{"id":128,"count":39,"description":"The works in the <em>Paper Made Visible<\/em> theme reflect my appreciation of paper as a material. I have made many types of papers sourced from recycled materials and raw fibres, such as flax, hemp, cotton, gampi, kozo and grasses. My paper has served as support for printmaking, sculpture, performance, net-making, weaving and for writing.\r\n\r\nLike skin, paper is a surface ready for touch. As both material and metaphor, paper has been important throughout my art making life. Its blank surface suggests possibility, while at the same time it is a metaphor for emptiness, for silence, for the invisible.\r\n\r\nInvisibility is an idea that I began to work with in my first text-based installations using cast-paper letters. Invisibility: my sense of being invisible \u2013visible as a female body, but invisible as a human being, the invisibility of women\u2019s history and our contribution to history and society. I saw paper as a metaphor for this invisibility, always in the background holding up the text, contributing to its reading but rarely acknowledged. Yet paper makes all words legible.\r\n\r\nMany of the works here are statements on the relationship of language to paper, where the paper is elevated to the foreground. I want to acknowledge the importance of the empty space between words, that which is often forgotten or ignored. In the same way, in the series of artist books, <em>Touch Wood<\/em>, I explore the material, historic and aesthetic links between trees and books, paper and language. Without trees there would be no paper.\r\n\r\nMy love of paper took me to Japan where papermaking is an art and where experienced paper makers are designated National Living Treasures! There, I learned to perfect the Japanese technique for making paper thread \u2013 \u201ckami ito\u201d or \u201cshifu.\u201d Emiko Nakano was my willing and generous teacher.\r\n\r\nWhen I am teaching papermaking classes, I begin by citing a 18th century anonymous poem:\r\n\r\nRags make paper\r\nPaper makes money\r\nMoney makes banks\r\nBanks make loans\r\nLoans make paupers\r\nand paupers make rags\r\nPaper makes the world go round\r\n\r\n<p class=\"aopa-text-extra-small\">Karen Trask in collaboration with Don Goodes, 2025<\/span>\r\n\r\n<p class=\"aopa-text-divider\">===<\/p>\r\n\r\n<!-- div class=\"taxo_subtitle\"&gt;Le papier rendu visible&lt;\/div -->\r\n\r\nLes \u0153uvres du th\u00e8me <em>Le papier rendu visible<\/em> refl\u00e8tent mon appr\u00e9ciation du papier en tant que mat\u00e9riau. J\u2019ai fabriqu\u00e9 de nombreux types de papier \u00e0 partir de mat\u00e9riaux recycl\u00e9s et de fibres brutes comme le lin, le chanvre, le coton, le gampi, le kozo et les herbes. Mon papier a servi de support pour la gravure, la sculpture, la performance, la confection de filets, le tissage et l\u2019\u00e9criture.\r\n\r\nComme la peau, le papier est une surface pr\u00eate \u00e0 \u00eatre touch\u00e9e. \u00c0 la fois mat\u00e9riau et m\u00e9taphore, le papier a jou\u00e9 un r\u00f4le important dans ma vie artistique. Sa surface vierge sugg\u00e8re la possibilit\u00e9, tout en \u00e9tant une m\u00e9taphore du vide, du silence, de l\u2019invisible.\r\n\r\nL\u2019invisibilit\u00e9 est une id\u00e9e avec laquelle j\u2019ai commenc\u00e9 \u00e0 travailler dans mes premi\u00e8res installations bas\u00e9es sur le texte en utilisant des lettres moul\u00e9es en papier. L\u2019invisibilit\u00e9\u00a0: mon sentiment d\u2019\u00eatre invisible-visible comme corps f\u00e9minin, mais invisible comme \u00eatre humain, l\u2019invisibilit\u00e9 de l\u2019histoire des femmes et de leur contribution \u00e0 l\u2019histoire et \u00e0 la soci\u00e9t\u00e9. J\u2019ai vu le papier comme une m\u00e9taphore de cette invisibilit\u00e9, toujours en arri\u00e8re-plan, soutenant le texte, contribuant \u00e0 sa lecture, mais rarement reconnu. Pourtant, le papier rend tous les mots lisibles.\r\n\r\nBon nombre des \u0153uvres pr\u00e9sent\u00e9es ici sont des d\u00e9clarations sur la relation entre le langage et le papier, o\u00f9 le papier est mis au premier plan. Je veux reconna\u00eetre l\u2019importance de l\u2019espace vide entre les mots, ce qui est souvent oubli\u00e9 ou ignor\u00e9. De la m\u00eame mani\u00e8re, dans ma s\u00e9rie de livres d\u2019artiste <em>Toucher du bois<\/em>, j\u2019explore les liens mat\u00e9riels, historiques et esth\u00e9tiques entre les arbres et les livres, le papier et le langage. Sans arbres, il n\u2019y aurait pas de papier.