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The Agency of Papercutting in the Post-Digital Era

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The Agency of Papercutting in the Post-Digital Era The Agency of Papercutting in the Post-Digital Era Author See, Pamela M Published 2020-10-01 Thesis Type Thesis (PhD Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3981 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/398415 Griffith Research Online https://research-repository.griffith.edu.au The Agency of Papercutting in the Post-Digital Era Pamela See BVA, M.Bus (Comm) Queensland College of Art Art, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy July 2020 For my beautiful daughter 刈劈冰 who accompanied me on this journey through the millennia in search of the diffracted light. i Abstract In 2010, the chief curator of the Museum of Art and Design in New York, David McFadden, posited a ‘renaissance’ in the application of paper as an independent medium. The international instatement of papercutting into contemporary art sectors commenced in North America during the mid-1990s. This movement was associated with the transition from digitalism to post-digitalism. The materiality of paper was considered antithetical to the non-materiality of digital art. A more recent global survey of paper as an independent medium, The First Cut, was organised by Manchester Art Gallery in 2012. It was the same year the term ‘post-digital’ was applied to paper by Alessandro Ludovico in The Post-Digital Print: The Mutilation of Publishing Since 1894. Using the paper as independent medium movement as a fulcrum, this doctorate employs an arts-based research methodology to explore the applications for this image-making technique in the post-digital era. A selection of the artworks utilise papercutting traditions that are both chronologically and geographically distinct. A primary example is the application of both silhouette portraiture and Foshan papercutting to critique Chinese emigration during the nineteenth century. This culminated in two series, exhibited at the National Portrait Gallery in Canberra and the Chinese Museum in Melbourne respectively. A key research tangent involves separating the materiality of ‘paper’ from the technique of ‘cutting’. It explores the role of perforating paper in the development of digital technology. The creation of punch cards for the Jacquard weaving loom during the early nineteenth century directly informed the invention of computer data tapes during the mid-twentieth century. The subsequent artworks utilise post-digital technology to translate papercut motifs into a variety of media, including vector-based animation, computer-aided design knitting, laser etched sandstone, laser cut steel, and 3D printed sculpture. These artworks were exhibited in a variety of venues, including the State Library of Queensland, Brisbane, Australia; ADGY Cultural Exchange Center, Beijing, China; Arteriet, Kristiansand, Norway; and the Museo de Gustavo de Maetzu, Navarra, Spain. ii ŽŶƚĞŶƚƐ Abstract ................................................................................................................................................... ii Statement of Originality ......................................................................................................................... iii List of Figures .......................................................................................................................................... v Acknowledgements ............................................................................................................................... xv Introduction ............................................................................................................................................ 1 Chapter 1: Research Methodology ....................................................................................................... 10 Chapter 2: Handcut Paper as Narrative Inquiry .................................................................................... 20 Chapter 3: Visual Anthropology ............................................................................................................ 35 Chapter 4: Handcut Paper as Participatory Research ........................................................................... 70 Chapter 5: The Post-Digital Translation of Papercutting into Digital Knitting ...................................... 93 Chapter 6: The Post-Digital Translation of Papercuts into Animation and Computer Games ........... 107 Chapter 7: The Post-Digital Translation of Papercuts Using CNC Cutting and Etching ....................... 122 Chapter 8. The Post-digital Translation of Papercuts into Additive Manufacturing ........................... 