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It’s All About the Art

GROWTH THROUGH SHARING & CRITIQUE

If you want to fold more artfully, “Get thee to an art museum!” It will help immensely to expose yourself to a wide variety of art. Study it, and enjoy getting to know other artists who love to visit museums and discuss the works. Line, form, relationship, color, light — all of the countless aspects of fine art are considered by artists and revealed in the thousands of works of art gracing the walls of our finest public museums. If your folding attempts are ever to be considered by others as art, you should have certainly first become familiar with the dialogue of art history. Art from ancient civilizations was studied, copied and regurgitated by the artists of subsequent generations in a process that continues to this day, and will repeat throughout time. You are now part of that splendid tradition of building on the achievements of those artists who have said something important about being human. Perhaps you have something new to add about beauty, love or struggle. What do you want to say to the future artists who will someday gaze upon your masterwork? Michael sums it up by saying, “I believe that art is the unique contribution that any individual can give to their chosen craft. The greatest value of art is realized by the artist, during the journey. The resulting product, or artifact, is another matter, entirely.” That dialogue about origami art — what is, and what isn’t — will surely go on forever.

Michael’s “A Rose for Irene,” named for Richard Alexander’s mother, which was on display at the “Less = More” exhibition at the Honolulu Museum of Art from February to May in 2015.

Connoisseurship, or Calibrating Your Sense of Quality

Although modern and expressive origami is relatively recent, there is already a rich body of design on every level, from amateur to professional, This provides enjoyable foraging for the origami connoisseur and folded art collector. How does your work stack up? There is no better way to calibrate the quality of your work than to show it at one of the several annual origami conventions now held in at least twenty cities around the globe. “Get thee to an origami convention!” You will see works by your contemporaries, and at every level of complexity and artistic prowess. Make an effort to meet like-minded folders (There will also be critics who will spare no feelings in telling you what they think of your subjects or technique). We encourage you to engage in spirited discussions about your art. See if you can put your finger on what moves your emotions or impresses you, and what doesn’t. Try to carefully articulate the reasons for your opinions. After such healthy discussions, nearly every exhibitor packs up their display table with thoughts of what they will do differently in the future. As Red Sox baseball fans, we grew up fond of saying, “Just wait until next year!”

Avoid Overthinking

If you are susceptible to deadly “over-think,” we don’t have any advice for you other than “put it down and walk away.” There is usually great value in having a fresh look at something you have done before. Sometimes it only takes a day to pass, sometimes a week or even a month may elapse before it becomes obvious that additional changes are needed (or not).

Avoid Overworking Your Art

Overworking is as dangerous as overthinking, and the two often travel hand-in-hand. Overworking a design is one thing; overworking the paper is yet another. Paper is a fragile medium, and it tells you quite quickly when it is overworked — but of course, when it does, it’s too late! Folders who moisten their paper must be more careful because the structure of the paper can easily disintegrate if too much water is added and then you provide too much manipulation to that area. My dad provides similar, useful advice about spray painting: “Give it just a gentle kiss with a light spritz, and then walk away! You will be tempted to hit it again, but DON’T DO IT! Just go paint something else while you let it dry.”

“Balancing Seahorses” by LaFosse, from Alexander’s handmade gampi papers. Goal met! Careful folding passes the test when they stand on their own.

Finding Your Own Level

Origami can be exciting and interesting at any level of complexity, from single-fold expressions, to highly realistic and detailed modeling. We find that if somebody enjoys the magic of folding paper, then they will tend to fold those things that bring them the most comfort or joy. Some appreciate the social interaction with others more than the physical product itself, and these folders may tend to enjoy “performance origami” and “Story-gami” models, especially when they are working with “pre-folders” (the very young), or “post folders,” such as senior citizens or others who may be unable to fold because of arthritis or injury. Such people who would simply rather watch than fold enjoy origami the most as spectators.

At the other end of the spectrum are folders who explore origami as a novel way to challenge themselves to understand or illustrate complex, mathematical concepts, theorems and proofs. They might wonder if they can solve the puzzle presented by an elegant crease pattern or complex diagrams. Perhaps they’ll see potential in a particular model for their own modification or interpretation. They simply may be curious about the folding method, or the initial base chosen by the designer.

Somewhere in between those two extremes lies the greater area of the bell curve of folders and crafters who simply enjoy sharing popular favorites, or perhaps recreating the most recently published models. There are organizations with members in all of these categories. If you want to find other people who share your particular interests, visit OrigamiUSA online. They support regional groups of paper folders and may help you participate in local origami activities.

