is a sculptor in New Jersey. Before she began working with handmade paper she used various kinds of plaster to create her works. However, Ingalls found that handmade paper allowed her to develop her ideas more fully. The works have a greater breadth to them. Some feel light with movement like flowing water. Other works take on the texture of charred wood with parts that curl as if they've been seared by fire.
The following interview took place by email in March, 2012.
1.When and how did you discover hand papermaking? Why did you begin using it as a primary medium for your work? It must have been a dramatic change from some of your earlier materials like hydrocal.
I discovered handmade paper years ago but at that time it was not a respected art medium. Ten years later I was working with the printer Tony Kirk. Tony suggested that I create my own paper on which to print. I did so and have continued to work with handmade paper ever since.
2. I'm intrigued by your statement - "I intend my sculpture to feel uncomfortable, as if it has come from another place and is merely passing through the gallery on its way elsewhere." I can see that in works like Losing the Name of and From/Since, but not in others like Two by Two or Position Available. Would you talk about what you do to create that other worldly effect and why you want it in some works.
It is not so much an other worldly effect that I want to create, but rather the feeling that the art is in this world and that it is so engaged in this world that it is alive and functioning, it is not simply plopped here so that we can stare at it endlessly. It carries us to new places or emphasizes its relevance in the thick of things. Position Available is a perfect example of this, you just can’t see that very well in the photograph. Photos do not tell us how a work acts physically on our body and all of my work is intended to have a large impact on the viewer’s body. I usually ask one part of the sculpture to feel as if it is reaching out to engage the viewer’s body.
In Position Available the Antarctic becomes a belt at the level of the viewer’s waist and on the left side of the Antarctic there is a buckle also made of paper. The suggestion is that the Antarctic is a belt that the viewer should strap on and wear around the waist in order to carry some responsibility for the state of the world. In Wishful Filaments the stairway is like an accordion book that has just been opened in order to provide a stairway for flight. The viewer feels as if he/she has grabbed the sticks off the ground and piled them on the back side of the stairway to hold it up. At the top there seem to be wires engaged in the act of positioning everything as if the stair is a puppet.