OrIGORami

This page I envisioned as a showcase of my own origami works, so I tried to limit the text component to an explanation necessary to follow the site.

Inspired by the idea of textual minimalism that fits my minimalist conception of origami, I left out the usual chapters on the history of origami, paper types, diagramming, special topics and news from the world of origami, etc. mostly because it would exceed the specified frame. What’s more, my minimalist concept is supported by the fact that on today’s Internet you can find a lot of high-quality pages where many of theoretical and practical issues related to origami are thoroughly elaborated making my modest contribution to that topic look superfluous.

I was reluctant whether to relive this text from he burden of my own thoughts and explanations of some general issues, which I wrote apathetically, tempted by the attractive illusion that there is a possibility of verbal communication in the case that definitely escapes every linguistic formula. In the end I gave up on the initial consistency and decided to keep these parts of the text in the interest of those enthusiasts who – after they get informed and motivated on my page – might make the first steps in the world of origami.

Origami

If we have a piece of paper and we want to draw something on it, we need a pencil, pen, or some other instrument for drawing. But, if we want to make a paper-fish, a paper-bird or a paper-flower, we do not need anything but the paper. This is origami: the ancient Japanese art of modeling from the paper in the process that excludes all other procedures in addition to folding, and all the other tools in addition to our own fingers. We use a piece of paper, usually a square format. No cutting, no pasting, there is nothing which could call into question the simplicity of form, the purity of line, the spontaneity and the expressiveness of paper sculptures.

     There are various approaches to this skill. On the one hand, there is a mathematical approach that sees the paper as a problem to be solved by mathematical creativity. At the other hand, there is an artistic approach that sees an insoluble mystery in every fold of paper trying to unveil it simply for artistic needs.

      Folding a square of paper is, without a doubt, a mathematical problem. However, it is hard to make a good origami out of the mathematical mind only, without a sense of artistry. Likewise, there is no imaginative creativity devoid of the necessary skills and combinatorics that could lead to good results in origami.

      What is the correct ratio between mathematics and art, intellect and intuition, logic and instinct, budget and spontaneity, rational mind and irrational foreboding, required for good origami? What could be the source of originality of artistic expression in origami? What is the secret of the folded piece of paper?

The answers to these questions should be sought in purity, lightness, simplicity, spontaneity and suggestiveness of origami, and, of course, in its fragility. Origami sculpture is fragile without any doubt, but we should not jump into conclusion that it is less worthy than sculptures made of sterner material. Fragility is not origami’s flaw but rather its special quality, a unique trait by which it is determined, giving it a special originality, elegance and charm. By looking at an origami sculpture - we will certainly not experience a monumental structure that defies time. We can, however, experience the monumentality of an idea that exposes the illusion of time.

It is said that a good writing style is achieved not when there is nothing more to add, but when there is nothing left to take away. This subtle distinction is valid both for good origami, and for the best Zen tradition that points to the uniqueness of its visual aesthetics.

In attempts to define origami we often come across the word "craft" and "artistry" which suggests that it is an activity that does not meet the criteria of originality, creativity and quality workmanship characteristic of an artistic object. We can also add the fact that origami models are not represented in museums and galleries alongside sculptures made of traditional materials such as stone, metal or wood. "Art" sculptures made of paper do not treated paper in the way origami treats it.

On the other hand, modern origami has introduced the phrase "origami art" which aims to highlight the fact that origami possesses artistic value. A significant number of origami masters operating from the so called Renaissance of origami in the sixties of the 20th century to the present day, testify in favor of that assertion with her fascinating work, and it would be very hard to deny the artistic value of their works.

As for me, the word "art" that is added to the word "origami" is superfluous because it cannot make a work of art out of a poorly made origami, nor the absence of this word can take away the value of good origami.

Either way, it should be remembered that origami emerged as a product of a specific Japanese worldview based on Zen whose basic cognitive methods paradox, and whose field of activity is in the realm of the suprarational. In this context, the question does not necessarily aspire to an answer, and the false dilemma of origami as art or non-art, misses the heart of the matter. Insisting on the response resulting from the software of our rational mind, and the mind which operates exclusively within the boundaries of a structured model, would prove only lack of understanding of the spirit of origami by one that claims to have “definite answer”.

Therefore, instead of a conclusion, I end my reflections with the words of an old Zen master:

"If you think my songs are poetry, they are not.
But when you understand that they are not,
you will understand their poetry. "

FigurativE origami

Figurative origami deals with recognizable forms of the physical world that surrounds us. The majority of origami masters tend to represent animals designed and stylized, depending on particular authorial mode of expression, with more or less typical details. Special groups consist of figures of birds, butterflies, fish, and other animals. In addition to figures existing in our world there are dragons and most diverse mythological beings. Furthermore, diverse representations of human figures and masks of all kinds, flowers and various plants, different kinds of boxes and containers, ships, etc. -  depending on the affinity of the author – make a common theme in figurative origami. 

Origami models are usually marked by dots and stars based on the criteria of complexity. So the simplest models are marked with one dot, those of mid-level complexity have two or three dots (lower secondary and upper secondary level). More complicated models are marked by four, and very complicated and complex ones by five dots. In the group of most complex models it is necessary to make a hundred or even more folds to obtain the desired model, while in the group of simple models, a dozen folds may be enough.

However, from this it would be wrong to conclude that the more complex is automatically the better. Naturally, the most impressive models are the most intricate ones whose modeling and realization requires great skill. But there are also very simple models whose originality, suggestiveness and artistic level exceeds the value of many of the more complex models.

My works are based on approximately 20 to 30 folds, which seems to me an optimal range. Too few folds generally does not permit the full application of techniques and the development of creativity while too many could easily lead to materials fatigue and produce the impression that it is a paper accordion rather than a paper sculpture.

Masks

Other animals

Containers

2+ paper

Other

Non-figurative origami

Origami that, more or less compromisingly, breaks away from the constraints of figuration, represents a step forward in the consideration of those origami authors who, after they have completed the figurative part of their work, explore new ways and discover new possibilities of expression.

Of course, in modern origami, there are those authors who cling to conventions of traditional origami, as well as those who have developed a distinctive style based on certain deviations from these conventions.

All of them together make up the world of origami scene today alive and diverse, open for individualized manuscripts with different approach to the basic grammar.

Non-figurative origami in the modern origami is most represented by the so-called tessellation – works made of larger paper formats folded in a special way to achieve ornamented surfaces, which can be completed or used for further modeling.

My work in this field includes origami graphics, origami sculptures, origami frames, and a little bit of modular origami. When designing in this mode, I do not feel bound by the rules and I take the liberty to combine multiple origami elements in different ways that are not necessarily related to a technique of origami.

Graphics

Sculptures

Frames

Modular origami