\r\n\r\nMon amour du papier m\u2019a conduite au Japon, o\u00f9 la fabrication de papier est un art, et o\u00f9 les artisans exp\u00e9riment\u00e9s sont d\u00e9sign\u00e9s Tr\u00e9sors nationaux vivants! L\u00e0-bas, j\u2019ai appris \u00e0 perfectionner la technique japonaise de fabrication de fil de papier \u2013 kami ito ou shifu. Emiko Nakano a \u00e9t\u00e9 une enseignante g\u00e9n\u00e9reuse.\r\n\r\nQuand j\u2019enseigne la fabrication du papier, je commence par citer un po\u00e8me anonyme du 18<sup>e<\/sup>\u00a0si\u00e8cle\u00a0:\r\n\r\nLes haillons font le papier\r\nLe papier fait l\u2019argent\r\nL\u2019argent fait les banques\r\nLes banques font des pr\u00eats\r\nLes pr\u00eats font des pauvres\r\net les pauvres font des haillons\r\nLe papier fait tourner le monde\r\n\r\n<p class=\"aopa-text-extra-small\">Traduction: M\u00e9lissa Guay<\/p>","link":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/","name":"Paper Made Visible (Le\u00a0papier rendu visible)","slug":"paper-made-visible","taxonomy":"awtheme","parent":0,"meta":{"order":2},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Paper Made Visible (Le\u00a0papier rendu visible) Archives - Karen Trask<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Paper Made Visible (Le\u00a0papier rendu visible) Archives - Karen Trask\" \/>\n<meta property=\"og:description\" content=\"The works in the Paper Made Visible theme reflect my appreciation of paper as a material. I have made many types of papers sourced from recycled materials and raw fibres, such as flax, hemp, cotton, gampi, kozo and grasses. My paper has served as support for printmaking, sculpture, performance, net-making, weaving and for writing. Like skin, paper is a surface ready for touch. As both material and metaphor, paper has been important throughout my art making life. Its blank surface suggests possibility, while at the same time it is a metaphor for emptiness, for silence, for the invisible. Invisibility is an idea that I began to work with in my first text-based installations using cast-paper letters. Invisibility: my sense of being invisible \u2013visible as a female body, but invisible as a human being, the invisibility of women\u2019s history and our contribution to history and society. I saw paper as a metaphor for this invisibility, always in the background holding up the text, contributing to its reading but rarely acknowledged. Yet paper makes all words legible. Many of the works here are statements on the relationship of language to paper, where the paper is elevated to the foreground. I want to acknowledge the importance of the empty space between words, that which is often forgotten or ignored. In the same way, in the series of artist books, Touch Wood, I explore the material, historic and aesthetic links between trees and books, paper and language. Without trees there would be no paper. My love of paper took me to Japan where papermaking is an art and where experienced paper makers are designated National Living Treasures! There, I learned to perfect the Japanese technique for making paper thread \u2013 \u201ckami ito\u201d or \u201cshifu.\u201d Emiko Nakano was my willing and generous teacher. When I am teaching papermaking classes, I begin by citing a 18th century anonymous poem: Rags make paper Paper makes money Money makes banks Banks make loans Loans make paupers and paupers make rags Paper makes the world go round Karen Trask in collaboration with Don Goodes, 2025 === Les \u0153uvres du th\u00e8me Le papier rendu visible refl\u00e8tent mon appr\u00e9ciation du papier en tant que mat\u00e9riau. J\u2019ai fabriqu\u00e9 de nombreux types de papier \u00e0 partir de mat\u00e9riaux recycl\u00e9s et de fibres brutes comme le lin, le chanvre, le coton, le gampi, le kozo et les herbes. Mon papier a servi de support pour la gravure, la sculpture, la performance, la confection de filets, le tissage et l\u2019\u00e9criture. Comme la peau, le papier est une surface pr\u00eate \u00e0 \u00eatre touch\u00e9e. \u00c0 la fois mat\u00e9riau et m\u00e9taphore, le papier a jou\u00e9 un r\u00f4le important dans ma vie artistique. Sa surface vierge sugg\u00e8re la possibilit\u00e9, tout en \u00e9tant une m\u00e9taphore du vide, du silence, de l\u2019invisible. L\u2019invisibilit\u00e9 est une id\u00e9e avec laquelle j\u2019ai commenc\u00e9 \u00e0 travailler dans mes premi\u00e8res installations bas\u00e9es sur le texte en utilisant des lettres moul\u00e9es en papier. L\u2019invisibilit\u00e9\u00a0: mon sentiment d\u2019\u00eatre invisible-visible comme corps f\u00e9minin, mais invisible comme \u00eatre humain, l\u2019invisibilit\u00e9 de l\u2019histoire des femmes et de leur contribution \u00e0 l\u2019histoire et \u00e0 la soci\u00e9t\u00e9. J\u2019ai vu le papier comme une m\u00e9taphore de cette invisibilit\u00e9, toujours en