136 Conclusion ........................................................................................................................................... 169 Appendix A .......................................................................................................................................... 176 Appendix B .......................................................................................................................................... 177 Appendix C .......................................................................................................................................... 180 Bibliography ........................................................................................................................................ 266 iv List of Figures Page Figure 1 The Sun and Bird Gold Foil. Source: Chengdu Jinsha Yi Zhi Bo 2 Wu Guan, The Jinsha Site. 1st ed. (Beijing: China Intercontinental Press, 2006). Figure 2 The Silhouette Chair. Source: Essays on Physiognomy, Also One 4 Hundred Physiognomical Rules, and a Memoir of the Author (15th Ed.). London, Great Britain: William Tegg and Co. Figure 3 Cutout by Edouart of Tsernycaathaw. Source: Emily Jackson, 4 Silhouettes : A History and Dictionary of Artists (New York: C. Scribner’s Sons, 1938). Figure 4 Flora. Source: ""Moses Williams, Cutter of Profiles": 5 Silhouettes and African American Identity in the Early Republic," Proceedings of the American Philosophical Society 149, no.1 (2005): 22-39. Figure 5 Slavery! Slavery! by Karla Walker. Source: Bomb Magazine. 7 http://bombmagazine.org/article/1000130/kara-walker-larry- walker. Figure 6 What a World by Andreas Kocks. Source: 8 http://www.andreaskocks.com/works.html. Figures 7 Data from the Great Survey of Paper in Yanchuan County. 11 Source: The Great Survey of Paper-Cutting in Yanchuan County (China: 25000 Cultural Transmission Center, 2004). Exhibition catalogue. Figure 8 Cutout forms used by Edgar Rubin. Source: "Looking Back: 11 Figure and Ground at 100," The Psychologist 25, no.1 (2012): 90-91, https://thepsychologist.bps.org.uk/volume-25/edition- 1/looking-back-figure-and-ground-100. Figure 10 Purdue General Test. Source: Visual Perception of Form (New 12 York: Academic Press, 1970). Figures 11–13 Documentation of the design and installation of Stork Vs Crane. 14 Figures 14–15 Experiments with screen printing and ceramics. 15 Figure 16 Diagrams illustrating Pierre Bourdieu’s theories about symbolic 16 capital and symbolic power. Figure 17 Diagrams illustrating Claude Levi-Strauss’s theory of bricolage. 18 Figures 18–19 Perched Gazing In… 2005. Handcut paper. Size variable. Source: 20 Facebook, 27 February 2018, accessed 21 February, 2019. Figure 20 Perched Gazing In… (detail) 21 Figure 21 Push Grinding by Cai Laiying. Source: “Push Grinding," National 23 Art Museum of China, accessed 22 February 2019, http://www.namoc.org/zsjs/gczp/cpjxs/201304/t20130416_218 176.htm. Figure 22 Abstracts from Nurhachi by Hou Youmei. 24 Figures 23–24 Installation photographs of Graft. Source: supplied by the State 26 Library of Queensland. v Figure 25 Graft (second section). 2016. Handcut paper. 30 x 31cm. 27 Figure 26 Graft (third section). 2016. Handcut paper. 20 x 31cm. 27 Figure 27 A component of Beneath the Bauhinia. 2016. 12 x 15cm. 29 Figures 28–29 Components of Beneath the Bauhinia. 2017. Size variable. 29 Figure 30 Preliminary sketch for Windmills of Your Mind at the 31 Queensland State Archives. Figure 31 “Individual Chinese on the street were confronted and every 32 vehicle ‘from carts to trams that contained Chinese’ was stopped and disrupted by the crowd.” 2017. Handcut paper. 20 x 25cm. Figure 32 Installation photograph from Windmills of Your Mind as 32 exhibited at the Queensland State Archives. Figure 33 Installation photographs of Australian Football League papercuts 37 at Pine Rivers Art Gallery for Too Close to Call. Figure 34 Carp. 2016. Handcut paper. Glue and gold. 4 x 7cm. 39 Figure 35 Installation photographs of the gilded cutouts at Gympie 39 Regional Gallery for Open. Cut. Mine. Figure 36 Installation photographs of bituminous felt clouds Gympie 40 Regional Gallery for Open. Cut. Mine. Figure 37 Detail from The Forest by Yuken Teruya. Paper and glue. Source: 42 QAGOMA, https://www.qagoma.qld.gov.au/goma10hub/artists/yuken- teruya. Figure 38 Tears… for the Patriotic. Found 43 political poster reproduction. 97 x 68cm. Source: Art Collector, ”Group Exhibition: Between Two Worlds,” https://artcollector.net.au/gallery-event/group-exhibition- between-two-worlds/ Figures 39–41 100s upon 1000s. 2019. Recycled 43 Hare Krishna book. Size N/A (right). Figures 42–46 Artworks donated to the Hua Xia Papercutting Museum and the 45 materials used to create them. Blue Sandalwood and Bamboo. 2020. Xuan
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