
How Contemporary Artists Are Taking Papier-Mâché Out of the Classroom (Published 2024)
The art of papier-mâché, traditionally associated with childhood crafts, is experiencing a resurgence among contemporary artists and craftspeople who are elevating the medium to create sophisticated and thought-provoking works. These self-taught individuals are transforming simple materials—paper, water, and paste—into diverse artistic expressions, ranging from playful reproductions of everyday objects to functional décor and intricate sculptures.
Joel Hernandez, for instance, a San Francisco-based artist, began his journey with papier-mâché out of necessity, creating piñatas with his family after moving from Mexico to Indiana. Later, he utilized the medium to craft vibrant, animated face masks, aiming to see his own identity reflected in tribal mask traditions. His process involves layering recycled newspaper strips, steeped in a flour, water, and salt paste, over Plasticine forms, culminating in pieces that have been exhibited in galleries and sold online.
Historically, papier-mâché has a rich and varied past, dating back to ancient China around A.D. 200, where mulberry pulp and paste were used to form helmets for Han dynasty warriors. Its versatility has since been demonstrated in myriad applications, from Egyptian death masks and 19th-century French doll heads to American crew racing shells and World War I military decoys. In contemporary times, it's used for architectural ornamentation, Mardi Gras floats, and Day of the Dead skulls, showcasing its enduring adaptability and strength.
Bernie Kaminski, a New York City artist and producer, leverages papier-mâché as a vehicle for nostalgia, reimagining mundane objects like canvas totes, folded shirts, and Filofax planners. He is particularly drawn to items that predate the digital age, meticulously replicating them, sometimes by dissecting the original objects to trace their components onto cardboard before applying paper strips and acrylic paints. His work often reflects an affection for a bygone era, exemplified by his replica of a junk drawer filled with items now largely replaced by smartphones.
Corrie Beth Hogg, a Brooklyn-based artist, also focuses on creating art that mimics real-life objects. Initially known for her paper houseplants, she has transitioned to crafting papier-mâché interpretations of antiquities, drawing inspiration from ceramic collections at institutions like the Victoria and Albert Museum. She views this as a way to access and recreate historical objects that would otherwise be unattainable, transforming ordinary materials into elegant trays and vases for design boutiques.
Mark Gagnon, based in Frederick, Maryland, finds inspiration in antiques such as Staffordshire dog figurines, classical busts, and cameo medallions. He employs a unique construction technique reminiscent of ribbed vaulting in architecture, building a lightweight skeleton with foam core, then swaddling it with masking tape and sometimes Bubble Wrap before applying newspaper and paste. His finished pieces, sold in home décor shops, are characterized by a matte paint and varnish coating. Gagnon's work gained significant attention when he was commissioned to create holiday decorations for the White House, including renderings of family pets and cranberry topiaries. He describes his work as “mock l’oeil,” appreciating the inherent imperfections and handmade quality that papier-mâché inherently offers, distinguishing it from mass-produced perfection.
These artists collectively highlight papier-mâché's democratic and economic appeal, requiring minimal materials and offering immense creative freedom. Their innovative approaches demonstrate how a humble medium can be transformed into diverse, meaningful, and aesthetically rich works of art, challenging its traditional perception as merely a classroom activity. Each artist, despite their varied inspirations and techniques, shares a deep appreciation for the material's accessible nature and its capacity for both playful and profound expression.
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