’s incredible to see how the paper bas-reliefs by paper sculptor Lauren Collin (27 years) contain the finesse and refinement of Japanese precision. Despite her admiration for “origamiques”, referring to the minimalist Japanese culture, there is nothing Japanese about this French Paris-based artist.

Lauren Collin - blog Paperartview 1b

After her art studies and after earning a diploma in interior architecture at the Penninghen in 2011, Collin started working for design firm Gilles & Boissier. Here she discovered her love for paper in the art of model-making for her interior architectural projects, which were always executed in white.

Lauren Collin - blog Paperartview 3b

After three years at the design firm, Collin decided to become a full time artist and paper became her major mode of expression. “I wanted an evolution to design on paper in volumes” she says. Under the influence of her graphic designer mother (creativity) and dental surgeon father (precision), she began to cut paper forms with one of her father’s scalpels, achieving precise and flowing circular movements.

Lauren Collin - blog Paperartview 4b

Lauren Collin does not make use of preparatory sketches. Her inspiration comes from photos or images of nature and plants, but the various surfaces and the roughness of the grain of paper can also determine the way she works. While Collin is on the lookout for simplicity, refinement and harmony, according to her the emphasis is on the effect that light has on her sculpted paper. It’s the light that provides a notion of movement, resembling a mix of transparency and shadow. That’s why Collin mostly works in the mornings, sitting next to the window experimenting with the play of light on her beautiful bas-reliefs.

Lauren Collin - blog Paperartview 2b

A big thanks to Jean-Jacques Dutko’s gallery, which is showing all Paper Bas-Reliefs by Paper Sculptor Lauren Collin, in her first solo exhibition until May 16th on Rue Bonaparte, Paris. If you’re in the area – it’s a definite must see!


Jan Schoonhoven – Monochrome Paper reliefs by “PaperArtView”

Monochrome Paper Reliefs – Jan Schoonhoven

I just couldn’t resist to pay homage to Jan Schoonhoven (1914 – 1994), and not because there is a beautiful exhibition of his work in Delft, The Netherlands or because he mainly worked with paper (cardboard and papier-mâché). It is for the simple reason that I utterly adore his bare, minimalistic, timelessness, abstract reliefs!



Schoonhoven is considered one of the most active and influential Dutch minimal artist of the late twentieth century. He is recognized for his usage of monochrome white color and serialized abstract reliefs. Born in Delft and being very much a local guy, Schoonhoven worked most of his life as a postal clerk and enjoyed the position’s daily structure. He was only able to create art during the late hours of the day and on weekends.
In 1960, Schoonhoven co-founded the avant-garde Nul-Group, the Dutch branch of the international Zero Movement, and befriended other European Zero-Group artists (like Piero Manzoni and Lucio Fontana) that sought to reduce art to a zero degree by simplifying compositions and using everyday materials. Schoonhoven’s turning point came in 1962, when he participated in and curated a Zero-Group exhibition at Amsterdam’s Stedelijk Musuem. In 1967, upon winning the second prize at the Sao Paulo Art Biennial, Schoonhoven gained international recognition and fame.


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Most of Schoonhoven’s reliefs are cardboard line sculpts in repetitive forms and strict schemes, free of any subject matter or highlights, with meaningless titles like “R71-36”. His works don’t convey emotions or political ideas, but rather attempt to reveal the beauty of the modern world without further analysis. Though Schoonhoven himself never said much about his own work, his everyday surroundings, such as the Delft pavements, rooftop tiles, stones and Dutch windows, were reflected in his art. At a closer glance, his reliefs miraculously change under different light conditions and you find that some of them are compiled from hundreds of hand-stacked labor pieces. In art circles, Schoonhoven is known as one of the most advanced artists of his generation and a great influence to fellow abstract artists of the late 60’s and 70’s.



For my Dutch paper art-lovers, if you wish to see an overview of Jan Schoonhoven’s artworks including his sketchbooks, drawings and reliefs, there is a highly recommended exhibition until the 14th of February 2016, at the Museum Prinsenhof in Delft, The Netherlands. Enjoy!


Bianca Severijns detial 1 embriodery in paper art

Embroidery in Paper Art by PaperArtView

Embroidery in Paper Art

In recent years, there has been a movement towards handcraft in the art and design world. We harbor a desire to reacquaint ourselves with workmanship and traditional labor intensive techniques. As a result, a new generation of artists is using hand stitch embroidery techniques to create entire artworks, some combining it with different mediums.

