Paper Paper Film

No Longer Available




Screenprint, laserprint, silver foil stamp, Die-cut handmade paper with glitter


6.5" x 9.5" x 2"


Paper Paper Film is an artist facsimile of a 1983 educational film box set on printing and paper.  The original box set was published in 1983, purchased by the Carnegie Mellon University in 1987, found in the storage closet at Carnegie Mellon University in 2016, and published in the form of a paper sculpture by the Women’s Studio Workshop in Rosendale, NY in 2019.

WSW is funded in part by the New York State Council on the Arts, the Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts.

The box is Silver Foil stamped onto Vermillion ColorPlan paper wrapped around book board. The foam is hand built from die cut handmade cotton paper, dyed foam grey with glitter. The Film Canisters and Cassettes are hand built out of Bright Red Colorplan paper with screenprint, rives BFK, Acetate and laser print. The Receipt is printed on Awagami Murakuno Kozo Select Natural digital inkjet washi paper, with hand cut perforations and dot matrix printer holes.

Finally, The Paper Paper Film Book is Digital printed and perfect bound with a handmade cotton paper cover, letterpressed in Twentieth Century.  It includes digital photographs of the projected film strip on Paper and a transcription of the original cassette tape.

Special thanks to everyone at the Women’s Studio Workshop, especially Erin Zona and Chris Petrone for the endless support and for sharing this vision.  This book could have been made without precision, patience, and endurance of Perri Murray, Savannah Bustillo, Courtney Parbs, Julia Schrecengost, Ashleigh Pillay.

About this Artist

Imin Yeh

An interdisciplinary and project-based artist, I work in sculpture, installation, participatory events, and print.  The projects use repetitive handcraft and mimicry as a strategy for exploring the issues around the unseen labor and production that lies behind our many unconsidered everyday objects. Paper is the most recurrent element in these projects.  Conceptually, I chose this material because in it’s transformation from a commonplace material into a precious Art object, it retains a human and bodily investment of time.   More honestly, I choose to work with paper because of a lifetime of confidence. It’s the material of a childhood spent cutting and building, with an almost 100% guarantee of no major loss to either bank account or limbs. The near invisibleness of my laborious projects, the utter lack of utility in either function or value, the absence of color, and the small, softly placed interventions are all a provocation to think…
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