Paper-cut art is nothing new; the Chinese were doing it as early as the sixth century A.D. Like many other disciplines, modern paper-cut art has gotten a boost from computer technologies, allowing creators to do graphic compositing much more easily than before, not to mention the miraculous powers of the "undo" command.
Northern California-based artist Tahiti Pehrson created these intricate paper-cuts with a combination of modern technology and good, old-fashioned artistic intuition. Evoking the power of repetitive patterning, and a play between symmetry and asymmetry, these works are a real delight to behold.
There's a visually delicious, brain-tickling, overlapping of form and pattern to create even more complex patterns. It's one of nature's secrets: from the repetition of a few simple variations comes great complexity.
One can only imagine how many hours it took to hand-cut these pieces -- apparently over 100 hours for the average piece, according to Inhabitat. And some of the sizes are nothing to sneeze at, with some measuring 4 by 8 feet large.
Pehrson reveals over at Strictly Paper that his creative arsenal includes "Number 11 blades [and] Paper Canson or Lenox," but also that his process has slowly transformed over time, first starting with cutting out patterns on sticker paper to paste on the streets, then evolving into his current practice:
My whole thing has changed over the years. but right now, I’ll do patterns on a computer and draw on top of that, so it has multiple dimensions. Then do layers. I don’t do the whole thing on a computer, I don’t like knowing where things are heading completely. You have to discover something in the process that’s what moves it forward. Also there is something about dragging this image into the physical world. The humanness emerges in this current of variation. I like the way that light and shadows are employed directly, in painting that was always kind of a a metaphor, using color to simulate light.
Pehrson also experiments with three-dimensional forms of paper cuts, creating space-defining sculptures in galleries, or if placed outdoors, animistic lanterns of sorts.
This is one of my favourites -- paper cuts used as a window filter for light.
Paper is an extremely ephemeral material and the meticulous, near-meditative act of carving it out in such a way makes it even more so. Pehrson plans to transfer these paper patterns onto more sturdier media like metal for public installations, which would certainly bring some wonder and awe to any urban space. Delicately mind-blowing stuff, visit Tahiti Pehrson's site and Instagram for more.
[Via: Strictly Paper]