My journey with origami as a medium for fine art has been incubating for a decade. In fact, it didn't even mature into an actual goal till just a few years ago. I was just fascinated by process of folding a two dimensional piece of paper into a three dimensional figure with all these details worked into the scheme. It was a glorious puzzle. Then I thought about what made some art and artists more successful than other artists. With no formal art education, I came up with "Bigger. Grander. More." Consider Dale Chihuly, for example. There are a lot of glassblowers out there, but Chihuly creates glass installations that are Bigger. Grander. And More. So I got it in my head to apply "Bigger. Grander. More" to origami and see where it led.

Little discoveries in my day-to-day engagement with origami projects collectively became a larger body of knowledge about origami, origami design, different types of paper and paper-like materials, dyes, paints, glues, lacquers, good and bad chemistry between these materials, sculpture, structural engineering, art and artists, the business of art, and so much more. All this happened gradually enough that I failed to see how much I'd actually learned and evolved. I've been working on my art degree at the School of Life.

I knew I was dabbling in relatively uncharted territory with origami as a medium for fine art. But it wasn't until I started talking to gallery owners, art dealers and art consultants that I realized how different. Moreover, most people see my origami designs as mind-blowingly complicated. Bottom line: Like Lucy, "(I) got some splainin to do." 

And so rises The Origami Dog Blog. (Got a ring to it, no?)  More about origami art, materials, dyes, design, sculpting, the business of art, and my mission to show that origami can be a medium for fine art.