Calvin Nicholls, Artist

Artist Website

https://calvinnicholls.com/portfolio/

 

Rogan Brown, Artist

See full image  and more on link below. 

https://mymodernmet.com/paper-sculpture-rogan-brown-interview/

 Also, artist's instagram

https://www.instagram.com/rogan_brown_/

AYUMI SHIBATA, Artist

More to see on artist's website:

https://www.ayumishibata.com/blank-11

Dana Shek, Artist

Source Link:

https://urbanimpressions.hk/art/paper-cut-art/

Pippa Dyrlaga, Artist

Artist Website:

https://www.pippadyrlaga.com/

 

Katrina Rodegast, Artist

More to see on artist's website:

https://www.katrinrodegast.de/?/ongoing/nido/

Camille Benoit and Mariana Gella, Artists

https://www.dezeen.com/2020/07/14/invisible-cities-project-architectural-models-imaginary-cities/?li_source=LI&li_medium=bottom_block_1

Adriane Colburn, Artist, based in San Francisco and New York

adrianecolburn.com

Artist Statement

Over the past several years I have developed a series of installations based on the complex relationship between human infrastructure, earth systems, technology and the natural world. In these projects, large cut paper wall-works are in conversation with manipulated objects, photographs, drawings, video and projected light. 

My installations are extracted from the data, images and video I have collected while participating in scientific expeditions to remote, wild places such as the arctic and amazon. The work reflects on these far-flung environments and the overall state of nature in an age where few stones remain unturned by man. I am particularly interested in romanticized notions of wilderness, the alteration of nature by industry and climate change and the relationships between scientific exploration and exploitation. In participating in these expeditions and generating work from the aftermath, I am reckoning with how our thirst to understand and visualize a landscape can irrevocably disrupt it. 

The large wall-works are made from photographs and drawings that have been transformed through a system of physical removal that results in abstracted images that are informed by voids as much as by positive marks. These fragile and often sprawling constructions are frequently paired with more direct or physically weighty fare in the form of found objects and imagery that points more frankly to the subject matter. At the core of all my work is a fascination with the way that our attempts to make sense of the world around us through maps, data and pictures result in abstractions that are simultaneously informative, formless and utterly ambiguous. 

Val Britton, Artist

Image source artbusiness.com

Image source artbusiness.com

Ocean Drift #3, 2008

Ink, gouache, collage and cut-out on paper

30" x 44"

Image source valbritton.com

Sachiko Abe, Artist

Japanese artist Sachiko Abe sits atop a building in a white gown, cutting countless sheets of A4 paper into thin, wispy strips. The performance piece known as Cut Paper is both calming and mystifying. Abe sits for hours on end meticulously shredding paper whose cut feathery strands measure a mere 0.5mm in width. She first began this practice while in a mental institution over 15 years ago because it proved to be a calming activity—an alternative form of meditation.

The performance artist's serene depiction has a strong element of surrealism that makes the spectator feel like they've entered into an alternate universe. There is a pillar of fine-cut paper that looks like a fuzzy icicle and makes it seem like we're all walking on the ceiling. From this tower, there is a trail leading to the artist, cutting away at her paper. Adding to the dreamlike effect of the live show, Abe's scissors are connected to speakers that amplify the cutting sound as you draw closer to the artist.

The piece is reminiscent of Yoko Ono's performance art entitled Cut Piece in which she invites spectators to cut pieces of her clothing off of her, though Abe's art is less physically interactive with the audience.

Above images and tex from My Modern Met.

J. Diane Martonis, Artist

Memory and ambiguity are concepts I explore by assembling selected imagery to unearth instinctual response, self-reflection, and an open narrative.

The focus of this series is a cottage on Chautauqua Lake in Western New York where I spent every summer since birth. It was dubbed ‘Justamere Cottage’ by my grandmother for its simplicity and vintage, bare-bones personality. Exploring my memories and history through fragments of information that are collected and assembled, the reality of Justamere’s history becomes a new translation that is simplified and whimsical.

