Issuu on Google+


paper_cuts_n.indd 7

15/02/11 13.11


paper_cuts_n.indd 9

15/02/11 13.11


Josh, 2010 Cut paper on birch panel 64cm x 46cm next page Oscar And Scarlett, 2010 Cut paper on birch panel 84cm x 74cm

paper_cuts_n.indd 10

15/02/11 13.11


paper_cuts_n.indd 11

15/02/11 13.11


left The Better Half 1, 2009 Cut paper on birch panel 117cm x 51cm right The Better Half 2, 2009 Cut paper on birch panel 117cm x 51cm

paper_cuts_n.indd 14

15/02/11 13.11


paper_cuts_n.indd 15

15/02/11 13.12


paper_cuts_n.indd 20

15/02/11 13.12


paper_cuts_n.indd 21

15/02/11 13.12


paper_cuts_n.indd 23

15/02/11 13.12


left The Designated Mourner, 2010 Cut paper on birch panel 96cm x 58cm right Rites Of Spring, 2010 Cut paper on birch panel 99cm x 66cm

paper_cuts_n.indd 46

15/02/11 13.13


paper_cuts_n.indd 47

15/02/11 13.13


paper_cuts_n.indd 49

15/02/11 13.13


paper_cuts_n.indd 54

15/02/11 13.13


HV– How do you think Jung informs your work beyond the popular notions of the archetype? I ask this because “archetype” seems to be the only thing most people know about his ideas. BAD– Years ago, I worked with an analyst as well as doing a lot of reading of authors that explored Jung’s ideas. Most of the readings dealt with the collective unconscious. I learned a lot of techniques for dream and symbol analysis through those explorations. One of the techniques that I use quite often, and in particular with my latest series is automatic writing. Though in my case I am not putting it down in words, but rather in visual moments. I tend to take long walks, and I just let my mind free associate. Or some times I try to prompt my imagination. Then I just sit back and listen for the images. I let them stew a bit, and then write them down. I usually don’t try to decipher them, but once I have them in front of me I begin to use each of them as a seed and see what free-associating with them will provide. If I took anything away from that period, it was that by probing my own thoughts, I had a wellspring of material to work. I am ultimately dealing with personal symbols that I try to relate to themes in my life that interest me. It generally takes me a while to realize what a body of work is about, but it often becomes very apparent to me a few pieces into a series. If anything, I feel like I am making new spins on old archetypes.

When I work with paper, I have the image on an easel, but the paper and knife are on a table. I don’t watch the paper while I cut; I watch the image. I imagine where I would be making the mark. —Brian Adam Douglas

left Artists’ studio, 2010

56——57

paper_cuts_n.indd 55

15/02/11 13.13


left Babble, 2010 Cut paper on paper 153cm x 76cm

paper_cuts_n.indd 60

15/02/11 13.14


above The Hand That Rocks The Cradle, 2010 Cut paper on paper 130cm x 112cm

paper_cuts_n.indd 61

15/02/11 13.14


Cocoons Come And Cocoons Go. It’s The Transformation That’s Key, 2010 Cut paper on paper 129cm x 110cm

paper_cuts_n.indd 72

15/02/11 13.14


paper_cuts_n.indd 73

15/02/11 13.14


Knitting Circle, 2010 Cut paper on paper 115cm x 90cm

paper_cuts_n.indd 74

15/02/11 13.15


paper_cuts_n.indd 75

15/02/11 13.15


Paper Cuts by Brian Adam douglas aka Elbow Toe