Stargazer, by Marilyn Propp
Artist Statement
My series Notes from the Sea addresses the clash/coexistence between the industrial and natural worlds where industrial debris, machine parts, and marine life are entangled or morph into one another. Fueled by my concerns about environmentally destructive practices—like the devastation of coral reefs, plastic that entangles and suffocates marine life, and oil spills that devastate land and sea—I use paper, print, and collage to present images of beauty while offering reflections on destruction.
In my work, handmade paper reflects both the undersea world and the way paper itself is made: a watery material in which wet pulp is stirred, formed, and pressed. Pigmented pulp creates a textured and painterly surface, contrasting the texture and color of the paper with the crispness and layering of the prints. Installed, they sit away from the wall, appearing to float, creating an impression of underwater glimpses. With their trailing deckles, they evoke the movement of sea life, often suggesting filtered sunlight, as though looking up through the water from below. Ultimately, the work is about mending the world.
Stargazer, by Marilyn Propp
Marilyn Propp
Stargazer, 2020
Relief print and collage on handmade cotton paper with pulp painting
33 x 32 1/2 inches
Photography: Courtesy of the Artist
Artist Statement
My series Notes from the Sea addresses the clash/coexistence between the industrial and natural worlds where industrial debris, machine parts, and marine life are entangled or morph into one another. Fueled by my concerns about environmentally destructive practices—like the devastation of coral reefs, plastic that entangles and suffocates marine life, and oil spills that devastate land and sea—I use paper, print, and collage to present images of beauty while offering reflections on destruction.
In my work, handmade paper reflects both the undersea world and the way paper itself is made: a watery material in which wet pulp is stirred, formed, and pressed. Pigmented pulp creates a textured and painterly surface, contrasting the texture and color of the paper with the crispness and layering of the prints. Installed, they sit away from the wall, appearing to float, creating an impression of underwater glimpses. With their trailing deckles they evoke the movement of sea life, often suggesting filtered sunlight, as though looking up through the water from below. Ultimately, the work is about mending the world.
Second Floor Artwork
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