5 Tips for Paper Cutting

I originally wrote these five tips for an author who asked what techniques that were unique to my practice in cut paper. So if you cut paper like I do, i.e., with a template, these few pointers might help you:

1.  To align my cutout template with the rice paper, I use staples on the top two corners for registration and paperweights to keep the template from shifting while cutting.

2.  I make sure a cut paper piece in progress is structurally sound by starting in the center and working out to the edges.

3.  For large pieces, it is best that you do not lift the cut paper before it is complete and to also cover any cut section with a blank sheet of paper when resting your hand or arm upon it to cut other areas. These precautions protect the delicate areas.

4.  When doing intricate cutting, it helps to lift your knife to the very tip of the blade at the end of a line to prevent over cutting.

5.  Instead of blowing or shaking stray pieces from a cut paper piece, I use a soft sable brush.

boveyleestudio-cutting

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Review in Palm Beach Daily News

Today, I want to share with you a review of my current solo exhibition, Water Has A Memory, at Gavlak Gallery in Palm Beach. Written by Jan Sjostrom, the review first published in Palm Beach Daily News three days ago.

At Gavlak, there is also Phillip Estlund’s solo exhibition and sometimes pairing with another artist’s work could be tricky. But I really love how our works inform each other.

Read the full review here or click on the image.

Bovey Lee: Water Has A Memory, review, Palm Beach Daily News, April 30, 2013

Bovey Lee: Water Has A Memory, review excerpt, Palm Beach Daily News, April 30, 2013

5-year Anniversary – A Mini Retrospective

I began my full-time career as a cut paper artist five years ago (the clock started with my first solo exhibition as a represented gallery artist, although I started making cut paper in summer of 2005). Looking back at the works that I have created, there are several pieces that I consider to be door openers.

“Hanging Gown” is the first piece I used the chain link fence motif. Later, I expanded the idea to create series of works including the “Little Crimes,” “Falling Water,” “Memory Windows,” and “The Butterfly Gown.”

Hanging Gown

Hanging Gown, rice paper cutout, 7×14, 2006

“Atomic Jellyfish” is the first large cut paper with an elevated level of intricacy that I created in late 2007. Although taking as long as four months to complete, it allowed me to push the technical and conceptual limits of cut paper. “Atomic Jellyfish” inspired works that came soon after that dealt with both man-made and natural powers.

"Atomic Jellyfish"

Bovey Lee, Rice paper cutout, 2007

“Beach Ball Blast” is significant as it was the first piece that I focused on environmental issues.

Beach Ball Blast

“Beach Ball Blast,” rice paper cutout, 2009

“Falling Water I–V” is the first series that I created as an installation. Coming from a painting background, I was curious to create a painterly effect using cut paper.

Bovey Lee: Water Has A Memory, gallery shot, Gavlak Gallery, Palm Beach, Florida, USA. Thru May 13.

Bovey Lee: Water Has A Memory, gallery shot, Gavlak Gallery, Palm Beach, Florida, USA. Thru May 13.

“Sewing Highways” brought back the narrative-based expressions in my work. I created it after coming back from Beijing in 2010 after visiting the capital of China twenty years prior. The changes in Beijing’s landscape and people’s lives were staggering and overwhelming. It inspired me to create works on the effects of industrialization and urbanization.

Sewing Highways, cut rice paper on silk, 2011

Sewing Highways, cut rice paper on silk, 2011

“Lifting Clouds” is a recent work that explores how we use super machines and high technologies to claim ownership and alter/shape nature to our liking. I developed the concept to create many works in similar vein, such as “Trimming Feathers,” “Painting Corals,” and “Welding Branches.”

Bovey Lee, "Lifting Clouds", 2012

Bovey Lee, “Lifting Clouds”, 2012

“Vase I” modernizes traditional Chinese vases that always depict nature in purity and untouched by humanity. The fact is, there is literally no place on earth that human beings have not interrupted in some way.

Bovey Lee, "Vase I", 2012

Bovey Lee, “Vase I”, 2012