arri\u00e8re-plan, soutenant le texte, contribuant \u00e0 sa lecture, mais rarement reconnu. Pourtant, le papier rend tous les mots lisibles. Bon nombre des \u0153uvres pr\u00e9sent\u00e9es ici sont des d\u00e9clarations sur la relation entre le langage et le papier, o\u00f9 le papier est mis au premier plan. Je veux reconna\u00eetre l\u2019importance de l\u2019espace vide entre les mots, ce qui est souvent oubli\u00e9 ou ignor\u00e9. De la m\u00eame mani\u00e8re, dans ma s\u00e9rie de livres d\u2019artiste Toucher du bois, j\u2019explore les liens mat\u00e9riels, historiques et esth\u00e9tiques entre les arbres et les livres, le papier et le langage. Sans arbres, il n\u2019y aurait pas de papier. Mon amour du papier m\u2019a conduite au Japon, o\u00f9 la fabrication de papier est un art, et o\u00f9 les artisans exp\u00e9riment\u00e9s sont d\u00e9sign\u00e9s Tr\u00e9sors nationaux vivants! L\u00e0-bas, j\u2019ai appris \u00e0 perfectionner la technique japonaise de fabrication de fil de papier \u2013 kami ito ou shifu. Emiko Nakano a \u00e9t\u00e9 une enseignante g\u00e9n\u00e9reuse. Quand j\u2019enseigne la fabrication du papier, je commence par citer un po\u00e8me anonyme du 18e\u00a0si\u00e8cle\u00a0: Les haillons font le papier Le papier fait l\u2019argent L\u2019argent fait les banques Les banques font des pr\u00eats Les pr\u00eats font des pauvres et les pauvres font des haillons Le papier fait tourner le monde Traduction: M\u00e9lissa Guay\" \/>\n<meta property=\"og:url\" content=\"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/\" \/>\n<meta property=\"og:site_name\" content=\"Karen Trask\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"CollectionPage\",\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/awtheme\\\/paper-made-visible\\\/\",\"url\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/awtheme\\\/paper-made-visible\\\/\",\"name\":\"Paper Made Visible (Le\u00a0papier rendu visible) Archives - Karen Trask\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/#website\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/awtheme\\\/paper-made-visible\\\/#breadcrumb\"},\"inLanguage\":\"en-US\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/awtheme\\\/paper-made-visible\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Paper Made Visible (Le\u00a0papier rendu visible)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/#website\",\"url\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/\",\"name\":\"Karen Trask\",\"description\":\"Official Artist Site\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Paper Made Visible (Le\u00a0papier rendu visible) Archives - Karen Trask","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/","og_locale":"en_US","og_type":"article","og_title":"Paper Made Visible (Le\u00a0papier rendu visible) Archives - Karen Trask","og_description":"The works in the Paper Made Visible theme reflect my appreciation of paper as a material. I have made many types of papers sourced from recycled materials and raw fibres, such as flax, hemp, cotton, gampi, kozo and grasses. My paper has served as support for printmaking, sculpture, performance, net-making, weaving and for writing. Like skin, paper is a surface ready for touch. As both material and metaphor, paper has been important throughout my art making life. Its blank surface suggests possibility, while at the same time it is a metaphor for emptiness, for silence, for the invisible. Invisibility is an idea that I began to work with in my first text-based installations using cast-paper letters. Invisibility: my sense of being invisible \u2013visible as a female body, but invisible as a human being, the invisibility of women\u2019s history and our contribution to history and society. I saw paper as a metaphor for this invisibility, always in the background holding up the text, contributing to its reading but rarely acknowledged. Yet paper makes all words legible. Many of the works here are statements on the relationship of language to paper, where the paper is elevated to the foreground. I want to acknowledge the importance of the empty space between words, that which is often forgotten or ignored. In the same way, in the series of artist books, Touch Wood, I explore the material, historic and aesthetic links between trees and books, paper and language. Without trees there would be no paper. My love of paper took me to Japan where papermaking is an art and where experienced paper makers are designated National Living Treasures! There, I learned to perfect the Japanese technique for making paper thread \u2013 \u201ckami ito\u201d or \u201cshifu.