In this talk, Kelli Anderson, an artist, designer, and pioneer in the field of paper engineering, delves into the hidden potential of everyday materials—specifically paper. Anderson reveals how simple, low-tech materials can be powerful tools for interacting with and understanding complex aspects of our reality. Her unique approach shows that even humble materials can engage meaningfully with physical forces like sound, light, and time. This interaction often makes abstract concepts tangible and easier to grasp, bypassing the “black-box” nature of much modern technology, which often conceals how it functions and distances users from understanding its inner workings. Instead, Anderson’s work brings us closer to the mechanics of our world in a hands-on way.
Anderson’s career highlights include a series of fascinating projects that challenge conventional uses of everyday materials. Notably, in 2008, she collaborated on a recreated version of The New York Times filled entirely with articles from a utopian future. This project, designed as a form of “art intervention,” used design to imagine alternative possibilities and inspire conversations around what a better world might look like. This unique endeavor won the Ars Electronica Prix Award of Distinction, further cementing her reputation as a groundbreaking designer.
In 2011, she garnered widespread attention with her creation of a paper record player. This innovative piece of work, featured in media outlets like Mashable, Wired, and NPR, demonstrated how paper could be crafted into a working music player, challenging assumptions about the limitations of paper as a medium. This project, among others, is part of Anderson’s broader mission to highlight how we can see and interact with the world differently by rethinking the potential of familiar materials.
Anderson’s recent endeavors include experimenting with risograph animation, a printing technique that allows her to create unique, animated images by using paper as a direct interface with physical phenomena. By pushing the boundaries of what paper can do, Anderson encourages her audiences to question and reimagine the everyday tools and objects around them. Her artistic philosophy suggests that by reengaging with materials in this direct, hands-on way, we can reconnect with the “real” forces shaping our world—forces that technology sometimes hides behind layers of abstraction.
Additionally, Anderson’s workspace reflects her dedication to hands-on exploration: she works in a live/work studio filled with equipment from a bygone era, including a 1919 letterpress and other unconventional contraptions. This space enables her to keep exploring and testing the possibilities of “outdated” technology, aligning her artistic process with her belief in transparency and physical interaction. Anderson’s work is a testament to the power of minimalistic, tactile design and its ability to cut through modern complexities, helping us see the world—and our own human experience—in fresh, surprising ways.
Through her design philosophy, Anderson challenges viewers to reconsider how they engage with both art and technology. Her work ultimately aims to make the invisible forces around us more accessible, asking us to see not only how objects function but also what they reveal about human potential and creativity. Her talk is likely to inspire creatives and audiences alike to think beyond digital solutions, reconnect with material realities, and explore the unexpected potential of the “low-tech” world.
With support from institutions like the University of Michigan Library and the Ann Arbor District Library, and partnerships with media outlets such as Detroit Public Television and PBS Books, Anderson’s message reaches a wide audience. The Penny Stamps Speaker Series, which hosted this event, emphasizes freedom of speech and artistic expression, aligning well with Anderson’s mission to use art as a means of exploring ideas freely and meaningfully. Her work ultimately encourages a more thoughtful and engaged relationship with the objects and technologies that shape our lives, suggesting that by re-engaging with tangible materials, we might uncover surprising truths about ourselves and the world around us.
