November 7, 2008 – December 20, 2008

I began my career as a graphic designer and then found that my interests in hand-papermaking, fiber and weaving were taking me in an entirely new direction. I now spend my studio time making paper and creating woven paper tapestries, handmade paper screens and wall hangings.

I use a traditional method of papermaking, working with a western –style mould and deckle. Using a wide variety of fiber for pulp, natural plan dyes and botanical inclusions, my paper varies from rich in texture and color to smooth and translucent.

My love for the Silk Road cultures has influenced not only the appearance of my work but also the manner in which it is created. I believe every part of nature is precious so nothing should be wasted. I respect the process as well as the result.

Even though many of my pieces represent specific places or events, I believe that art is individual and private. I don’t expect others to have the visual experience I had in creating them, but rather one of their own. Thus, artist and viewer share in the artistic experience. -- Georgie Cunningham

Georgie Cunningham makes and weaves paper in her studio in the Texas Hill Country, signing her works only on the back so her signature does not detract from the viewer’s artistic experience.

These drawings on paper consist of mechanically drawn graphite marks of various lengths spaced at various distances apart in a systemic, rhythmical, mathematical progression. In each case, a particular system is established for part of the drawing, and a different system is established for succeeding parts. For example, a system may be one in which the lines are a particular length, or have gaps of a certain length, or occur within the work a certain number of times. In the drawings in which the lines are closely spaced, the remaining paper white can read as a form more readily than the drawn lines, reversing the usual reading of the paper white as background or negative space. Therefore, even though the work consists entirely of horizontal lines, the work as a whole is a combination of various types of line and spacing to create a disjointed, dis-unified series of systems, denying a holistic reading of the work.

In these drawings, a ruler and mechanical pencil are used to eliminate as much as possible irregularities of the hand-made gesture. The work tests the limits of what a hand-made object can be and how it appears to the viewer. In the drawings, the viewer can, upon close examination, discern depressions in the paper caused by the pressure of the mechanical pencil while making a line, a line which is built up of numerous layers of graphite rather than a single, one-layered continuous line lying on the surface of the paper that would be the result in printmaking, for example.

The work is self-referential, concerned only with its own set of proportions and relationships, both internal as part-to-part relationships, and externally between itself and the surrounding space. It is concerned with the absolute, yet the absolute is contingent upon the perception of the viewer. It is disinterested; it exists for itself and not as a vehicle for representation or expression. The contrast of opposites and their seeming irreconcilability and resulting ambiguity are key aspects of the work. – Lane Banks