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As a child, Stephanie Su enjoyed painting and drawing, but it wasn’t until she studied art history that she realized the importance of art in understanding a culture.

Now an assistant professor of Asian art at CU Boulder, Su’s scholarship is motivated by a strong interest in the historiography and methodology of art.

“Initially, I studied European art history, with a focus on 19th century French art,” she said. “At that time, I worked as an academic part-time at the deputy director’s office at the National Palace Museum in Taipei, one of the best museums in the world for Chinese art. My experiences of studying art history and working at the Palace Museum stimulated my intellectual interest in understanding the relationship between art, institutions and politics.

“Growing up in Taiwan, I felt comfortable about my affinity with Chinese and Japanese cultures, yet I also found it equally difficult to position myself and Taiwan within East Asia.”

After earning her Ph.D. at the University of Chicago, she went on to pursue research, editorial and curatorial projects in the U.S., Europe and Asia. She arrived at CU Boulder in 2018.

“After working abroad, I really appreciate the resources that American research universities such as CU Boulder have invested for faculty and students,” she said. “CU Boulder also has a nice art museum. Besides teaching and researching, I also like to curate exhibitions and get involved in public education for communities. CU Boulder is an ideal place for me.”

1. What is washi paper, and how did you decide to make it a central focus of one of your research projects?

Washi paper refers to handmade Japanese paper, using fibers from the inner bark of three trees: gampi, kōzo or mitsumata. Washi paper is used not only for writing letters and books, but also for home interiors, such as paper screens, room dividers and sliding doors. The 1,300-year tradition of papermaking makes washi paper a symbol of Japanese cultural identity. The papermaking process, which involves everyone in the families and the communities, also fosters social connection.

I was first struck by the strength and versatility of washi paper after a visit to a small town in mountainous, central Taiwan. There, I saw a chapel constructed entirely with paper. It was designed by a Japanese architect, Shigeru Ban, a recipient of the Pritzker Architecture Prize, who was famous for his creative use of materials and humanitarian efforts. He built this chapel after the Great Hanshin earthquake in 1995 and donated it to Taiwan in 2008 after the 921 earthquake. The Paper Dome surprised me with its strength and beauty, and changed my perception of paper.

In 2021, the Longmont Museum held an exhibition, Washi Transformed: New Expressions in Japanese Paper, for which I served as a consultant. I was impressed with the expressiveness of washi paper at the exhibition. Paper was reimagined by artists as a medium to reconceptualize the cultural heritage, religious beliefs of Shinto and Buddhism, and the relationship between human being and the environment. I became interested in ways in which artists envisioned the future through paper.

In contrast to the perception of seeing washi paper as an old, traditional craftsmanship, I aim to renew the public perception by highlighting its innovation in the hands of female artists. My research, “Recycle and Rebirth: The Im/materiality of Washi Paper in Contemporary Japanese Art,” offers fresh perspectives on the power of washi paper as a medium for artistic expression and an inspiration for a sustainable future.