Nicholas Hlobo PaperArtView detail 1
Nicholas Hlobo Embroidery in Paper Art detail

Stitching can be a form of criticism against the instant gratification of our fast moving world. It can also be viewed as a metaphor for social cohesion and togetherness. Or it can simply be used for its intimate character. As an artist, I am happy with the revival of embroidery and the beauty of the rawness of the stitch.

Nicholas Hlobo PaperArtView detail 2
Nicholas Hlobo Embroidery in Paper Art detail

That is why it was pure joy to encounter South African artist Nicholas Hlobo at the Tate Modern. While looking at his works, I experienced a sense of excitement and enlightenment, for Hlobo plays with the contrast of femininity and masculinity in both his sculptures and paper artworks. Hlobo uses stitching and weaving, which are traditionally undertaken by women in South Africa, on masculine materials such as rubber car tires or sharp cut paper. In his works, he attempts to create conversations with the viewer that explore complex social issues of gender, race and ethnicity.

Nicholas Hlobo PaperArtView detail 3
Nicholas Hlobo Embroidery in Paper Art detail

Nicholas Hlobo PaperArtView detail 4
Nicholas Hlobo Embroidery in Paper Art detail “Macaleni Iintozomlambo”

The “baseball” stitch is a repetitive signature in many of Hlobo’s artworks and sculptures. It is both powerful and decorative. His stitching technique and 3D use of paper in his tactile, intricate artwork titled “Macaleni Iintozomlambo” is truly a source of inspiration for me!

Bianca Severijns embroidery on paer art detail 1
Bianca Severijns Embroidery in Paper Art detail

For me, paper is still the medium I am most happy to express myself. The manual and handcrafted execution in my paper art is essential to my work. The labor intensive requirement to shred and tear different forms of paper comes close to the hand labor of stitching and embroidery. That is why for me it felt natural to start experimenting with stitching on paper.

Bianca Severijns Embroidery in
Bianca Severijns Embroidery in Paper Art detail

In my two most recent paper artworks, I have implemented hand stitching directly to the canvas or on the shredded pieces of paper. New insights have arisen by exploring and combining stitching. The visual poetry of my new works are emphasized by the way my work is layered. There is something interesting to discover from far away as well as from up close. It is so exciting to keep on exploring embroidery in paper art!

Tobias Puthrih 4 PaperArtView

Paper artworks of Tobias Putrih and Abraham Cruzvillages

Paper artworks of Tobias Putrih and Abraham Cruzvillages in the Centre Pompidou

Truth be told, I immensely enjoyed my visit to the Centre Pompidou in Paris not so long ago. I happily washed my eyes with awesome brutalist post-modern architecture, a rich variety of Contemporary Art and the grand retrospective exhibition of French artist Martial Raysse. Yet only when I discovered that the museum had selected works of paper art, did my heart truly began to race!

Martial Raysse PaperArtView

works of Martial Raysse

The exciting installation of Abraham Cruzvillegas included 175 pieces of found paper items: newspaper clippings, postcards, tickets, vouchers, posters, flyers, envelopes, letters, napkins, recipes and photographs he collected from around the world. These were layered in thick monochrome white acrylic paint and pinned on the museum wall as a visual poem.

Abraham Cruzvillegas 1 PaperArtView

Abraham Cruzvillegas  2 PaperArtView

Paper artwork of Abraham Cruzvillegas

Cruzvillages, a key artist within the Mexican contemporary art scene and best known for his artwork “Autoconstruccion”, uses found materials to explore specific local areas within a social and economic context. This particular work is part of his “Blind Self Portrait” series. The series involves a paradox: how to represent oneself without revealing oneself. It is a rethinking of the very nature of a self-portrait – how it hides more than it unveils.

Tobias Putrih 1 PaperArtView

The other paper artworks belonged to the young New-York based Slovenian artist Tobias Putrih, a graduate of the “Kunstacademie” Dusseldorf, Germany. Putrih is known for his work with everyday materials, creating fragile structures from small modular works to giant installations. The Centre Pompidou displayed a series of artworks entitled “Times” (in reference to the so-called newspaper, as each work contains the date of each issue). Putrih used his old newspapers and converts them into art pieces. The papers, or the letters and images of the paper medium, are consequently transformed into unstructured forms, freed from “meaning”.

