Through a distant exchange, I invited both Megan Diddie and David Anaya, two under-30 papermakers, to introduce themselves to the readers of Hand Papermaking magazine and to share their interest in and integration of handmade paper into their practice through their academic research. Megan Diddie was the first graduate student to serve as studio manager for Fresh Press. Megan came into the lab with a strong studio practice, creating works on paper. Making handmade paper led to a transformation in her artwork and its interconnected relationship with fiber that developed through her critique of food systems. David Anaya was introduced to me through conversation with John Risseeuw. A student in John's papermaking class, David was an ASU engineering student interested in using fibers from the municipal waste stream to create sustainable paper materials. I could hardly contain my excitement about meeting someone who shared my interest in taking the tradition of hand papermaking and extending its potential through applied systems analysis. Megan Diddie: I am a visual artist living and working in Chicago. I often use paper in my practice and my interest in it comes from a lot of different places. I grew up in Southern California and some of the first art I was exposed to and struck by was of Japanese and Chinese origin at the Los Angeles County Museum of Art (LACMA). The Pavilion for Japanese Art at LACMA was particularly impactful: imagery with very fine details, with its flat and Re-Envisioning Research: Handmade Paper as Catalyst for Systems Thinking steven kostell Megan Diddie, Pollinate/Pollute, 2014, 8 x 9 inches, artist book made with corn and soy paper to reflect crop rotation and comment on modern agriculture. Courtesy of the artist. summer 2016 - 23 graphic qualities, often presented on large sheets of paper or fabric. Art history books have also been an important resource material for me, and in their pages, paintings are often presented alongside drawings. I find that I pay a lot of attention to the drawings. Paper seems to receive the human hand nicely and I like seeing the "flaws" that creep into drawn forms, line, and imagery. When I started working with Fresh Press, I was first interested in learning how paper is made, but as I got more involved, I began integrating it as both a sculptural medium and a conceptual part of my work. For a recent project called Shelf Life, I sculpted corn and soy pulp into shapes that resembled chips and snack foods. Making the pulp was particularly time-consuming. I gathered corn and soy stalks from the field, dried them, put them through a wood chipper, cooked the fibers, and processed them in a Hollander beater. After I made the food shapes with the pulp, I dried them, and then painted each individual soft sculpture with color that calls to mind certain processed foods. Sometimes I sprinkled them with colored sand to give the texture of salt and crumb. At the time I was making these "chip forms" I was living in central Illinois, surrounded by industrial agriculture and processing plants, such as Frito Lay, and reading Empires of Food: Feast, Famine, and the Rise and Fall of Civilizations by Andrew Rimas and D.G. Fraser as well as Salt, Sugar, Fat by Michael Moss. From the titles alone you can get the gist of their content, but what I was specifically interested in understanding is how deeply agriculture has impacted human societies around the world. And I learned about the darkly humorous way processed food has been developed. I presented the chip forms in two different ways. I suspended them in front of a giant drawing of a tongue to reference the nowdebunked theory of the tongue map and to point to how our senses have been closely studied by food scientists. I also packaged the soft sculptures in boxes and bags that were installed on shelves to display food as something that dwells in the space between consumable object and the guise of sustenance. The human condition, particularly our anatomical and biological The human condition, particularly our anatomical and biological functions, is something I have always been fascinated with, functions, is something I have always been fascinated with, as well as our evolving relationship with each other and all living as well as our evolving relationship with each other and all living things, especially plants, viruses, bacteria, and fungi. My book project things, especially plants, viruses, bacteria, and fungi. My book project Things Get In You was inspired by questions I had about the human Things Get In You was inspired by questions I had about the human microbiome. Microorganisms make up a significant portion microbiome. Microorganisms make up a significant portion of our bodies. The gut microbiome is actually considered to be a of our bodies. The gut microbiome is actually considered to be a microbial organ, having just as much an impact on our bodies as microbial organ, having just as much an impact on our bodies as other organs. It is closely connected with the food we eat and our other organs. It is closely connected with the food we eat and our environment, and to me, it is a symbol of how the human body is environment, and to me, it is a symbol of how the human body is embedded in its surroundings and the earth's origins. embedded in its surroundings and the earth's origins. There is a famous drawing by Fritz Kahn called Man as There is a famous drawing by Fritz Kahn called Man as Industrial Palace that sums up a lot of my thoughts regarding Industrial Palace that sums up a lot of my thoughts regarding industrial-food systems and the systems of the human body. It industrial-food systems and the systems of the human body. It is a surreal image of a head and torso seen from the side like is a surreal image of a head and torso seen from the side like Detail of Bliss Points, 2014, soft sculptures of snack foods made of corn- and Detail of Bliss Points, 2014, soft sculptures of snack foods made of corn- and soy-paper pulp. Courtesy of the artist. soy-paper pulp. Courtesy of the artist. Megan Diddie, Bliss Points, 2014, installation Megan Diddie, Bliss Points, 2014, installation of corn- and soy-paper-pulp sculptures of snack of corn- and soy-paper-pulp sculptures of snack foods, displayed against a giant drawing of a foods, displayed against a giant drawing of a tongue. Courtesy of the artist. tongue. Courtesy of the artist. Megan Diddie harvesting rye at the Sustainable Megan Diddie harvesting rye at the Sustainable Student Farm of University of Illinois at Urbana- Student Farm of University of Illinois at Urbana- Champaign's campus, 2014. Courtesy of Megan Champaign's campus, 2014. Courtesy of Megan Diddie. an anatomical drawing. The body is sliced in half to reveal innards Diddie. an anatomical drawing. The body is sliced in half to reveal innards where organs have been converted into machines and where organs have been converted into machines and tiny men are at work keeping everything moving along. The tiny men are at work keeping everything moving along. The line between machine, industry, mechanical parts, and living, line between machine, industry, mechanical parts, and living, breathing, organic matter is constantly being tested. The drawing breathing, organic matter is constantly being tested. The drawing suggests the precariousness of life, especially its ultimate suggests the precariousness of life, especially its ultimate reliance on human beings as its steward. It is not that I am reliance on human beings as its steward. It is not that I am opposed to industrial processes, rather, I am weary of how often opposed to industrial processes, rather, I am weary of how often industrial systems prevail over and sometimes work against industrial systems prevail over and sometimes work against human-scale systems. An example would be industrial seed patents human-scale systems. An example would be industrial seed patents that permit the prosecution of farmers who save seeds. Or that permit the prosecution of farmers who save seeds. Or the dominance of conventional agricultural methods over the the dominance of conventional agricultural methods over the sustainable practice of permaculture. sustainable practice of permaculture. My work examines these systems at play, both the cultivation My work examines these systems at play, both the cultivation of food on the land, and the digestion of food in the human body. of food on the land, and the digestion of food in the human body. In exploring these issues via hand papermaking, I find it very satisfying In exploring these issues via hand papermaking, I find it very satisfying to be able to make my own materials and know that they can to be able to make my own materials and know that they can be recycled back to the land, completing a cycle of growth, processing, be recycled back to the land, completing a cycle of growth, processing, digestion, then new growth. digestion, then new growth. David Anaya: I am a problem solver, engineer, artist, humanist, David Anaya: I am a problem solver, engineer, artist, humanist, and entrepreneur, with a specific joy in tackling broad, complex and entrepreneur, with a specific joy in tackling broad, complex problems. I am most interested in the life cycles of product, problems. I am most interested in the life cycles of product, and creating more responsible ways for humans to create and and creating more responsible ways for humans to create and co-exist with their environment. I am an engineer by education, co-exist with their environment. I am an engineer by education, but have rediscovered the arts from my precollege days as but have rediscovered the arts from my precollege days as an integral part of my current life and work. I reside in Phoenix, an integral part of my current life and work. I reside in Phoenix, Arizona, where I am launching EndWell Products, LLC, a Arizona, where I am launching EndWell Products, LLC, a hand-papermaking and sustainable-packaging company working hand-papermaking and sustainable-packaging company working with organic solid waste. In my day job, I hold a staff position with organic solid waste. In my day job, I hold a staff position at Arizona State University (ASU), as the entrepreneurship at Arizona State University (ASU), as the entrepreneurship program coordinator senior for Changemaker Central, a university program coordinator senior for Changemaker Central, a university initiative that empowers students to apply their education, initiative that empowers students to apply their education, expertise, and passion for positive social progress and life-long expertise, and passion for positive social progress and life-long civic engagement. The program cultivates a culture that tackles civic engagement. The program cultivates a culture that tackles local and global challenges through collaboration, innovation, local and global challenges through collaboration, innovation, and diverse approaches to problem-solving. I am applying many and diverse approaches to problem-solving. I am applying many of these core principles to my current entrepreneurial venture of these core principles to my current entrepreneurial venture with EndWell. I am also guided by William McDonough and with EndWell. I am also guided by William McDonough and Michael Braungart's Cradle to Cradle design thinking. I always Michael Braungart's Cradle to Cradle design thinking. I always shared their sustainability end-goal, but I learned to adopt their shared their sustainability end-goal, but I learned to adopt their holistic approach to achieve it, and the importance of designing holistic approach to achieve it, and the importance of designing the intention into the beginning of my product. Another the intention into the beginning of my product. Another significant influence has been Yvon Chouinard, and his work significant influence has been Yvon Chouinard, and his work at Patagonia, where he helped the company develop a recognizable at Patagonia, where he helped the company develop a recognizable ethos and consciousness that permeates the company, its ethos and consciousness that permeates the company, its products, its customers, and unapologetically and intentionally products, its customers, and unapologetically and intentionally goes against the status quo. goes against the status quo. My initial inspiration for EndWell was the municipal solidwaste My initial inspiration for EndWell was the municipal solidwaste industry. As an undergraduate engineering student I was industry. As an undergraduate engineering student I was fortunate enough to join a progressive program through ASU's fortunate enough to join a progressive program through ASU's Herberger Arts and Design School called Innovation Space. As Herberger Arts and Design School called Innovation Space. As part of a creative interdisciplinary student team, we focused on part of a creative interdisciplinary student team, we focused on a project that was centered on solid waste. This project turned a