Celebrating its physical materiality and eclectic nature, the exhibition demonstrates the significance of paper as an autonomous and elevated medium in its own right.

Associated with raw immediacy, paper conjures a space in which primal thought becomes tangible object.

Motherwell referred to paper as “the most sympathetic of all painting surfaces.”

"Images are not just passive entities that coexist with their human hosts, any more than the microorganisms that dwell in our intestines. They change the way we think and dream. They refunction our memories and imaginations, bringing new criteria and new desires into the world."

"... to analyse the ways in which images seem to come alive and want things."

W. J. T. Mitchell, What do pictures want ?

The potential of paper as a material across the works of several generations of artists.

The two balancing trees of the knowledge of good and shoddy things. Good pictures know all your flaws and weaknesses. Images unearth worlds unknown to the naked eye, but only naming a smidgen of things is useful.

So this is all nice and theoretical and pure, but pictures are completely destabilized. The scientific content of this page is utter nonsense. Good pictures avoid making everything in their life public.

I wonder why clocks go tick, and why minutes are so quick.

Brandon Ratcliff, to handcraft washi paper alongside the skilled artisans of the family-run Iwano Heizaburo paper mill.

Color alone is both form and subject.

Robert Delaunay

Lobsters share a worldview of reciprocity that recognises the interdependence of all life forms.

☞ ⧉

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