Dialogue with a sheet of paper

Imagine you are seeing a sheet of paper for the first time in your life: who’s that? The sheet speaks to your eyes, only by its presence: color, shape, size, location in the space. Maybe it speaks to your nose by its light smell. Then for the first time you take it in your hands. It communicates through its texture, hardness or softness, consistency, humidity, weight, and also with its sounds.

If you are curious, with an open mind while observing and touching it, the sheet will reveal you its possible transformations. For example, you immediately guess you can fold or roll it: it seems the sheet itself, for its characteristics, invite you to do such actions, as other ones like crumpling or tearing. What objects and tools seem to be attuned to interacting with this material? Scissors, stapler, hole punch, needle, nail, fork… And why not water? In how many ways the sheet can be transformed with these tools?

Each one of these actions can be developed through endless variations. For example, as far as folding, you could use different fold’s sizes, inclinations, proportions, different shapes of the starting sheet, different rhythms… Then, you can combine all these actions: cutting and folding, wetting and crumpling, and so on. Moreover, choosing different types of paper each one will react differently.

“Folding Techniques for Designers” by Paul Jackson; “Il gioco creativo – La carta”

You can see as even a simple material like a sheet of paper holds within itself an entire world, waiting to be discovered. BUT in every dialogue there are two partecipants. Until now, we have considered only the material. What about the other one (me, you or the child that handles it)?
Every action on matter evokes some kind of associations, emotions or memories. For example tearing and cutting are probably perceived in different ways by the same person. Thus, each person has got some favourite actions she likes doing with a specific material. In the meantime, everyone will do the same action in her own way (with a certain speed, muscle tone, care, pressure, mood, focus, etc.). This is why every encounter is unique. Isn’t this amazing?

Photo by Orit Jacobson

In the beautiful book “The spirit of matter”, Nona Orbach and Lilach Galkin deeply investigate just that: the connection between our inner world and materials. They write: Each individual has a way to internal dialogue, usually words, images and metaphors. Living a close relationship to art materials, we find ourselves conversing through them in our personal creative process, as well as when observing others’ development. Physical matter is not merely an object, tool, paste or powder. It is words taken from the concrete world, which undergo personalization and serve to express an internal world.

Now, imagine you wants to create (or you ask children to create) with a sheet of paper a specific product, for example a little boat of a certain shape. In this case, you will not really “see” that sheet in all its potential, as you are focused on your predefined goal and will use paper only as a means. Of course nothing bad with it… But the approach I am speaking about is something else. It is a mutual interaction in which both the two partecipants are playing, so that the material is not completely forced in a prior idea.

This could also be an interesting metaphor of a dialogue between two persons. If one of them is not interested in the other and only talks about himself without listening, whatever person he will have in front of him, he will say the same words. In the meantime, the other one will be totally passive and between the two there will not be any kind of exchange. Instead, being in relationship will open new and unexpected paths.
Of course, there are many possible balances, symmetrical or not, between the two parts. For example, you could have a quite precise idea to realize, like a paper boat, but you will let the material suggest the better shape or dimensions, according to its characteristics.

So, how can you describe your dialogue with a material? Who leads, who follows? The leader and the follower can switch during the same creative process: how does this happen?

Pre-schools teachers from Fano, Italy

In the relational approach I tried to describe, the personality of matter meets the personality of the creator. Before the creative process takes place, both the potentials were already there, but silent. While transforming the material, you are making visible your unique essence; in the meantime, while the material is transformed, its nature unfolds.

Photo by Nona Orbach

Every human being holds within them a combined heritage of characteristics, likes and dislikes that make them who they are. Actions imprinted upon matter may represent this richness. All of these qualities, when assembled and marked down on paper, clay, etc., leave visual signs that create a unique fingerprint. This essential imprint will develop and become enriched throughout our life, if given the chance. This is how the artist and art therapist Nona Orbach beautifully describes the unique essence that every person reveals through matter in the creative process.
In other words, it is a mutual enrichment, respecting the specific potential and limits of both parties. An ecological, empathic approach towards world, to whatever big and tiny thing we meet.

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