By 1985 Gerard began negotiations with the director of the Print Workshop of the Berlin Artists Union in the Bethanien Haus to open a workshop for handmade paper there. The K["]unstlerhaus Bethanien (literally: artists' house) is an old hospital built in 1847 that now contains studios, print shops, exhibition and performance spaces, a music school, and a Turkish library, in addition to the public offices for the Kreuzberg district (once known for squatter confrontations with police, now an afforable neighborhood for alternative galleries). Gerard began without any kind of financial assistance, constructing equipment from reference books that were essentially from the 17th century. Today he operates his workshop with programs for experimental work, small sheet production, and artistic collaborations, attracting artists interested in probing the possibilities of the medium. Gerard also exhibits his own work -- most recently in a one-man show at Gallerie Gutsch in Berlin this summer. Titled Papier im Raum (Paper in Space), it includes objects, screens, and two artist-made books -- a mixture that indicates the diversity in Gerard's work in paper art. The key to the exhibit is an obelisk, 168 cm high, placed like a beacon in the center of the room. It functions symbolically as messenger, mediating between screens with non-verbal signs on opposite walls and free-standing pieces at the rear. Open books displaying their printed content complete the show. With his free-standing pieces Gerard presents paper in a novel aesthetic context. He reverses the role of paper as carrier and instead uses a three-dimensional form to carry the paper. The symbiosis here between form and surface is neither akin to the

symbiosis here between form and surface is neither akin to the relationship between canvas and paint, nor to the role of patina on

relationship between canvas and paint, nor to the role of patina on sculpture, but rather somewhere in between. The three-dimensional

sculpture, but rather somewhere in between. The three-dimensional objects here are covered with multicolored paper torn into roughly

objects here are covered with multicolored paper torn into roughly one-inch segments that coalesce into a pointilist surface. On some

one-inch segments that coalesce into a pointilist surface. On some of the pieces the collaged fragments become an overall pattern that

of the pieces the collaged fragments become an overall pattern that enlivens the form with nervous energy; on others, the artist has

enlivens the form with nervous energy; on others, the artist has worked out designs reminiscent of Japanese boxes with emphasis on

worked out designs reminiscent of Japanese boxes with emphasis on the wrapping.

the wrapping. The screens are constructed in sections, with pages tied loosely

The screens are constructed in sections, with pages tied loosely to bamboo supports that underscore Oriental influences in

to bamboo supports that underscore Oriental influences in contemporary Western papermaking. One screen contains ten sheets

contemporary Western papermaking. One screen contains ten sheets per frame, two pages wide and five high, with light and dark ones

per frame, two pages wide and five high, with light and dark ones arranged to form a pyramid; the other is comprised of totally dark

arranged to form a pyramid; the other is comprised of totally dark sections with subtle variations.

sections with subtle variations. The two books on display are the result of collaborations between

The two books on display are the result of collaborations between Gerard and Herbert Gutsch, who is a master printmaker and printer,

Gerard and Herbert Gutsch, who is a master printmaker and printer, and the publisher of unique short editions that incorporate these

and the publisher of unique short editions that incorporate these disciplines. Gutsch is also the owner of the gallery housing this

disciplines. Gutsch is also the owner of the gallery housing this exhibit.

exhibit. With the pages for these books Gerard expands upon the traditional

With the pages for these books Gerard expands upon the traditional dictum for strict uniformity between sheets. Combining the best of

dictum for strict uniformity between sheets. Combining the best of two attitudes, he made sheets that are uniform in size, fiber

two attitudes, he made sheets that are uniform in size, fiber composition, base color, and texture, yet they contain intended

composition, base color, and texture, yet they contain intended internal variations. This planned randomness is achieved at various

internal variations. This planned randomness is achieved at various stages of production as free-floating particles are either added to

stages of production as free-floating particles are either added to the slurry or beaten together with the pulp, settling later in only

the slurry or beaten together with the pulp, settling later in only roughly predictable ways as gradations or flecks of color. In other

roughly predictable ways as gradations or flecks of color. In other examples multiple couching and embedments provide visual interest.

examples multiple couching and embedments provide visual interest. All of these variations are the natural outgrowth of Gerard's

All of these variations are the natural outgrowth of Gerard's previous collage work, now refined and adjusted to the paper-making

previous collage work, now refined and adjusted to the paper-making process.

process. Die Schl["]afer (The Sleepers) is an expressionist

Die Schl["]afer (The Sleepers) is an expressionist poem by George Heym, rich in word pictures painted in shades of

poem by George Heym, rich in word pictures painted in shades of light and dark, forboding and resignation. Sleep, with its

light and dark, forboding and resignation. Sleep, with its generative powers largely ignored, has always found artistic

generative powers largely ignored, has always found artistic expression in dark terms. This poem, with its bold semantic and

expression in dark terms. This poem, with its bold semantic and visual associations, seems like a perfect vehicle for Gerard's dark

visual associations, seems like a perfect vehicle for Gerard's dark and beautiful pages. But his pages were not made to fit the poem;

and beautiful pages. But his pages were not made to fit the poem; the poem was selected to fit the paper. "The darkness of the book

the poem was selected to fit the paper. "The darkness of the book intrigued Gutsch the most; we would later discuss the project many

intrigued Gutsch the most; we would later discuss the project many times, changing slightly the concept or the potential imagery...

times, changing slightly the concept or the potential imagery... Only later did he decide on Heym's poem," said Gerard when I spoke

Only later did he decide on Heym's poem," said Gerard when I spoke with him about the book.

with him about the book. This book depended on several technical feats, such as finding the

This book depended on several technical feats, such as finding the right colorant to provide a full deep black, and also the means to

right colorant to provide a full deep black, and also the means to produce sharp resolutions for the geometric forms couched onto the

produce sharp resolutions for the geometric forms couched onto the base sheets. The color of the printed words is grayish purple and

base sheets. The color of the printed words is grayish purple and echoes the symbolic use of that color within the text. Physically

echoes the symbolic use of that color within the text. Physically the book is a set of twelve sheets enclosed in a portfolio, a

the book is a set of twelve sheets enclosed in a portfolio, a limited edition of twenty-five.

limited edition of twenty-five. A love poem, Ich liebe Dich (I Love You), by East

A love poem, Ich liebe Dich (I Love You), by East German writer Heinz Kahlau, is the text for the cream-colored paper

German writer Heinz Kahlau, is the text for the cream-colored paper made of cotton, hemp, linen, and kozo. Narrow strips from a

made of cotton, hemp, linen, and kozo. Narrow strips from a handmade kozo sheet painted with acrylic are held in place by

handmade kozo sheet painted with acrylic are held in place by a thin blue layer of pulp made from blue jeans. The strips link one

a thin blue layer of pulp made from blue jeans. The strips link one sheet to another, establishing a sense of continuity throughout the

sheet to another, establishing a sense of continuity throughout the book. Gutsch selected the text, which was silk screened in red onto

book. Gutsch selected the text, which was silk screened in red onto machine-made transparent sheets that were placed between eight

machine-made transparent sheets that were placed between eight handmade ones -- an uncanny combination contrasting the slickness

handmade ones -- an uncanny combination contrasting the slickness and transparency of a high-tech product with the tactile and design

and transparency of a high-tech product with the tactile and design quality of a handmade one. This work has been produced in an

quality of a handmade one. This work has been produced in an edition of fifty.

edition of fifty. This stanza from Kahlau's love poem conveys his somewhat didactic

This stanza from Kahlau's love poem conveys his somewhat didactic stance:

stance: Ich liebe dich I love you

Ich liebe dich I love you heisst immer: always means:

heisst immer: always means: Ich will dich I want you

Ich will dich I want you f["]ur etwas haben, for something

f["]ur etwas haben, for something das mir Gl["]uck verspricht. that promises me happiness.

das mir Gl["]uck verspricht. that promises me happiness. Manchmal entsteht daraus: Sometimes this becomes:

Manchmal entsteht daraus: Sometimes this becomes: Wir lieben uns. We love each other.

Wir lieben uns. We love each other. Erst dieser Satz Only this sentence

Erst dieser Satz Only this sentence hat wirkliches Gewicht. has real weight.

hat wirkliches Gewicht. has real weight. Overall Gerard's exhibition traces a paper lineage from the

Overall Gerard's exhibition traces a paper lineage from the printed page and sheet to free-standing and autonomous objects,

printed page and sheet to free-standing and autonomous objects, combining contemporary art and craft concerns. An important

combining contemporary art and craft concerns. An important ingredient in the revival of handmade paper has always been the

ingredient in the revival of handmade paper has always been the aspect of innovation, and Gerard's work has its roots in the spirit

aspect of innovation, and Gerard's work has its roots in the spirit of experimentation in America as papermakers began to establish more

of experimentation in America as papermakers began to establish more and more of a foothold in educational facilities with printmakers,

and more of a foothold in educational facilities with printmakers, painters, and sculptors leaving their imprimatur. The result of

painters, and sculptors leaving their imprimatur. The result of those inquiries are evident today in the number of paper exhibitions

those inquiries are evident today in the number of paper exhibitions in galleries hitherto reserved for other forms of art.

in galleries hitherto reserved for other forms of art. Like any medium, paper is only as eloquent as the person using it;

Like any medium, paper is only as eloquent as the person using it; and John Gerard is indeed an eloquent spokesman. </div>

and John Gerard is indeed an eloquent spokesman.

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