Tobias Putrih 2 PaperArtView

Tobias Putrih 3 PaperArtView

Paper artworks “Times” by Tobias Putrh

What excites me most in both artists’ works is the process of how they used paper items (old newspapers, letters, posters, etc.), which are common paper objects and a representation of our reality, and then transformed them into artistic creations, giving the paper a new identity, life, and pulse.

photo courtesy: PaperArtView

Noa Yekutieli by PaperArtView

Noa Yekutieli – Paper Cutouts

Noa Yekutieli uses delicate paper cutouts for her artworks that depict images of destruction, fragments of memory after natural disasters and moments of coping and compassion in the wake of catastrophes. With great excitement sharing with you the following interview with this talented young artist.

Could you please give a short introduction on yourself?
I was born in California in 1989 and moved to Israel as a young child. I live and work in Tel-Aviv. For the past few years I have been conducting an autodidactic research of paper-cutting technique focusing on 2-dimensional pieces in black and white, as well as site-specific installations, which often include readymade objects and a combination of the ready-mades and my paper cut works.

Noa Yekutieli  by PaperArtView

What are you seeking to portray in your artworks, what’s fundamental to your process and philosophy?
I explore the fickle nature of memory through natural disasters which erase an entire physical reality, leaving only memories that gradually blur and dissolve to make room for a newly evolving reality. The disaster, however, is not the subject of my work, but only the frame story whereby I observe the resulting void, the locus whose absence we feel and strive to fill, the place which we miss. The ruined house, which metaphorizes the concept of the empty space, is not only a physical place, but also an emotional one, which carries an entire world of memories and experiences with it, a place whose disappearance elicits the need to reconstruct it completely. I arrived at the all-so-sensitive and volatile subject of natural disasters because there is something about such an extreme event that leads to a concise process of memory construction.

We can’t ever see the whole picture with clarity. Unintentionally, we omit many moments that occurred and are unable to experience the moment and know what preceded it. The memory eliminates almost everything that happens and I believe we need to accept the missing and void. If we had to carry the entire baggage of personal, familial, social, and political memory of our history, we would not have had room to absorb our experiences and develop a subjective point of view on what happens to us. We endeavor to fill the gaps so we do not feel the void, but these gaps form a significant part of our lives. They are present all around us, both physically and mentally, and I believe we must always leave room for that which is absent, that which is missing, and accept it because this is what allows movement and change.

Noa Yekutieli by PaperArtView

How come paper became your premium medium for your art creations? And what inspires you?
What drew me to the manual paper-cutting technique in the first place is that it was, and still is, like an ongoing research of a very basic thing that creates different “colors”, shades and emotions, like different brushes from only a piece of paper and knife.I initially draw, and then start working with the material in a long process, during which I change too, pieces are slowly cut out of the paper, a texture is created, and a story reveals itself to me.

I think that there’s something very basic in the black and white contrast of the positive material of the black paper and the negative space of what is cut out, I think that life can be described in a very simple level or way although we never really experience it in that way. Mostly we exist in the in-between, in the vague area of a lot of misunderstood moments, mostly the unspoken ones.

Also there is a big matter of ‘time’ and temporariness in this technique, the moment I cut out a piece of paper there is no going back, just like in the daily day life – moments pass and we can never change it or really “glue” it back, there will always be scars.Unlike other art techniques where you usually add material like in drawing, painting and sculpture, in paper cutting it is a process of subtraction, my starting point is a whole paper and slowly I cut out and create holes in the paper, the void, the missing, creates the image and the memories.What I find inspiring is mostly the in-between of things, the gap, the negative space, the void between things both in a physical aspect and an also in the abstract, metaphorical aspect.

Readymade objects are also a big part in my work, where I see them as a very big inspiration point. I think that objects contain memories in the most authentic way so obviously I can’t not involve them in my work, while talking about memories. Sometimes I also combine between the two, and create paper-cut pieces in the readymade objects.

Noa Yekutieli by PaperArtView

Noa Yekutieli by PaperArtView

Could you reveal some of the things that go into creating your paper cuts?
I think that in paper-cutting I take in consideration the void, I observe things in a much wider way. I feel that we cannot look and observe specific things only, but we also need to take in consideration all the negative space, the ‘missing’, the void that is around the ‘object’. The unspoken, unheard and unseen as well – all these lead to an instant continuation to the next ‘object’, thing, and moment and to the next moment. The ongoing dialogue between things, everything. The connecting point and the ‘common’ is the void.When I see things this way I find meaning in the process even more then the final object or piece.

