Drew Cameron is a second-generation hand papermaker, trained forester and former Army soldier. He co-founded the Combat Paper Project and has been facilitating workshops with veterans and the community in which they transform military uniforms into handmade paper, prints, books and art since 2007. The portable workshop has reached thousands of people throughout the country in 29 states and more than 125 workshops. His work is represented in 33 public collections and has been shown numerous times including at the Corcoran Gallery, Courtauld Institute, Library of Congress, Museum of Contemporary Craft and Craft and Folk Art Museum among others. Combat Paper is now operating in four locations: New York, New Jersey, Nevada and California with open and ongoing programming. Drew is based in San Francisco at Shotwell Paper Mill and continues to practice papermaking, teach and encourage others to do the same.
About Combat Paper
Coming home from war is a difficult thing. There is often much to account for as a survivor. A new language must be developed in order to express the magnitude and variety of the collective effect. Hand papermaking is the language of Combat Paper. By working in communities directly affected by warfare and using the uniforms and artifacts from their experiences, a transformation occurs and our collective language is born.
Through papermaking workshops, veterans use their uniforms worn in service to create works of art. The uniforms are cut up, beaten into a pulp and formed into sheets of paper. Participants use the transformative process of papermaking to reclaim their uniforms as art and express their experiences with the military. The Combat Paper Project is based in San Francisco, CA with affiliate paper mills in New Jersey, New York and Nevada. The project has traveled to Canada, England, Scotland, Northern Ireland and Kosovo providing workshops, exhibitions, performances and artists' talks. Combat Paper is made possible through the collaborative effort of artists, veterans, volunteers, colleges and universities, art collectors, cultural foundations, art spaces, military hospitals and installations. Through ongoing participation in the papermaking process, we are broadening the traditional narrative surrounding the military experience and warfare. The work also generates a much-needed conversation between veterans and civilians regarding our collective responsibilities and shared understanding in war.
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