Susan Gosin & Serena Trizzino

JAE KIM: Susan, as the founder of Dieu Donné, your journey in exploring the untapped potential of hand papermaking has undoubtedly been transformative. Can you take us back to your early experiences or influences that led you to envision and establish Dieu Donné?

SUSAN GOSIN: In the mid-1970s, as a graduate student at The University of Wisconsin, Madison, I immersed myself in the revolutionary era of fine printmaking amid civil rights marches and anti-war Vietnam protests. Embracing the rejection of established norms, I explored various forms of fine printmaking, including the unconventional practice of hand papermaking, a rare skill taught by my teacher, Walter Hamady. This innovative approach allowed artists like me to customize paper in terms of size, color, texture, and more, enhancing both technical functionality and aesthetic appeal. Besides making sheets of custom paper, I also realized that the process itself offered incredible opportunities to create art using paper pulp. Inspired by this, I founded a professional studio in NYC, Dieu Donné (naming it after part of my father’s name and French for God Given), aiming to revive hand papermaking and introduce artists from diverse disciplines to its untapped potential. Over the past 50 years, our collaboration has empowered thousands of artists to create original works, unlocking the latent possibilities of this ancient craft.

JK: Beyond its tactile and visual qualities, how does the process of papermaking contribute to artistic dialogues in a way that distinguishes it from other forms of expression? What transcendent qualities do you see in papermaking that offer artists a distinctive channel for their creative voices amidst the complexities of our modern era?

SG: Visual artists commonly use paper for various creative projects, with the option of purchasing from suppliers or crafting custom sheets for a unique touch. Hand papermaking, an ancient craft, involves macerating plant fibers into pulp, offering diverse materials like mulberry or linen for varied textures and colors, allowing for watermarks exclusive to this process. At Dieu Donné, we employ layering techniques and bonding sheets with pigmented pulps, enabling detailed low-relief casts, sculptures, and lightweight spray-formed structures. This transformative process enhances artists’ creative practice, forging a unique partnership between water, plants, and artistic vision.

JK: Can you highlight a defining moment or project that captures the essence of Dieu Donné’s mission in collaborative hand papermaking and its impact on both established and emerging artists?

SG: In the late 1970s, Dieu Donné’s colleague, Joe Wilfer, who had pioneered handmade paper collaborations with artists such as Alan Shields, came to Dieu Donné to work on some new collaborations with Chuck Close. Very few artists at that time had any exposure to hand papermaking. Initially, Chuck was doubtful that papermaking offered anything for his art practice. Through months of experimentation, a breakthrough process emerged, exciting Chuck and Pace Editions. These early editions paved the way for artists like Arlene Shechet and Firelei Báez, former Workspace Artists, who utilized funded residencies in Dieu Donné’s collaboration program, launched in 1990, to expand their artistic horizons and contribute to the evolving landscape of handmade paper art.

JK: How did the collaboration between Dieu Donné and artist Lynda Benglis in her 2023 exhibition at 125 Newbury in Tribeca reshape perceptions of paper as a medium and Benglis’s artistic style through the interplay of traditional craft techniques and contemporary expression?

SG: As one of the first artists to explore the art-making potential of hand papermaking, we were thrilled to work with Lynda Benglis on a commission to celebrate Dieu Donné’s 25th Anniversary in 2001, in which we helped Lynda to create a fresh approach to handmade paper sculpture. 25 years later, we engaged Lynda again for our 50th Anniversary, overcoming pandemic travel restrictions through a cross-country collaboration with Dieu Donné’s Master Collaborator, Amy Jacobs. Utilizing phone calls, Zoom, and mail-exchanged samples, the collaboration resulted in approximately 50 unfinished and unique pieces. Shipped to Lynda’s studio, the sculptures, pigmented paper pulp, and supplies set the stage for an alchemical collaboration that exceeded expectations. Lynda’s visionary artistry and Amy’s masterful papermaking transformed paper pulp into brilliant works of art.

JK: Serena, as Executive Director, you are intimately involved in Dieu  Donné’s strategic direction. What future initiatives or projects do you envision for the organization that will further enhance its influence in the art world?

SERENA TRIZZINO: For nearly 50 years, Dieu Donné has been a driving force in advancing hand papermaking within the artistic community. Our collaborative culture encourages artists of all levels to closely engage with our expert papermakers, who are also practicing artists. In 2023, impactful collaborations with renowned artists were showcased in over 10 exhibitions across galleries and museums, highlighting the significant impact of our efforts. Looking forward, Dieu Donné aims to continue fostering exciting collaborations, investing in educational programs, and expanding public outreach through high-quality exhibitions. As we prepare for our 50th-anniversary celebration in 2026, Dieu Donné remains committed to promoting hand papermaking as a unique and versatile artistic medium, distinct from traditional forms, and raising awareness about its unparalleled creative possibilities in the art world.

<Read the full interview from Issue Seven>