In this blog post, Fiber Art Now is pleased to share the work and creative process of Agathe Bouton, a French artist living and working in the Philadelphia, Pennsylvania, area. Bouton’s innovative approach blends printmaking and textiles with influences from her extensive travels and experiences living in international cities across the globe. She combines monochromatic prints with fibers and hand stitching, mixing traditional techniques with improvisation. Her use of color—particularly the deep blues and golds—reflects the cultures she’s encountered along the way. Bouton discusses how her global journey has shaped her art, the role of improvisation in her process, and what she’s eager to explore next.
In terms of my creative process, I am inspired by many different things. Over time, this has included my hometown of Paris, France; all my travels and interactions with different cultures; and Philadelphia, where I live now. Color also plays a crucial role in my process. I primarily work within a monochromatic palette and, by layering prints and combining relief prints with monoprints, I can achieve depth in the color tones that I particularly love.
Experimentation is also key for me. I improvise during the printing process, allowing my inspiration to guide me, resulting in a unique piece each time. I have never used printmaking in a very classical way, except when I studied it. I use printmaking more like a painter who works on a canvas.
Early in my career, I introduced paper collages and colors while inking my plates and experimented with non-traditional etching papers and materials. Recently, I have been exploring monoprints and incorporating fibers into my work, such as adding hand-stitched elements and additional components like pins. Consequently, my work often leans more toward mixed media than traditional prints.
Burmese Days #82; 2024; relief prints, monoprints on raw handmade Burmese mulberry paper, stitching, gold leaf; 33 x 33 in. Photo credit: Jaime Alvarez
I have had the great privilege to live in different parts of the world. I left France 20 years ago to embark on a journey with my family, first in the UK, then in Southeast Asia, West Africa, the Middle East, and finally settling on the East Coast of the United States in Philadelphia.
All those travels and experiences living abroad shaped my creativity and the way I work. When I left France, I had to leave my studio and my etching press behind. This forced me to step out of my comfort zone. I began to look at my art with fresh eyes, embracing my travels, the cultures of the countries where I lived, and exploring new ways to express my art. I love to tell stories in my work, and every series has a strong connection with some moment of my life.
I discovered my passion for dark blue and indigo dye while living in Southeast Asia. I was inspired by the textiles of various tribes in Burma (Myanmar) who perpetuate the tradition of indigo dyeing. My years in West Africa, where indigo is also an important dye, deepened this interest, and also introduced me to the rich hues of laterite, which covers the ground in various shades of terracotta and brown.
I began incorporating touches of gold leaf into my Seconde Peau series to enhance the meaning behind these works. This intimate collection of small woven monoprints explores the fragility of our skin and the idea that our bodily envelope is precious and deserving of protection. I was also inspired by the golden pagodas in Burma and the paper umbrellas found in Buddhist temples throughout the country which are adorned with shimmering gold leaf.
My color palette reflects my personality. I love to be surrounded by quietness and serenity, and I hope the viewer can feel at peace while looking at my work.
Burmese Days, Installation of five prints; 2022; relief prints and monoprints, Japanese Kozo paper, thread; stitched, mounted on Kozo paper; 34 x 34 in. prints, each banner 108 x 36 in. Photo credit: Lapeg photo
Improvisation is certainly a part of my process, but over time, I’ve learned to harness it effectively to enhance my compositions. Often, I begin a piece by sketching ideas for new series while experimenting with different materials in the studio. I let my hands guide the process, and once I have a direction, my mind takes over, resulting in a harmonious blend of instinct and intention. When I work improvisationally, time seems to stand still, and there’s a delightful element of surprise that can be both joyful and fulfilling.
Although I improvise at times, there’s also a lot of very time-consuming, detailed work, incorporating a sense of craft in what I do—including adding sewing and weaving to my work. This is part of what makes my work unique and rich. With my latest woven pieces, I appreciate the meditative aspect of the process.
Thank you! It has been wonderful to have the opportunity to exhibit my work in so many places. I’m particularly excited about the Philadelphia Contemporary Craft Show, as it will be my first time exhibiting with them.
Over the last two years, I took time to reflect on my practice and develop new series of works. This period of introspection was essential for deepening my creative journey, and I’m glad I took that time for myself. I always strive to balance my time in the studio with my commitments to galleries, curators, and art institutions, but it can be challenging to predict exactly what will happen. I prefer to go with the flow, never turning down an opportunity to showcase my work. As a (self-proclaimed) workaholic, I always find time to create in the studio. And I’m delighted to have a solo show next spring in Philadelphia with a new gallery where I can install some big new works.
Seconde Peau #36; 2024; monoprints, cotton thread, fabrics, gold leaf; woven; 16 x 12 in. Photo credit: Jaime Alvarez
Les Bleus à l’Âme II ; 2024 ; monoprints, cotton thread; woven; 44 x 34 in. Photo credit: Jaime Alvarez
I’m deeply curious and eager to discover new ways to express my art. I would love to return to Japan, a country I visited as an art student. There I developed a strong desire to explore and experiment with the techniques that fascinate me in their rich craft traditions, such as papermaking, indigo dyeing, and woodblock printing.
I want to delve deeper into my Les Bleus à l’Ame series of woven monoprints and potentially create larger pieces to form modular walls of paper.
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Cami Smith is the Fiber Art Now media manager, community engagement coordinator, and a mixed-media artist.
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