Bark Rhythms: Contemporary Innovations & Ancestral Traditions features historical examples of hand-beaten bark papers, barkcloth, and traditional beaters, paired with the work of contemporary artists from global communities who use bark fiber materials and techniques in innovative and unexpected ways.

 

The Paper Museum worked with Jill Powers and Lisa Miles to produce Bark Rhythms. The goal was to create an exhibit that showcased the ongoing practices of barkcloth and bark papers. Powers and Miles connected with artists around the world to develop an exhibit that is interesting and engaging, especially for people who have no experience with these materials. “One of the aspects emphasized by Bark Rhythms is that these practices are living— that the people who make bark paper and barkcloth are producing something that is important and relevant to the communities they are part of. That element really spoke to us as important to emphasize in an exhibit. Lisa and Jill wanted to ensure Bark Rhythms was as comprehensive as our space allowed,” says museum director Virginia Howell. The exhibit features contemporary artwork, but there are historic examples included throughout. In addition to artwork, the tools –beaters—used in production are prominently featured. This includes about a dozen wood beaters acquired by Dard Hunter in the first quarter of the 20th century. 

In the world of handmade paper, the definition of paper has long venerated European and Asian traditions, which employ moulds to form sheets with macerated pulp. Bark paper and bark cloth are created by hand-beating the cooked or fermented inner bark of certain trees with a shaped stone, wood, or metal beating implement. Bark Rhythms seeks to elevate and honor Indigenous beaten bark fiber traditions that have been undervalued or excluded from exhibitions and scholarship within the field of papermaking and beyond. Highlighting the manifestation of ancient traditions into distinctive, contemporary art practices, this exhibition connects the dots between bark paper and barkcloth, and it shines a light on makers who maintain a deep respect for their materials, techniques, tools, and cultural origins. Although not comprehensive worldwide, Bark Rhythms focuses on bark paper and bark cloth traditions from Mexico, Hawaii, the Polynesian Islands, Indonesia, and Uganda, and marks the first time many of these artists have exhibited work in the United States.

Bark Rhythms opened at the Robert C. Williams Museum of Papermaking in Atlanta, Georgia, on May 6, 2024. A celebratory reception will be held on Thursday, July 11 from 4-7pm. Sponsored by North American Hand Papermakers and the Robert C. Williams Museum of Papermaking, Bark Rhythms is curated by papermakers Jill Powers and Lisa Miles as part of NAHP's second Guest Curated Exhibition Triennial.

Events

Wednesday, May 29 • Virtual talk: Sheila Nakitende & Tedi Permadi: Ugandan barkcloth, Indonesian Duluang bark paper

Tuesday, June 18 • Virtual talk:  James Ojascastro & Cekouat Elim León Peralta :  Bast fibers for bark paper & cloth, Papel amate from Mexico

Thursday, July 11 • Exhibit Reception 4-7pm

Wednesday, Aug 7 • Virtual talk:  Lehuauakea, Dalani Tanahy, & Cora-Allan Lafaiki Twiss: Kapa bark cloth from Hawai‘i, Hiapo bark cloth from Niue

All events are free and open to the public. The virutal talks are held on Zoom. To register, visit the museum website (www.paper.gatech.edu) or email Anna.Doll@rbi.gatech.edu

Exhibiting Artists

Adnan Rusdi, Bobby Britnell, Cekouat Peralta, Cora-Allan Twiss, Dalani Tanahy, Enrique Chagoya, Faris Wibisono, Fred Mubuti, Gaal Cohen, Jennie Frederick, Lehuauakea, Maria Montaño Guerrero, Maribel Portela, Mufid Sururi, Sheila Nakitende, Tedi Permadi

About the Curators

Jill Powers is a paper and book artist, primarily working with hand cast and beaten bark fiber. Her art takes the form of sculpture, installation art, and book arts, and focuses on environmental themes. Powers has a graduate degree from Tyler School of Art in Philadelphia. She lives in Boulder Colorado, where she taught at Naropa University for 20 years, founding courses in 3D Ephemeral Media and Eco Art. Her work is in the Lieberman Collection and the RCW Museum of Papermaking, and many private and public collections. She has taught bark fiber courses at many places, including the Sitka Center for Art and Ecology in Oregon, the Honolulu Museum of Art in Hawaii, the Denver Botanical Gardens, and the Museo de las Americas. 

Lisa Miles is a papermaker and book artist who creates one-of-a-kind, hand-beaten bark paperworks. Originally from New England, Miles is based in Santa Fe, New Mexico. She holds an MFA in Book Arts from the University of Iowa Center for the Book, a BFA in Graphic Design from the New England School of Art & Design, and an AA in Printmaking from the Santa Fe Community College. In 2016, she researched  papel amate in Mexico, with the support of a University of Iowa Stanley Graduate Award for International Research. In 2017–2018, she received a Fulbright Arts Research grant for her project, “Bark Paper, Plant Dyes, and the Book Arts in Indonesia,” where she studied daluang bark paper in Java and fuya bark cloth in Sulawesi. In 2018, Miles was awarded the Holle Award for Excellence in Book Arts from the University of Alabama. Her work is held in public and private collections.