I ordered mulberry paper from China—the very same fiber known as Kozo. I intend to explore the magical Korean technique of Joomchi and turn this stiff paper into a soft, fabric-like sheet. I also looked into Momigami, where it seems kozo paper is traditionally treated with starch, coated, and then repeatedly crumbled, rolled, and kneaded in the hands until it feels like soft suede or linen. I read somewhere that kozo never forgets that it was once a tree—I want exactly this kind of dialogue with the materials I work with.
After learning how this material behaves, I hope to sculpt with it. Kozo has an incredible “memory.” If you dampen raw kozo bark or heavy kozo paper, you can mould it over objects, inflate it, or stretch it into three-dimensional shapes. As it dries, it stiffens and retains the shape perfectly, making it incredible for hollow vessels.
I am particularly interested in exploring Joomchi’s paper-to-textile transformations. Joomchi (the traditional Korean art of paper felting) will help me create the textured, stitched vessel with embedded plant materials that I envision. With Joomchi, I won’t use any glue; instead, the microscopic fibres in the kozo break free under agitation and entangle with the fibers of the sheet laid over them. I have never done wool felting, but it seems to follow a very similar philosophy. The paper is wetted and agitated so I can sandwich plant materials between the layers, “felting” them together using just water and muscle. The plants become permanently trapped inside a single, thick, leather-like textile sheet.
Since I am waiting for my 100% kozo paper to arrive, I am using this time to prepare my workspace, gather tools, and understand the physical mechanics of the process.
To do Joomchi at home, will need a few basic studio tools:
- A Bubble Wrap Sheet or Bamboo Sushi Mat: This acts as your textured friction surface to help break open the fibers. A piece of bubble wrap about 2 feet square is perfect.
- A Rolling Pin or a Thick Wooden Dowel: You will be wrapping the paper around this to roll it.
- Old Nylons, Cheesecloth, or Mesh Netting: Used to wrap the wet paper bundle tightly so it doesn’t fall apart during the initial rolling phase.
- A Spray Bottle: Filled with plain, warm water (warm water relaxes the fibers faster than cold).
- A Large Towel: To catch excess water.
Explorations on 1 July 2026
As I am awaiting the Kozo paper I will explore the Monigami process and if I feel comfortable with the paper, I might try layering some of the samples to ma Joomchi. I am working with small pieces of paper as the first exploration in the hope to learn and create some samples. I have some coconut oil Annette Holtkamp left here last year during our Residency.
The papers I have are:
- clean and dry Teabags
- Xuan paper,
- Brown craft paper
- Butcher paper
Here are the lessons learned:
I need to master the “Corner Fold” to stop t ears when I am kneading weaker papers (like your remaining Xuan or craft paper scraps), the edges are always the first part to split and tear. I seems better to, before I add oil or start crumpling. I fold all four corners neatly into the center (like starting a paper fortune teller). Then, fold the new outer edges inward slightly. Crumple the paper with the edges protected inside the ball. This prevents the perimeter from catching and tearing I massage it.
It sson became clear that working with these materials requires paying attention to the process – considering its vulnerabilities and possibilities. From the research I did into Momigami I need to focus on the materials, I have to listen to it, feel it….have a conversation with the material.
I do something, the material responds and so it goes.
The brown craft paper gave a deep texture. The coconut oil has completely saturated it, turning it that rich, dark brown and making it look like aged, oiled leather or oilcloth. I used one of the papers and rolled it onto the demin fabric of my apron. I love that it holds those micro-wrinkles and is liitle ball shape.
The teabags are fascinating. It seems to have a lot of synthetic or abaca plant structural strength. They took the oil beautifully, darkening into organic earthy tones. They look like preserved autumn leaves or parchment.The Teabag shrank, crinkled, and held together. quite nicely.
I will call the Xuan a heartbreaker for this process! It was almost instantly translucent when the oil hit it, but because it is so delicate and porous, the oil just completely floods the spaces between the short straw fibers. All three have small tears, I can see where it just gave up and tore right in the center when I tried to massage it. The Xuan Paper tore – it lacks the long structural fibers of Kozo, and the oil lubricated the short rice straw/sandalwood fibers, causing them to slide apart under pressure. My research indicated that this might happen.
The white butcher paper are cricular prints I have made earlier and I explore two methods. I used one with coconut oil and the other as a dry piece. The oil acts as a deep lubricant and allowed me to compress the paper into a tight, dense mass without it splitting easily. It did however made a small tear in the middle of the paper. It became more transclucent and the ink markings looks softer under the oil. The dry paper retained its bright opacity, making the black ink marks pop with contrast. This process relied 100% on mechanical breakdown. It took more physical muscle, but the result is more micro-wrinkles and it reminds of an antique, crushed linen or heavy cotton rag paper. It actually expanded a bit in size and the edges stayed beautifully intact without any tearing.
Looking at the two butcher paper samples later, I think they should be ideal to dry some slow stiching.
Since I want to embed plants later, I let the papers dry overnight. This should give the oil time to fully travel and settle deep into the cellular structure of the paper. I plan to use the brown craft paper and teabags to practice building a multi-layered sheet. This will give me a direct preview of how the Kozo will behave during Joomchi.
The plan is to start with the tea bags tomorrow
Use two open teabags (or two pieces of thin tissue/craft paper). Mist them with water (no oil yet), stack them, and try rolling them tightly in a piece of bubble wrap (or a sushi mat, which I do not have), pressing firmly. I think I have small dried plant material to embedd into the paper.