Joyce Utting Schutter begins each of her sculptures by welding a fine steel armature. She then hand stitches fibers over the armature before applying paper pulp with a pneumatic sprayer.
20h x 56w x 17d
abaca, black denim, flax, steel, dry pigment, varnish
The paper pulp is able to adhere to the shape because the woven fibers act as a substrate. Schutter sprays between 4 and 20 layers of pulp, often placing organic elements between the layers.
18h x 35w x 10d
cotton, cheesecloth, bamboo, brass, salix buds, steel, dry pigments
Because of the inherent nature of the pulp, which bonds together as it dries, there is no need to use glue or any other substance to hold the sculptures together. Once dry, pigments are brushed onto the paper to add color. Arcidae’s Purse, shown above, took four months complete.
A Cut Beneath
19h x 20w x 9d
cotton, flax, hemp, pine needles, Sweetgum seedpods, porcelain, steel, dry pigments, watercolor, wax
35″h x 36″w x 9″d
flax, organdy, thread, Maple Samaras, steel, dry pigments
The process. . .
“I am becoming increasingly aware of the interconnectedness of all things: bird and wind, eye and shadow, breath and bone. Existence – the whole of it – is one breathing entity: no evaluation, no judgment, no independent opposites, simply a rhythm of complements. Everything in nature, in the universe, is part of the rhythm, just as every breath is life giving. Fleetingly, steadily, each breath gives way to the next.” Joyce Utting Schutter