project that was centered on solid waste. This project turned into a passion, and post graduation I turned my interest into an into a passion, and post graduation I turned my interest into an internship with the City of Phoenix Public Works Department, internship with the City of Phoenix Public Works Department, where I worked on solutions as part of the special projects division. where I worked on solutions as part of the special projects division. I gained an intimate understanding of the solid waste industry, I gained an intimate understanding of the solid waste industry, which inspired me to get my graduate education in civil, which inspired me to get my graduate education in civil, environmental, and sustainable engineering. environmental, and sustainable engineering. In my work, I highlighted many waste issues and posited traditional In my work, I highlighted many waste issues and posited traditional industry solutions. However, I was plagued by the issue industry solutions. However, I was plagued by the issue of palm tree waste, which did not seem to have a solution, except of palm tree waste, which did not seem to have a solution, except for the landfill. Dissatisfied with this non-solution, I had an inclination for the landfill. Dissatisfied with this non-solution, I had an inclination that I could make paper with it. I turned this idea into my that I could make paper with it. I turned this idea into my applied project for graduate school, and enrolled in an art class applied project for graduate school, and enrolled in an art class taught by John Risseeuw. John taught me the foundations, and taught by John Risseeuw. John taught me the foundations, and guided me as I explored my interests making sheet after sheet of guided me as I explored my interests making sheet after sheet of A close up of the texture, finish, and quality of David Anaya's palm tree paper. Courtesy of Elizabeth Cash, 2015. A close up of the texture, finish, and quality of David Anaya's palm tree paper. Courtesy of Elizabeth Cash, 2015. summer 2016 • 25 summer 2016 - 25 David Anaya analyzes a dispersion test of his palm tree pulp. Courtesy of David Anaya analyzes a dispersion test of his palm tree pulp. Courtesy of Elizabeth Cash, 2015. Elizabeth Cash, 2015. City of Phoenix municipal waste transfer station. Courtesy of David Anaya, 2013. City of Phoenix municipal waste transfer station. Courtesy of David Anaya, 2013. palm tree paper, trying to perfect a formula. It did not take long palm tree paper, trying to perfect a formula. It did not take long for me to fall in love with the process of hand papermaking. I also for me to fall in love with the process of hand papermaking. I also came to understand its solutions potential from an engineering came to understand its solutions potential from an engineering perspective. perspective. When I talk to the average person about what I am working When I talk to the average person about what I am working on, they usually ask me if I have a patent on the paper product. on, they usually ask me if I have a patent on the paper product. They see the process of creating paper from palm trees as an innovation, They see the process of creating paper from palm trees as an innovation, but I, and the readers, understand that it is not. So, I but I, and the readers, understand that it is not. So, I usually laugh, and explain that I do not have a patent, and more usually laugh, and explain that I do not have a patent, and more so that I do not need one. Papermaking is thousands of years so that I do not need one. Papermaking is thousands of years old, and I am certainly not the first person to make paper out of old, and I am certainly not the first person to make paper out of palm trees. The actual innovation, as I see it, is the connection of palm trees. The actual innovation, as I see it, is the connection of seemingly unrelated ideas and industries with a very real need, seemingly unrelated ideas and industries with a very real need, which is how I have developed my practice. To get to where I which is how I have developed my practice. To get to where I am now, I had to amass a knowledge base and understanding of am now, I had to amass a knowledge base and understanding of solid waste disposal, hand papermaking, sustainable engineering, solid waste disposal, hand papermaking, sustainable engineering, industrial design, graphic design, packaging design, business, industrial design, graphic design, packaging design, business, and entrepreneurship and then connect them all into one and entrepreneurship and then connect them all into one system. It was not enough to know that I could make paper, I system. It was not enough to know that I could make paper, I needed to explore where, in an increasingly digital and unsustainable needed to explore where, in an increasingly digital and unsustainable manufacturing world, there is a need for responsible manufacturing world, there is a need for responsible high-quality paper and pulp solutions. high-quality paper and pulp solutions. Hand papermaking, throughout its history, has represented Hand papermaking, throughout its history, has represented two things to me: ecological responsibility and a quality solution two things to me: ecological responsibility and a quality solution to a modern need. I am inspired by the time when we used to a modern need. I am inspired by the time when we used water-powered mills (sustainable energy), supplied by a cottonrag water-powered mills (sustainable energy), supplied by a cottonrag industry (waste recycling) to serve our modern printing, industry (waste recycling) to serve our modern printing, writing, and documentation needs. This is what I'm working on writing, and documentation needs. This is what I'm working on at EndWell, taking urban solid waste and turning it into a solution at EndWell, taking urban solid waste and turning it into a solution for packaging and shipping. But overall I think the biggest for packaging and shipping. But overall I think the biggest change is seeing, exploring, and connecting our field to the other change is seeing, exploring, and connecting our field to the other voids it can fill, and letting our presence be more known. Hand voids it can fill, and letting our presence be more known. Hand papermaking has very important concepts and lessons to offer to papermaking has very important concepts and lessons to offer to today's manufacturing process and products. today's manufacturing process and products.
