Most artists judge the quality of paper on how well it will support a drawing or painting, or in a collage. Mutsuko Bonnardeaux recognizes this then takes her consideration for the quality of paper further as she used it as an art medium in it's own right. Employing the Japanese technique of Chigiri- E, the artist makes her own paper, dyes it, then tears it into a variety of strips or small irregular shapes. She then employs these wispy pieces of coloured paper, in the manner of glass or stone tessera, to create beautiful and visually interesting paper mosaics.

The fragility of medium and strength of imagery in these exhibits compliment the floral and landscape subjects they depict. Bonnardeaux has an eye for balance of composition and an innate sense of colour, as well as an appreciation of nature. She is able to transform a humble subject, like the suburban park with blooming Jacaranda trees in Summer is Nearly There, into a composition of natural and artistic perfection. From a distance, the rich colours catch the eye and as we come up close, examination of the workmanship holds our attention. It is the rhythmic application of tissue-like paper, the variety of tints and tones within each hue, and the overall balance of design that arouses our admiration in this exhibit, and all the others.

Appreciation is also evoked by how the vistas and landscapes capture nature's power and potency while floral portraits suggest a sense of delicacy. Consider The Spring Fall which shows a cascade of white water falling from a sun lit rock ledge and splashing into a shady pool of water. Each 'rock' in the cliff face is an individual piece of paper with no two the same in colour, shape or texture as befitting the original subject in reality. Meanwhile the rich hues of Sunset 1 immobilizes those dynamic colours nature reveals for mere seconds. Then there is the intricate beauty of Wattle Flower  which is composed of the smallest pieces of rolled golden coloured paper, and Verticordia which is an explosion of red flowers on a blue ground. Here Bonnardeaux twists her paper into thin cords to depict the delicate pattern of the bloom. One has to marvel at the quality and beauty of these works and the talent owned by the artist.

Bonnardeaux also provides scenes depicting crowds of people enjoying festivals or attending a live performance. Again, true to nature, each tiny figure is an individual with their own facial expression. Despite enjoying the intricacy of these images, my preferences tend towards the exhibits that capture the strength of landscape, elegance of flowers and colours in sky and water. Perhaps because these well placed paper pixels morph into a perfect image of beauty.

There is great pleasure in viewing well made works of art, no matter the media, but an even greater pleasure when the hand of the artist is so well attuned to how, and what, the eye sees. One assumes making the this art is a meditative process, as looking at the work certainly encourages deliberation on nature, art, and the quality of paper.