\u201d Emiko Nakano was my willing and generous teacher. When I am teaching papermaking classes, I begin by citing a 18th century anonymous poem: Rags make paper Paper makes money Money makes banks Banks make loans Loans make paupers and paupers make rags Paper makes the world go round Karen Trask in collaboration with Don Goodes, 2025 === Les \u0153uvres du th\u00e8me Le papier rendu visible refl\u00e8tent mon appr\u00e9ciation du papier en tant que mat\u00e9riau. J\u2019ai fabriqu\u00e9 de nombreux types de papier \u00e0 partir de mat\u00e9riaux recycl\u00e9s et de fibres brutes comme le lin, le chanvre, le coton, le gampi, le kozo et les herbes. Mon papier a servi de support pour la gravure, la sculpture, la performance, la confection de filets, le tissage et l\u2019\u00e9criture. Comme la peau, le papier est une surface pr\u00eate \u00e0 \u00eatre touch\u00e9e. \u00c0 la fois mat\u00e9riau et m\u00e9taphore, le papier a jou\u00e9 un r\u00f4le important dans ma vie artistique. Sa surface vierge sugg\u00e8re la possibilit\u00e9, tout en \u00e9tant une m\u00e9taphore du vide, du silence, de l\u2019invisible. L\u2019invisibilit\u00e9 est une id\u00e9e avec laquelle j\u2019ai commenc\u00e9 \u00e0 travailler dans mes premi\u00e8res installations bas\u00e9es sur le texte en utilisant des lettres moul\u00e9es en papier. L\u2019invisibilit\u00e9\u00a0: mon sentiment d\u2019\u00eatre invisible-visible comme corps f\u00e9minin, mais invisible comme \u00eatre humain, l\u2019invisibilit\u00e9 de l\u2019histoire des femmes et de leur contribution \u00e0 l\u2019histoire et \u00e0 la soci\u00e9t\u00e9. J\u2019ai vu le papier comme une m\u00e9taphore de cette invisibilit\u00e9, toujours en arri\u00e8re-plan, soutenant le texte, contribuant \u00e0 sa lecture, mais rarement reconnu. Pourtant, le papier rend tous les mots lisibles. Bon nombre des \u0153uvres pr\u00e9sent\u00e9es ici sont des d\u00e9clarations sur la relation entre le langage et le papier, o\u00f9 le papier est mis au premier plan. Je veux reconna\u00eetre l\u2019importance de l\u2019espace vide entre les mots, ce qui est souvent oubli\u00e9 ou ignor\u00e9. De la m\u00eame mani\u00e8re, dans ma s\u00e9rie de livres d\u2019artiste Toucher du bois, j\u2019explore les liens mat\u00e9riels, historiques et esth\u00e9tiques entre les arbres et les livres, le papier et le langage. Sans arbres, il n\u2019y aurait pas de papier. Mon amour du papier m\u2019a conduite au Japon, o\u00f9 la fabrication de papier est un art, et o\u00f9 les artisans exp\u00e9riment\u00e9s sont d\u00e9sign\u00e9s Tr\u00e9sors nationaux vivants! L\u00e0-bas, j\u2019ai appris \u00e0 perfectionner la technique japonaise de fabrication de fil de papier \u2013 kami ito ou shifu. Emiko Nakano a \u00e9t\u00e9 une enseignante g\u00e9n\u00e9reuse. Quand j\u2019enseigne la fabrication du papier, je commence par citer un po\u00e8me anonyme du 18e\u00a0si\u00e8cle\u00a0: Les haillons font le papier Le papier fait l\u2019argent L\u2019argent fait les banques Les banques font des pr\u00eats Les pr\u00eats font des pauvres et les pauvres font des haillons Le papier fait tourner le monde Traduction: M\u00e9lissa Guay","og_url":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/","og_site_name":"Karen Trask","twitter_card":"summary_large_image","schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"CollectionPage","@id":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/","url":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/","name":"Paper Made Visible (Le\u00a0papier rendu visible) Archives - Karen Trask","isPartOf":{"@id":"https:\/\/guz.ca\/aopa-karentrask\/#website"},"breadcrumb":{"@id":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/#breadcrumb"},"inLanguage":"en-US"},{"@type":"BreadcrumbList","@id":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/paper-made-visible\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/guz.ca\/aopa-karentrask\/"},{"@type":"ListItem","position":2,"name":"Paper Made Visible (Le\u00a0papier rendu visible)"}]},{"@type":"WebSite","@id":"https:\/\/guz.ca\/aopa-karentrask\/#website","url":"https:\/\/guz.ca\/aopa-karentrask\/","name":"Karen Trask","description":"Official Artist Site","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/guz.ca\/aopa-karentrask\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/guz.ca\/aopa-karentrask\/wp-json\/wp\/v2\/awtheme\/128","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/guz.ca\/aopa-karentrask\/wp-json\/wp\/v2\/awtheme"}],"about":[{"href":"https:\/\/guz.ca\/aopa-karentrask\/wp-json\/wp\/v2\/taxonomies\/awtheme"}],"wp:post_type":[{"href":"https:\/\/guz.ca\/aopa-karentrask\/wp-json\/wp\/v2\/series?awtheme=128"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}