Page 1


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  

‘CUT PAPER PAINTING’ THAT DISSECTS THE BEWILDERING ACT OF PARENTHOOD For his book Paper Cuts, published in occasion of his first solo show...

Read more
Read more
Similar to
Popular now
Just for you