Cut paper lends a quiet fragility to my work. It is delicate, intricate, and subtle. Layering and overlapping creates shadows that echo the original, producing a repetition of shape and value. It is this play with light and shadow that I want to explore, using a simple medium to manipulate texture and form through cutting and sculpting. Through cast shadows, the space around the work becomes activated, transforming two-dimensional work into three-dimensional space.

Text and images from artist's website. Link here. 

Meret Oppenheim, 1913 - 1985, German-born Swiss Surrealist Artist

Object (The Luncheon in Fur)

1936

The work's concept originated in a conversation among Oppenheim, Pablo Picasso, and his lover and fellow artist Dora Maar at a Parisian café^[4] where the café's social role was discussed,^[5] and at which Oppenheim was wearing a fur-covered brass tube bracelet, the pattern of which she sold to the fashion designer Elsa Schiaparelli.^[1][6] Picasso had suggested that anything could be covered in fur, and Oppenheim remarked that this would apply to "even this cup and saucer".^[4] Oppenheim was nearly 23 years old at the time. In a slightly more explicit version of the conversation, Picasso complements the young artist on her fur bracelet, and flirtatiously observes that there are many things he enjoys that were improved when covered in fur. Oppenheim responded, tongue in cheek, by asking, "Even this cup and saucer?"^[7]

Oppenheim created and exhibited the work as part of André Breton's first exhibition of surrealist sculpture (Exposition surréaliste d'objets), held at the Galerie Charles Ratton. She originally titled it prosaically as "Cup, saucer and spoon covered with fur", but the work was renamed by Breton in reference to Manet's painting Le Déjeuner sur l'herbe.^[5] The work accords well with Breton's theories in his essay "The Crisis of the Object".^[5]

In true found object mode, the teacup, saucer and spoon are ordinary objects purchased from Monoprix, a Paris department store.^[6] The fur covering is that of a Chinese gazelle.^[4]

Will Gompertz, a former director at Tate Modern, writes of the sculpture:

The sexual connotations of Object (Le Déjeuner en Fourrure) are obvious: drinking from the furry cup is an explicit sexual reference. But there is much more to it than a saucy joke. The image of a fur-lined cup and spoon would not be out of place in the first chapter of any book about anxiety nightmares, in which any pretense of being in control is subverted by sinister happenings. In this instance, a cup and spoon has grown hair, turning objects from which one should derive relaxation and pleasure into something aggressive, unpleasant and faintly disgusting. It has connotations of bourgeoise guilt: for wasting time gossiping in cafés and mistreating beautiful animals (the fur is from a Chinese gazelle). It is also an object designed to engender madness. Two incompatible materials have been brought together to create one troubling vessel. Fur is pleasing to touch, but horrible when you put it in your mouth. You want to drink from the cup and eat from the spoon—that is their purpose—but the sensation of the fur is too repulsive. It’s a maddening cycle.

The above info is from Wikipedia. I have not confirmed all sources.

Meret Oppenheim in paper coat and sunglasses designed by herself, 1976

Collection Dominique Bürgi, Switzerland Claude Lê-Ahn, Boulogne

Krisit Malakoff, Artist

Artist's website link here.

Lynne Dhenson, Artist

Inception
It's all one continuous piece of paper (in fact, aside from several sections taken out of the base no paper has been removed at all, which is a first for me); no adhesives; cutting and folding only.  It stands just under 4" tall, with a 7.5" long luxury hotel corridor. Cut from a 7.5" x 11" sheet.

A model of the Arc de Triomphe
Cut as all one continuous piece of cardstock (including the top) and then folded; no adhesives; cutting and folding only. About 3.75" (95mm) high.

Sherlock and John out for a quiet stroll on a crisp snowy evening.
Made from cardstock, cut as a single piece and then folded, no adhesives. It measures 9cm x 15cm x 6cm, give or take a few mm.

A lot more to see on the artist's live journal site.  Source link here.

Lizzie Thompson, Artist

Link here to see artist's website.

The Heart of Papercuts

A lot more to see on the blog. Link here.

Joao Machado, Artist

Artist's website link here.

Matt Salian, Artist

Artist website link here.