fensterstock first sketches her concepts. This drawing represents the cubic arrangement of
single-stem chrysanthemums grown in a perfect grid inspired by Japanese ogiku, which will be part of
her installation at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, opening on March 3.
Several concepts for large installations (facing page) hang on her studio wall.
the art of quilling from Betty Stephan, Aar-
on’s mother and a well-known craft artist,
that she began using the intimate and intri-
cate technique to create paper installations
that she says often are grounded in “some of
the ideas surrounding jewelry — materiality,
scale, commemoration, ornamentation.”
That almost all of her cut-paper work is
done in black is tied to her fascination with
another bit of artistic arcanum — the Claude
glass, a black convex mirror reputedly devel-
oped by 17th-century French Baroque painter
Claude Lorrain as a tool to provide artists
with a pleasingly composed reflection of a
“The dark color and curved surface of
the glass reduced unnecessary detail and
squeezed a complex view into a neat composition,” explains Fensterstock. Her work
in black paper and loosely laid charcoal has
this same reductive quality. But the high level
of complexity involved with cutting and curl-
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