Amy Genser paper artist

Amy Genser plays with paper and paint to explore her obsession with texture, pattern, and color. Using natural forms and organic processes, her work is simultaneously irregular and ordered. She uses paper as pigment and constructs her pieces by layering, cutting, rolling, and combining paper.

The natural world is a clear source for Amy’s work. She is fascinated by the flow of water, the shape of beehives, and the organic irregularity of plants, flowers, rock formations, barnacles, moss, and seaweed. Her pieces bring to mind aerial landscape views, satellite imagery, and biological cellular processes.

She creates unity & variety! How she does it: 1. Create a design idea. (Amy uses ideas such as the ocean

floor as seen from above, cellular structures, blood vessels, aerial view of landscapes, etc – all very organic and abstract). She then picks an appropriate color scheme.

2. Certain areas of her canvas will be smooth and paint will be applied. Apply the paint. While its drying:

3. Layer colored paper, one top of the other in all different thicknesses, attaching with some glue. You can use colored paper from the classroom, magazine papers, etc. 4. The layers of paper are rolled up tightly and sealed with sealer. When dry, they are cut the long piece into short sections with scissors. They can be cut into different lengths, from ¼” to ¾” 5. Finally, attach small rolled sections to the painted surface with glue.

More on Amy Genser: • http://www• http://www.amygenser.com/process/.allthingspaper.net/2013/03/dimensional-coll

ages-amy-eisenfeld.html• http://www.therawbook.com/2013/05/27/amy/• http://www.thisiscolossal.com/2013/03/new-underwater-reefs-and-landscapes-m

ade-of-paper-by-amy-eisenfeld-genser/

Profiles by Anders Tomlinson

What do you see in these interesting paintings, which are somewhat like Picasso’s surrealistic portraits? 1. Notice how he positions a profile within a profile, but facing a different direction. 2. Look at the choice of colors and what kind of harmony they create. 3. What other elements (geometrics, organic shapes, symbols, textures) does he

introduce? How do they add to the composition rather than become random and dis-unifying?

4. What kind of repetition does he use to help create unity?

How to get started: 1. Make some design sketches using 2 profiles facing in opposing directions. 2. Give your design rhythm by repeating shapes, lines, and other elements. 3. Look for unity – does this give unity? 4. Add to the idea of unity by color choices 5. How will you create some variety? 6. Make your design by using cut paper. You can use colored paper in the

classroom, magazine pages, etc. 7. You may add colored pencil embellishments to finish you design.

• More to see:Tomlinson’s paintings - http://tule-lake.com/artfeats/relationships/

• Picasso’s surrealistic (oddly unreal, dreamlike) portraits: