In essence she has fulfilled her own stated desire to push paper "beyond what paper can do" leading some viewers to ask "Is that really paper?" Combining plastic, metal, glass, and Mylar with paper, Hall's sculptures join rich textures and vibrant colors to create tantalizing constructions that are highly evocative and reminiscent of various natural and manmade forms—undulating currents, algae blooms, coral reefs, and fishing nets. She begins her installations by making parts of her work in the sunfilled rooms of her studio and then transports the components to the gallery where she assembles the pieces and other materials onto the wall. Basic decisions about scale and layout are made prior to installation, but final placement and the rhythm and flow of the forms take shape while Hall installs the work in situ. For "Sea of Heartbreak" (which will be installed shortly after the publication of this essay), Hall plans to mount new major works including Algae Bloom with its swells and ripples of paper in Close detail of Algae Bloom, 2017. top: Artist cutting paper laminated to Mylar, collagraph printing plate on the next table over to her left. On walls behind the artist are Algae Bloom, 2017, and Going, Going, Gone, 2018. All photos courtesy of the artist, and taken by Daniel McManus. summer 2018 - 35 shades of green, orange, and rust; Going, Going, Gone, comprised of brown, orange, and cream-colored clusters of cast paper and paper on wires that appear to be sprouting from the wall; Invasion of Hull Cove, which combines original vinyl wallpaper depicting coral in shades of pink along with steel, organic forms that seemingly emerge out of the wall; and Greening of Our Beaches, a floor piece made of sand collected from around the world contained in glass, situated on a circular platform. The circle evokes the continuous relationship of cause and effect, and builds on the artist's personal lexicon of compass shapes, fitting iconography for a veteran sailor. Inspired by an article Hall read about Miami Beach running out of sand, motivating experts to investigate the possibility of replacing it with ground glass, Greening of Our Beaches relates to Going, Going, Gone in that they both talk about loss of habitat—beach erosion and disappearance of coral which fish feed on to help produce sand, a spiraling cycle of depletion. Hall's mixed-media installations are visually striking and seductive, with an express purpose in mind. "My works use beauty as a means to draw a viewer in and impact him/her in a subversive and emotional way," states Hall. "The works initiate a conversation." Specifically, Hall is interested in highlighting the human footprint on nature, with a particular focus on plastic pollution in the ocean and its consequences. Water is of course essential for our survival. The human body is about seventy-five percent water. Two-thirds of the global economy is derived from activities that involve clean Detail of Going, Going, Gone, 2018, installation dimensions variable, kozo, gampi, and flax papers, mixed media (paper colored with metal pigments that rust as the paper dries). The sculptural forms are sprayed with textured paint so that the pulp grabs onto the stainless-steel wire when dipped in overbeaten flax and abaca. water resources in some way, yet as Hall explains, ten percent of the world's plastic winds up in the ocean. Water pollution ultimately impacts everything and everyone. Non-biodegradable plastic waste impacts everything and everyone. Non-biodegradable plastic waste "floats indefinitely, circulating the world," Hall reminds us. It also "floats indefinitely, circulating the world," Hall reminds us. It also breaks into tiny particles ingested by fish and birds. For "Sea of breaks into tiny particles ingested by fish and birds. For "Sea of Heartbreak," Hall's stunning, large-scale works address increases Heartbreak," Hall's stunning, large-scale works address increases in algae bloom and invasive algae, and refer to the coral reefs that in algae bloom and invasive algae, and refer to the coral reefs that are dying worldwide. Both are the result of increased ocean temperatures are dying worldwide. Both are the result of increased ocean temperatures caused in part by plastic pollution. According to the artist, caused in part by plastic pollution. According to the artist, the sea surface temperature where she lives on Narragansett the sea surface temperature where she lives on Narragansett Bay, Rhode Island, has increased 3.6 degrees Fahrenheit since the Bay, Rhode Island, has increased 3.6 degrees Fahrenheit since the 1960s, and new research has revealed that plastic microfibers are in 1960s, and new research has revealed that plastic microfibers are in eighty-three percent of water samples worldwide. eighty-three percent of water samples worldwide. With water pollution as a core concern in her artwork, it is only With water pollution as a core concern in her artwork, it is only natural that Hall would work in a medium that involves water. natural that Hall would work in a medium that involves water. Dispersing a range of fibers in water, Hall forms her sculptures using Dispersing a range of fibers in water, Hall forms her sculptures using abaca and cotton pulp. She makes large sheets of paper up to abaca and cotton pulp. She makes large sheets of paper up to 8 x 10 feet using kozo and gampi fibers that are hand beaten. Hall 8 x 10 feet using kozo and gampi fibers that are hand beaten. Hall works with overbeaten abaca as a liquid drawing medium. She also works with overbeaten abaca as a liquid drawing medium. She also employs high-shrinkage flax pulp to coat wires and forms that she employs high-shrinkage flax pulp to coat wires and forms that she fashions from plastic. For some of her sculptural works, Hall creates fashions from plastic. For some of her sculptural works, Hall creates shapes with overbeaten abaca that is colored with dry pigments and shapes with overbeaten abaca that is colored with dry pigments and metal fibers that rust in the paper. "The rusted pulps change colors metal fibers that rust in the paper. "The rusted pulps change colors as they dry," describes Hall. "Oftentimes I am not quite sure what as they dry," describes Hall. "Oftentimes I am not quite sure what they will look like until they dry, much like printmaking where one really does not know what the end result is until it is pulled they will look like until they dry, much like printmaking where one really does not know what the end result is until it is pulled off the printing plate." The resulting, richly colored layers of off the printing plate." The resulting, richly colored layers of paper in her sculptures are meant to evoke the experience of paper in her sculptures are meant to evoke the experience of looking down into ocean water. looking down into ocean water. After coloring the paper, Hall prints the sheets with large After coloring the paper, Hall prints the sheets with large printing plates that are often made through the artist's documentation printing plates that are often made through the artist's documentation of the detritus that she has removed from the of the detritus that she has removed from the water at sites along the coast. She often embosses the sheets water at sites along the coast. She often embosses the sheets with objects she has gathered when making the collagraph with objects she has gathered when making the collagraph printing plates. printing plates. After she prints the paper, Hall adheres it to Mylar using After she prints the paper, Hall adheres it to Mylar using a thinned-down acrylic gloss medium. Once the prints a thinned-down acrylic gloss medium. Once the prints have dried, she can cut intricate shapes and pulp to paint have dried, she can cut intricate shapes and pulp to paint on top the printed, mounted paper. Cutting the Mylar-backed on top the printed, mounted paper. Cutting the Mylar-backed paper into forms is both a creative and meditative process; paper into forms is both a creative and meditative process; it also requires a great deal of precision and patience. Hall it also requires a great deal of precision and patience. Hall does not shy away from using the very manmade material does not shy away from using the very manmade material to which she is drawing attention: plastic. She incorporates to which she is drawing attention: plastic. She incorporates plastic into her work because for her it is not about eliminating plastic into her work because for her it is not about eliminating plastic altogether; it is about raising awareness of ocean plastic altogether; it is about raising awareness of ocean pollution and encouraging a more responsible use and disposal pollution and encouraging a more responsible use and disposal of plastic. As a final step, the work is carefully rolled of plastic. As a final step, the work is carefully rolled and boxed for transport. Hall installs the work at its final and boxed for transport. Hall installs the work at its final destination, and each installation is different. Like shifting destination, and each installation is different. Like shifting currents, the work changes as Hall installs it for exhibition, currents, the work changes as Hall installs it for exhibition, a transformation that she describes as "symbolic of our everchanging a transformation that she describes as "symbolic of our everchanging bodies and planet." bodies and planet." The process and ideas behind "Sea of Heartbreak" are The process and ideas behind "Sea of Heartbreak" are deeply personal for the artist. Hall began sailing as a teenager deeply personal for the artist. Hall began sailing as a teenager and became an artist. She now lives on the water in and became an artist. She now lives on the water in Jamestown, Rhode Island, where she sees, enjoys, and contemplates Jamestown, Rhode Island, where she sees, enjoys, and contemplates the ocean on a daily basis. Making art, making the ocean on a daily basis. Making art, making paper, and working with paper all involve control but they paper, and working with paper all involve control but they also require that one relinquish a certain amount of it. As also require that one relinquish a certain amount of it. As with sailing, Hall is drawn to this tension between control with sailing, Hall is drawn to this tension between control and surrender. She has learned to wholeheartedly embrace and surrender. She has learned to wholeheartedly embrace the unpredictability of her medium and materials. Yielding the unpredictability of her medium and materials. Yielding control has often led to happy surprises. control has often led to happy surprises. The exhibition title "Sea of Heartbreak" is taken from Don The exhibition title "Sea of Heartbreak" is taken from Don Gibson's country hit