Ann Marie Kennedy
United States
Working out of my papermaking studio in Raleigh, North Carolina, USA, I create artwork from paper pulp; including editioned works, installations and one-of-a-kind pieces. I also make speciality paper for artists and collaborate with artists on the papermaking process. I'm a full-time faculty member in Printmaking and Drawing at a community college and also teach intensive workshops at art centers (for examples see: (Linea Paper: https://linea-paper.square.site/workshops)I am a former resident artist at Penland School of Crafts, NC and Headlands Center for the Arts, CA and have been an instructor, intern and artist/resident at Women's Studio Workshop, NY.
The process of hand papermaking allows me to contain both materials and thoughts/ideas within a sheet of paper. When creating these works, I arrange materials like plants, table linens, dresses or shredded cloth in a slurry of wet pulp in a deckle box These are overlaid with plant materials or pulp painting to provide a more stable or familiar pattern. As I lift the papermaking mould out of the water, the materials float around in the pulp and rearrange themselves, often creating a sense of organic movement and disrupting the sense of order I am trying to impose. The imbedded materials often look as though their motion has been arrested, the layers visible in the translucent sheet of paper (overbeaten flax, abaca or hemp). These works refer to a particular moment in time, but also to the nature of memory itself, the way we revise and repattern it while contributing to its' illusion of stability.
Website/Portfolio: http://annmariekennedy.net/home.html
The process of hand papermaking allows me to contain both materials and thoughts/ideas within a sheet of paper. When creating these works, I arrange materials like plants, table linens, dresses or shredded cloth in a slurry of wet pulp in a deckle box These are overlaid with plant materials or pulp painting to provide a more stable or familiar pattern. As I lift the papermaking mould out of the water, the materials float around in the pulp and rearrange themselves, often creating a sense of organic movement and disrupting the sense of order I am trying to impose. The imbedded materials often look as though their motion has been arrested, the layers visible in the translucent sheet of paper (overbeaten flax, abaca or hemp). These works refer to a particular moment in time, but also to the nature of memory itself, the way we revise and repattern it while contributing to its' illusion of stability.
Website/Portfolio: http://annmariekennedy.net/home.html