Finding Your Own Voice

Early on, an artist attempts to copy the works of others. Sometimes those works speak to him or her in some special way. The effort is often less than satisfying, and so the journey of the artist is to confront obstacles that may include technical limitations, prejudices and ignorance. One by one, the artist explores approaches and methods that address and resolve each obstacle or impediment. Gaining fluency through persistent effort while striving for facility allows an artist to become most familiar with those methods that feel the most natural, or seem to resonate within. Folding artists will eventually zero-in on a particular style that expresses their “voice,” much in the way a singer develops their own unique approach to singing. Finding your voice for the first time is exciting, but it is only the first part of a long journey. Allowing it to evolve as you grow can be even more thrilling.

We know many folding artists who have set high standards for themselves, and have found their voice. Their work is magnificent and easily recognizable.

Making a Model “Sing”

We practice origami to become better folders, but we repeat certain favorite lesons until we can make them “sing.” During an exhibition at an origami convention, you may see the work of an artist who consistently produces models that rise above the rest. Each may excel at a particular subject or model, and their mastery is evident. One need not hover around his or her display for long before you hear a visitor say, “Nobody does it better.” If the subject is silk tessellations, the name mentioned might be Chris Palmer. If the subject is a gorgeous floral arrangement, expect to hear the name Delrosa Marshall. If the extraordinary display is of origami animals, we might guess the folder is Sipho Mabona or Robert Lang. This predictable, exceptional level of artistry does not happen by accident. It takes an enormous amount of recital time. These artists know how to make their work sing, and we take delight in any of their public performances.

Crystalline Beauty

Some compositions appear unfinished. Others appear overworked. At some point in between, during the process of folding an origami sculpture, a little voice in your head should say, “That gels.” The ability to recognize, attain, and more importantly, avoid going beyond that critical point is just one thing that distinguishes an artist from a less experienced folder. We love to see the shoeboxes of works that our students bring to the Studio to show to us. Their technical prowess is often quite evident; it seems to drip off the models, yet the art is not there yet. This is usually a phase that young folders pass through. With coaching, they eventually learn to recognize exactly when there is just enough effort, and not too much.

Overcoming “Folder’s Block”

If you are an artist with a vision, you are truly blessed! Writers often suffer from “writer’s block,” a condition of anxiety felt when the words refuse to appear on the blank page. The same can happen with artists or creative people in any discipline. Sometimes an artist “falls into a rut” — doing only familiar designs with their favorite, familiar materials. Another common complaint we hear is that an artist may have no shortage of vision — things they want to fold or accomplish — but every attempt falls far short of their vision. Some designers describe vivid dreams of folding something that turns out to be impossible when they try to recreate the experience while awake. Others “see” way too much, and they bury themselves in piles of mediocre madness (It may be time for them to take a trip to the paper-recycling center). Whenever you feel stymied or artistically inarticulate, consider the following suggestion:

Gain a New Perspective

The best way that we have found to recharge our reservoir of artistic vision is to change our scene and our routine. Whether we go local or travel to new lands, the effect is refreshing. Our time in Hawai‘i was a way to make new friends, experience interesting creatures and recharge our spirits in refreshingly beautiful landscapes. This also provided us with new colors, smells and sounds, and our palette of handmade papers brightened considerably. Grab a pack of paper and just GO SOMEWHERE!

Collaborate

The creative staff in any company needs a shot in the arm once in a while. We have been fortunate to work with several creative staffs at workshops for innovators and with design teams of well-known companies. We have prepared teachers’ workshops at schools and colleges, and find that when artists learn a new technique, they immediately think up many ways to apply it to their art. Just as there are many ways to construct a bridge over a river, bridging your vision into the world of reality as a tangible sculpture requires considerable thought, planning and experimentation. Working with somebody else is synergy at its best, creating together more than the sum of what each could do alone. We believe that those who enjoy that collaborative process become better artists.

Folding for Oneself

That pendulum can swing both ways. Perhaps you need a break from long periods of collaboration. If you are the rare breed of artist with no need of an audience, origami may be a perfect solitary pastime for you. One friend enjoys origami immensely, but only to satisfy her own curiosity. She rarely keeps anything that she folds, and she does not fuss with obtaining fancy papers. To her, the only thing that is important is to understand the structure of the model. Other artists also develop their folding talent for solitary joy. Perhaps they have such high expectations that they are too shy to ever show their work to another human being. Some keep nothing. Others keep all of their work, but they keep it hidden away. Many people fold for relaxation or for escape from worldly matters in the same way that it can be fun to get lost in a novel.

Michael’s “Tulip for Betty,” named for his mother, on display at the “Less = More” exhibition at the Honolulu Museum of Art from February to May in 2015.