from 1961, in which the singer laments Gibson's country hit from 1961, in which the singer laments a lost love. For Hall, it references the ups and downs in an a lost love. For Hall, it references the ups and downs in an artist's life and creative process. More broadly, Hall uses the artist's life and creative process. More broadly, Hall uses the title to point out the harm of plastic pollution to the world's title to point out the harm of plastic pollution to the world's oceans, marine life, and ultimately humankind with all the oceans, marine life, and ultimately humankind with all the resulting "heartbreak." And finally, it refers to love and loss resulting "heartbreak." And finally, it refers to love and loss as two sides of the same coin—because in order to be heartbroken, as two sides of the same coin—because in order to be heartbroken, one must love something or someone enough to one must love something or someone enough to risk being broken. It is a bittersweet realization. When viewing risk being broken. It is a bittersweet realization. When viewing Joan Hall's exquisite installations, one learns that in the Joan Hall's exquisite installations, one learns that in the many layers of paper, glass, and metal, we will find a vast many layers of paper, glass, and metal, we will find a vast ocean of meaning, symbolism, and emotion. ocean of meaning, symbolism, and emotion. The artist pulling kozo sheet off the printing plate that has been painted with red abaca The artist pulling kozo sheet off the printing plate that has been painted with red abaca pulp. The paper is laminated to Mylar after printing and before cutting. pulp. The paper is laminated to Mylar after printing and before cutting. Paper studio of Joan Hall, creating the components for Going, Going, Gone, 2018. The Paper studio of Joan Hall, creating the components for Going, Going, Gone, 2018. The wire and the plastic forms are dipped in flax and overbeaten abaca. The irregular forms on wire and the plastic forms are dipped in flax and overbeaten abaca. The irregular forms on the screens are made with 7 layers of overbeaten abaca and/or flax. In the background are the screens are made with 7 layers of overbeaten abaca and/or flax. In the background are large screens used to make the thin sheets for printing. The largest screen measures 8 x 10 large screens used to make the thin sheets for printing. The largest screen measures 8 x 10 feet. The wood frame on the floor gets lined with a drop cloth and the pulp and water is feet. The wood frame on the floor gets lined with a drop cloth and the pulp and water is poured into it. The papermaking team steps into the tank with the large screens to form poured into it. The papermaking team steps into the tank with the large screens to form the sheets. the sheets. summer 2018 • 37 summer 2018 - 37 Paper Sample: Part of the Tide Paper Sample: Part of the Tide joan hall joan hall This paper sample is cut from a large printed sheet using the This paper sample is cut from a large printed sheet using the collagraph plates for my artwork titled The New Normal: In collagraph plates for my artwork titled The New Normal: In with the Tide, 2018. with the Tide, 2018. To make the paper, I formed 5 x 7-foot sheets of kozo or To make the paper, I formed 5 x 7-foot sheets of kozo or gampi paper using a giant improvised "swimming pool" in gampi paper using a giant improvised "swimming pool" in my studio. I pulp painted them with pigmented abaca, let my studio. I pulp painted them with pigmented abaca, let them air dry, then printed them with high-relief collagraph them air dry, then printed them with high-relief collagraph plates that I constructed by attaching plastic and other bits plates that I constructed by attaching plastic and other bits of detritus retrieved from the sea's edge. I then adhered the of detritus retrieved from the sea's edge. I then adhered the printed sheets onto Mylar with a diluted solution of acrylic. printed sheets onto Mylar with a diluted solution of acrylic. This step allows me to cut intricate shapes out of the sheets This step allows me to cut intricate shapes out of the sheets as shown most clearly in the close detail of Algae Bloom as shown most clearly in the close detail of Algae Bloom pictured on page 34 of this issue. pictured on page 34 of this issue. To produce this paper sample for Hand Papermaking, To produce this paper sample for Hand Papermaking, three assistants—Anna McNeary, Nina Ruelle, and Ruhan three assistants—Anna McNeary, Nina Ruelle, and Ruhan Feng—spent three days, cutting three of the large-scale printed Feng—spent three days, cutting three of the large-scale printed sheets into the sample squares. sheets into the sample squares. Run your finger along the surface and you can feel the sea Run your finger along the surface and you can feel the sea in its glory, and in its distress. in its glory, and in its distress. Overhead view of Joan Hall's studio, showing the paper samples cut from Overhead view of Joan Hall's studio, showing the paper samples cut from large printed sheets using the collagraph plates for her artwork The New large printed sheets using the collagraph plates for her artwork The New Normal: In with the Tide, 2018, as pictured on the cover of this issue. Normal: In with the Tide, 2018, as pictured on the cover of this issue.

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