People always ask me how long it takes me to make a piece and it always feels so irrelevant because things take time, sometimes less and sometimes more. It’s like asking how long did it take you to think of an idea, to understand something or write a beautiful sentence, the time it took could be a second or more, but where it came from and its process is much longer, larger and interesting.

This is what brought me to work mostly on installations. I find that installation allows reference to the void and the space. I like the connection with the space, with its movement, the need to relate to the limitations of the space and make them an anchor in the work. Moreover, the work in space leaves physical, three-dimensional room for the void too. By imposing limitations on one’s movement in the space, the viewer is forced to heed the nonexistent as well as the existent.I love that in installations I have the ability to create a whole reality for the viewer vs. leaving them in the position of observing ‘others’.

Any upcoming interesting exhibitions, events, new projects you love to share with us?
These days my recent solo exhibition ‘Through the Fog, The Distance’ is shown at the Wilfrid Museum (that is located in Kibutz Ha’zore in Israel). The exhibition will be running until July 2014 so you are more them welcome to visit!

Other than that I have exhibitions planed both in Israel and abroad for the next year, but my next project is definitely my artist book that I will be launching in Tel-Aviv probably in September. I am really excited about it and looking forward to go back to the studio.

To receive updates regarding the book, other projects and exhibitions you are welcome to sign up to the newsletter through my website at:

The credit of most images go to: Barak Brinker
The credit for ‘Home as a Brittle Surface goes to: Leonid Padrul, © Eretz Israel Museum, Tel Aviv

Etamar Beglikter - PaperArtView blog

Etamar Beglikter’s Paper Artworks

Tel-Aviv based multi-disciplinary artist Etamar Beglikter has me both intrigued and perplexed. It is the cultural, social and ecological layers that are portrayed in his artworks that have me asking so many questions.

Beglikter uses a range of multi-mediums like clay, plaster, tar and iron to create his art. I am particularly drawn to his paper art pieces, such as “44 Butterflies”, “Tribute to Menashe Kadishman” and his series “Cartoon Encyclopedia”.

Etamar Beglikter - PaperArtView Bianca Severijns

During his art studies (2003 to 2010), this Master Degree graduate of the Bezalel Academy of Arts and Design started using paper and transforming it into art objects for the first time. He took volumes of the Israeli Encyclopedia Hebraica, whose publication was one of the most significant cultural projects undertaken during the first years of Israeli statehood, and created “Garbage Pail” and “Broom” (In Hebrew “Matata” deliberately spelled wrong). These artworks were emotionally shocking to viewers and difficult to accept, as encyclopedias were considered “sacred” books of knowledge and wisdom. Beglikter admits that the impact of those artworks in 2007 has since softened considerably, due to the ushering of the Google and Wikipedia information era.

Part of Beglikter’s art influence comes from the theories of Dr. Baruch Blich, a lecturer at Bezalel who discusses themes such as visual languages, high culture vs marginal culture and mass media. Within his series “Cartoon Encyclopedia”, Beglikter manually cuts out Encyclopedias into icons of comic figures such as Mickey Mouse and Popeye. These artworks toy with the communication of high culture (intellectuals, elite thinkers) versus the phenomena of icon communication: a visual language that oddly enough is understood globally without the aid of the written word.

Etamar Beglikter - Paper ArtView by Bianca Severijns

“Tribute to Menashe Kadishman” is an impressive installation composed of hundreds of cut out faces, which are also composed of encyclopedia volumes based on the artwork of Kadishman’s “Shalekhet or Fallen Leaves”, which is part of the permanent exhibition at the Jewish Museum in Berlin. With this installation, Beglikter not only wants to honor one of Israeli’s first and finest art masters, but also wishes to connect old Israeli art culture with the new.

Etamar Beglikter - PaperArtview by Bianca Severijns

Etamar Beglikter - PaperArtView by Bianca Severijns

After our conversation, Beglikter leaves me with a humble and modest impression. The truth is that this young contemporary artist is highly appreciated in his homeland. Recently the Knesset (Israeli Government building) and Yad Vashem (center and museum of Holocaust History) both bought his works. Etamar Beglikter’s paper art objects are currently displayed in two museums: Paper Biennale Tel-Aviv at the Eretz Israel Museum until March 2014 and the Janco DaDa Museum in Ein Hod. Now that is nothing to be modest about! I’m pretty excited to follow all upcoming projects of this amazing artist.

Etamar Beglikter - PaperArtView by Bianca Severijns

Image courtesy of Etamar Beglikter’s paper artworks: Leonid Padrul, © Eretz Israel Museum, Tel Aviv

Zarina Hashmi by PaperArtView

Zarina Hashmi Paper Artist – PaperArtView

I feel true admiration for the 76 year old Indian-born New York based paper artist Zarina Hashmi, who prefers to be referred to simply by her first name. Paper has been Zarina’s primary medium both as a surface to print or draw on as well as a material to sewn, sculpture, cast or perforate. This striking graceful lady had a turbulent life in which she created amazing paper works and still does!

Zarina Hashmi by PaperArtView
right “Shadow House I”, 2006 cut Nepalese paper

Despite her nearly 50-year career as an artist, Zarina only had wide visibility the last recent years. In 2011 she was one of the five artists representing India in its’ first-ever entry at the Venice Biennale. In 2012 the Hammer Museum, Los Angeles, presented “Zarina: paper like skin”, featuring 60 works dating from 1961 to the present. Many of these works were publicly shown for the first time. The exhibition travelled to the Guggenheim Museum, New York to finish in the Art Institute of Chicago 2013.

Zarina Hashmi by PaperArtView
Paper pulp cast

Her lifelong love for paper started when in 1959 Zarina had to live her life abroad caused by the political tension between Pakistan and India. She relocated herself in various major cities from Bangkok, Bonn, Paris, and Tokyo, to end up in New York. Paper became her transportable medium, readily available, wherever her travels took her. She learned various printmaking – and papermaking techniques unique to each country, and incorporate them into her art pieces.

Though never attended any art school, Zarina confesses that not being a product of art school gave her tremendous freedom: being able to break rules and push the boundaries in both paper – and printmaking.

Zarina’s early works deal with the reoccurring theme “home”. The poetic titles for her art series like “ Home Is a Foreign Place”, “House with Four Walls” or “ Shadow House I” suggesting a sense of longing to her childhood home. In the series of art works “Letters from Home” 2004, Zarina used woodblock prints and metal cut prints in which she layers different papers and weaves Urdu calligraphy texts using elements of houses and roadmaps to symbolize the layers of life lived in different cultures and countries.

Zarina Hashmi by PaperArtView
“Letters from Home”, 2004

Zarina Hashmi by PaperArtView

Zarina - PaperartView by Bianca Severijns
“Blinding Lights”, 2010

Zarina’s most recent works are a journey into herself and reveal a new found spirituality, like “Blinding Lights” 2010, in which the artist used strips of 22 karat golden leafs and created a collage of small squares. Though her works are very abstract, using strong linear elements and straight lines I feel strongly connected to it because of its minimalism and profound use of paper!

Zarina Hashmi by PaperArtView

Zarina Hashmi paper artist

NNathalie Boutte - paperartview

Nathalie Boutté’s Paper Art – Paper Art View

The thriving world of paper art and all the rich and diverse creative art works that paper artists create across the globe are truly exciting and amaze me daily! As a paper artist, I feel connected with those who use paper as their premium medium and work intensely with this material in an obsessive and devoted fashion. Nathalie Boutté is definitely an artist with this kind of devotion to paper, for her art pieces are created by hundreds and thousands of paper cut strips.

Nathalie Boutte - PaperArtView

Nathalie Boutté is a talented, self taught, French based artist that has been playing with paper from origami, pop-ups till kirigami since childhood. There is no day that goes by without her handling paper. In order to create her exquisite paper art pieces, Boutté begins by densely layering long narrow strips of paper into a feather-like texture.

Nathalie Boutte - PaperArtView

The exposed tips of each strip acts as pixels, forming the larger image. From up close it may be difficult to depict her design, but once stepping backwards you are amazed by the incredible image it reveals.

Nathalie Boutte - PaperArtView

Her choice of paper varies from recycled paper, book pages, gold sheets and translucent tracing paper, sometimes worked on with Indian ink. Boutté’s subject matters are mostly people and portraits (African). During the past year, many of her art pieces have featured white, grey and black shades, while some of her former works were adorned with colors. When I look at her work, I get this incredible urge to stroke and pet them, probably as a result of the soft and fragile feel they eradiate.

Nathalie Boutté’s paper art will be displayed in two upcoming (paper)group exhibitions in France and Switzerland, at the beginning of the New Year:

“Le papier dans tous ses états” in Galerie “A l’Ecu de France at Viroflay, France, running from January 9th to February 9th 2014

And Artgenève, Salon international d’art, Palexpo Switzerland, from January 30th to February 2nd 2014.

If you are living nearby, you are a lucky person to be able to attend these exhibitions! Envy you!