O, Paper Mill Fellowship

April 2024

Multiple locations

O, Paper Mill Fellowship + Workshop
Project by Ingrid Schindall

  • The 2024 O, Paper Mill Fellows are Omolara Williams McAllister, Ashley Suarez-Burgos, Luna Goldberg, and Isabella Garcia.
  • Important Fellowship dates:
    • Application Deadline: 3/24
    • Interviews: 3/25 - 3/28
    • Fellows selected and informed: 3/29
    • Orientation: 4/1, 12-6 pm
    • O, Miami Project Manager Mixer: 4/1, 6:30- 8:30 pm
    • Activation dates: 4/5, 4/13, 4/14, 4/24

O, Paper Mill brings papermaking, bookbinding, and poetic journaling practices to Miami through an intensive fellowship program and a series of public workshops and demos.

The core of this project is a fellowship program that will give 4 fellows experience planning and executing public workshops, introducing them to the process of organizing a project for O, Miami while they learn high-level papermaking and bookbinding skills.

The public face of this project is a series of pop up activations at O, Miami events and a round table workshop. The first two are papermaking demos building upon last year’s project with visitors making sheets of paper. The second is a workshop in which participants can learn how to bind their own book of handmade paper and take it with them. The final will be a round table of local poets and artists sharing prompts and activities to help participants confront the blank page and cultivate a writing / journaling / drawing practice in their handmade notebook.

Where’s the poem? Poetry will be featured in a set of professional custom stamps that can be pressed into the wet sheet of paper without ink to create a debossed transfer during the paper demos, then they can be stamped into the books with ink during the bookbinding workshop and the round table workshop.

Pulp Poetry 1

Ingrid Schindall, b. 1989 in Boynton Beach, FL, is an artist who preserves and pushes the art of print, book, and paper-making while enriching the community around her with access and knowledge in these media. Her studio practice centers around the material language of the book and its ability to share, obfuscate, and obliterate information according to its handling.

Pulp Poetry 3
Pulp Poetry 5
Pulp Poetry 2
Pulp Poetry 6
Pulp Poetry 4
Pulp Poetry 7