Introduction

Below is a brief visual guide of foraging, ink extraction, printmaking, and paper making. I developed my art practice with help from my peers, mentor, and the generous artist community.

Foraging

I gather materials from crown/federal lands or private properties following protocols, ranging from British Columbia coast to Newfoundland bogs. I use plants that are indigenous or endemic to the land, following the seasonal growth of each flora. I always do my research in historical and cultural significance of the plant material to the land. This is to acknowledge the indigenous knowledge keepers and respect the native people in their territories.

Ink Extraction

During my mentorship under a Zapotecan master weaver from Teotitlan del Valle (Oaxaca, Mexico), I learned the process of dye extraction from natural ingredients. Extracted colours are extremely sensitive to factors such as the ingredient’s PH level and the material of the cooking vat.

Handmade paper is particularly fragile surface compare to wool textiles. Borrowing from Japanese ink making techniques, I thicken my inks with nori, rice starch, and potash alum to create an ink suitable for printmaking. It is critical to keep a detailed record of my process and findings in creating ink suitable for printmaking that retains bold hues.

Printmaking

I use black Chinese ink stick (水墨) and traditional paint brush (工筆) to draw each layer then printing one colour at a time. The idea is to treat silkscreen (an industrialized printmaking method) with the pace of painting. Different paper has resulted in different colour saturations and textures. I am continuing to research and develop my findings. Currently I am also testing my ink paste on Japanese woodblock printmaking “mokuhanga” (木版画) and monotype printmaking.

Papermaking

Currently I make my own paper from abaca, cotton, and hemp, but I am experimenting with paper made of other materials such as black cottonwood and Taiwanese mulberry, blending with more traditional pulp bases. My key challenge is creating paper that is sufficiently durable and absorbent to hold up to the water-based ink during the silkscreen process.

I was selected as an art ambassador for BC Culture Days 2020, and I was able to have my dear friend Brigitte Potter-Mael to be my mentor. We both were able to receive grants money and support from the program. The Culture Days team put together a video about us below: