Don Luis






Not much lately to show origami-wise, though a few things are cooking. Meanwhile here is a little study I made a few days ago of a Velazquez, oil and chalk on wood. Just keeping in shape. --S.

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Blockhead

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It’s not just in the weird paperfolding that I do, but also in the most conventional sort of technical origami, that a principle of “non-interference” applies. After all, those individual toenails or flight feathers one is showing off can't be allowed to cause trouble for the rest of the bird, can they? I am something of an extremist with this principle, and often try obstinately to squeeze out as many features as possible in the middle of the sheet while leaving the edges entirely unblemished . Cheers! Confuse-ye-us
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"Press-Origami", by Masha Revva

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Origami Tessellations + Press-Prints on Paper June 20 -- July 4 th , 2017 Jerusalem Artisans Gallery  (Beit Ot Hamotzar Hayerushalmi) 12 Hebron Street, Jerusalem, Israel This is a fine, understated exhibit by a leading Israeli origami artist, strangely moving given that the works in it are entirely non-figurative. It brings together tessellations —tile-like patterns from folded paper, each built out of minute folds of a single, uncut sheet—with old-fashioned press-prints in color, also on paper, made by passing the equivalents of these same folded objects under a heavy roller after inking. What's strange is that even though everything h ere is pattern and geometry, so much emotion—even specific ideas of nostalgia, hope, determination—manages to be conveyed. This is also a welcome departure from standard origami exhibitions where one either displays arty-looking paperfolds or efforts to make origami “practical” (fold-up solar collectors for satellites; robotic wheels that expand, ...
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Paper Feathers

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Paper is visibly thin, flimsy; but it’s interesting that without anyone ordering that it be this way, the vast majority of origami models do not leave the cut edge of the paper exposed in the final model—which would make the model look flimsier still. It’s almost as if origami were ashamed of its material origins. A noted exception among well-known pieces is Herman Van Goubergen’s Cat . --Here and there no doubt, in a bi-plane or maybe a bird, the cut edge puts in an appearance, but on the whole this part of the square’s anatomy is kept firmly out of view, as the family embarrassment. Paper fans are a famous exception to this rule. Partly this is because the visible structure is dominated by those long, strong, widening spans. But look at the difference between these two fans--the second of which hides the cut edge in a mountain fold. It is manifestly less alive, less free. One wants the end of those firm spans to have something that opens into, is as gentle as----the air. I’ve notice...
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