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Artists catalogue and paper samples
Spirit of Paper is the fifth biennial book to have appeared in the last ten years, and accompanies the Holland Paper Biennial of 2004. The catalogue section draws the reader's attention to the artwork which is being exhibited in both the Holland Paper Biennial Museums, the Rijswijk Museum, and the Museum/CODA in Apeldoorn.
A photo of a piece of work by each artist is reproduced in the book, along with a statement which illustrates the reasons why the artist has chosen to work with paper. In addition it contains descriptions of the paper being used by the artist, and/or how he/she goes about making that him/herself, complete with a sample of the paper used in each artwork, which are housed in die-stamped rectangles on the inside of the book cover. In each of the five biennial books, it is the presentation of the samples which has proved the biggest challenge of all: how do you accomodate the paper samples (in this case 28), and at the same time ensure that the book can close properly.
Articles and writers
Aliza Thomas
Written voices, spoken signs. Use and spread of paper in the Islamic world
René Teygeler
The spirit of 'amatl', Religious writing materials of the Aztecs and the Maya
Rogier Uitenboogaart
One million prayers the historical and religious significance of Japanese 'washi'
Chunghie Lee
Ritual flowers of paper, Korean family customs and funeral rites
Manohar Upreti
Lokta, king of nepalese papers, the medicinal and religious use of 'Daphne paper'
Evelyne Verheggen
Praying with images, the origin and use of devotional prints
Kitty Jansen-Rompen
Exuberant expressions, paper and the limburg carnival
Henk Porck
Frank's 'koffertje', ingeniously folded paper creations
Pau Groenendijk
Facsimile of the anne frank diaries, the search for the origins in the six note books
Paper, binding and printing
The design - as with all of the biennial books - is in the hands of Loes Schepens, who has tried to link the theme of Spirit of Paper to the images, materials, techniques and designs within this edition. The book radiates an impression of (spi)rituality.
Thus the paper for the cover (Gmund Stone Crystal 320 gsm, made by Driem) is metallic silver, which is reminiscent of the magnificence and splendour of religious texts that we encounter all over the world. The cover is die-stamped with a pattern of rectangles which gives it an extra dimension, while the ribbon, which is woven horizontally into the binding, adds a sacred quality.
The artists' paper samples are acommodated in the inside covers, both at the back and the front of the book. In this way, a gallery of artists is created. The descriptions of the samples are placed on the adjoining fly-leaf, corresponding to the artists' names printed underneath each sample.
The first 100 pages inside, made of 100 gsm DriemSpirit Iceblue, have been especially manufactured and sponsored by the Favini factory (previously Meerssen and Palm) in Meerssen in Limburg, with the co-operation of Pierre Bessems. The paper has a bluish-white tint which leaves a pure and illuminating impression on the reader's mind. This paper also intensifies the full colour and silver printing. Amongst all the printed pages, you almost encounter the spirits, expressed by the use of silver printing; spirits who endorse the content of some of the articles.
If you look at the book block, face on, you will see amongst the DriemSpirit Iceblue 100 gsm and Targetplus 90 gsm (Driem) some very unusual types of coloured paper. These pages highlight seven different articles written by the authors. There is also a black sheet (110 gsm) with a silver printed description on it for each different type of paper. This applies to the following:
- Japanese kozo-paper, Cloud Dragon with long fine fibres, ivory, 90 gsm, Modo van Gelder. It refers to the article by Rogier Uitenboogaart about Japanese paper.
- Nepalese handmade lokta paper. The paper is made in the Manohar Upreti mill and refers to an article written about lokta by the man himself.
- Newsprint, Stora Enso News Press from the manufacturer Langerbrugge in Belgium. This newsprint is 100% recycled and weighs 48,8 gsm. Many carnival societies use this paper for their paper-mâché floats, as Kitty Jansen-Rompen describes.
- Korean tissue paper, coloured, 30 gsm. People use this paper, writes Korean Chunghie Lee, to make flowers for funeral rituals.
- Edible wafer, O-quality, First-class, Primus. Wafer is used, amongst other things, in the celebration of the Eucharist in the Christian Church. It refers to the consumption of holy paper as is described in the Epilogue, and also refers to the article written by Evelyne Verheggen about devotional prints.
- Promail, apple-green, coloured wood-free paper 80 gsm, Proost en Brandt. Frank van Kollum used this sort of paper, sometimes coloured, mostly white, to make his ingenious origami models, as described by Henk Porck.
- Facsimile of the so-called 'loose sheets', one of the sections in Anne Frank's diary, specially manufactured by Favini, referring to the article written by Pau Groenendijk.
Colophon
Spirit of Paper
Publisher:
Wim Findhammer/Uitgeverij Compres i.a.w. Foundation Paper Manifestation '94
Compilation:
Peter Gentenaar
Concept:
Pat Torley
Final editor:
Arne Westerhof
Translation:
Linda Fairwether Nash (artikelen) and Sally Vincent-Smith
Design:
Loes Schepens (Eindeloos)
Lithography:
ColorScan
Printing:
Koninklijke De Swart
Binding work:
Binderij Hexspoor
Edition:
3.500
Volume:
400 pages
ISBN:
90 73803 04 7
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