Goran Konjevod and the art of origami
In the realm of artistic expression, few media blend precision, creativity and simplicity as elegantly as origami — the Japanese art of paper folding. Within this world of folded wonders, Lawrence Livermore National Laboratory computer scientist Goran Konjevod is pushing the boundaries of what’s possible with a humble sheet of paper, positioning him among the luminaries of the modern origami community.
Born in Croatia, his mother an artist and photographer, Konjevod’s fascination with origami began in childhood, nurtured by an innate curiosity and a love for geometric patterns. Origami wasn’t a widely practiced art form in his home country, but Konjevod’s inquisitive mind, artistic bent and natural talent set him on a path of discovery that would spark a lifelong fascination with the art form.
Konjevod remembers folding his first origami crane when he was just a child. In high school, when studying math, he fell under the mesmerizing allure of folding paper into intricate forms, moving from the simple animals, flowers and insects he found in his origami books to complex, soccer-ball-like geometric shapes, spurred by curiosity and experimentation.
“I didn’t know anybody else who folded at the time when I started,” Konjevod recalled.
“Initially, it was the geometry [that attracted me] and the fact you can take a piece of paper, and then you fold it and turn it into a shape. It’s hard to understand how that shape came out of just the square of paper. It’s like making something out of nothing.”
Konjevod continued his hobby after he came to the United States and throughout his academic pursuits at Carnegie Mellon University, where he first met other “folders” in Pittsburgh. In 2005, while working as a computer science professor at Arizona State University, Konjevod went to New York for an origami convention, where he was inspired to go beyond realistic sculptures into experimenting with his own intricate designs, infusing traditional techniques with his unique vision.
“After that convention, I started designing my own abstract things,” Konjevod explains. “I started exploring it more as, ‘OK, what happens if I do this? Or what happens if I do that? Or is it possible to make a sequence of folds and then get the paper to curve in a particular way?’”
It wasn’t long before Konjevod immersed himself in the art form, attending conventions and workshops to interact with and learn from seasoned origami practitioners. He began applying to open calls for submissions at galleries and museums and was invited to his first exhibition in Vancouver, Canada.
At a 2010 TEDxPhoenix talk, Konjevod lectured on modern origami, his “organic origami” technique and how different materials and folds result in the textures and properties that influence the outcome of his creations. His approach caught the attention of enthusiasts and experts alike, paving the way for his creations to be shown at studios and exhibitions across California, the U.S. and Europe in the ensuing years.
“It’s a fun thing to do; it doesn’t take up a lot of resources. You just need some paper and a little bit of space,” Konjevod said. “For me, it’s the question that I ask myself, ‘can I make this?’ I have to admit, I do enjoy people’s reactions when they see something and they’re amazed by it, like how can that be just a piece of paper? Sometimes it’s hard to understand how you can go from a flat sheet to something that looks like a three-dimensional sculpture.”
A process of unfolding
For Konjevod, the creative process begins with a spark — a fleeting image or idea that often turns into a rough sketch or a list of notes on what folding techniques or structural considerations it will take to reach the final form. Konjevod says he gathers more inspiration for his work from sculptors or ceramicists than origami artists, allowing his imagination to roam as he conceptualizes new designs.
With a vision in mind, Konjevod turns his attention to selecting the perfect material for his concept — a crucial step in the process. He considers factors such as the paper’s strength, texture and transparency. Depending on the desired outcome, Konjevod has used his own custom paper that he dips in dyes, delicate handmade Japanese paper, or often, a sturdy paper called elephant hide from Germany. He also has folded metal mesh and thin sheet metal, and even created cast metal sculptures by using folded paper as patterns.
Once he’s chosen the right paper (or metal), Konjevod embarks on the intricate process of folding — a delicate dance of precision and patience. Konjevod’s technique is based on a sequence of simple folds. He begins by pre-creasing the paper into a tight grid of squares, and then creates zigzag-looking pleats. He refolds the pleats over the creases, allowing for multiple layers of repeating geometric patterns (pleat tessellations) and causing a natural, 3D shape to take form.
“When you have a lot of these folds arranged in particular ways, then that tension tries to open the paper back up and can create the curvature,” Konjevod said. “After a while, you realize that you can get the paper to take on additional forms, and you can help shape it… you can almost sculpt the paper like a stretchable material. Normally if you stretch paper, it doesn’t do anything until it tears; it’s not like clay or rubber. But if you put a lot of folds into a sheet of paper, then you actually change the material until it’s somehow almost a sculptural medium.”
Surprisingly, Konjevod said his background in math doesn’t factor into his process. At the heart of his philosophy lies an appreciation for the serendipitous nature of origami, as he allows himself to be open to the possibilities that unfold before him as he navigates the process. Instead of meticulously planning every fold, Konjevod allows the paper and the ebb and flow of the folding process to guide him and letting the shapes form naturally from the tension of the paper.
“It’s a different part of the brain [than mathematics],” Konjevod said. “You have to think about the geometry and how the shape is going to work out, so sometimes there’s a little bit of planning. Other times it’s just improvisation.”
Improvising is one of the hallmarks of Konjevod’s “organic origami” approach. He prefers to say his creations are discovered, rather than designed, a process that has allowed him to create objects like sculptures, vase-like vessels, bowls and masks that seem alive, dynamic and movable, even reshaping themselves long after the actual folding is completed. His creations can take hours of meticulous creasing and refinement, often to the point of pain in his fingers and joints.
“It’s not always immediately clear how the shape will turn out,” Konjevod said. “The idea sometimes comes to me in a flash, and I’ll realize, ‘OK, this is how something’s going to work if I do it,’ but the mechanics are what can take hours. Sometimes the work needs to be broken up, because my fingers are not useful for anything after a few hours of folding; it can be not only mentally challenging, but physically difficult, especially with a really fine folding of heavier paper.”
With the final folds complete, he adds last-minute touches or embellishments, ensuring that every detail is perfect, and watches as the object comes into view.
“The final result is the sculpture you make,” Konjevod said. “You start off by asking yourself, ‘Is this possible?’ And then the proof is in the physical result.”
Sharing origami with the world
In his Livermore home, the walls and museum-lit display cabinets showcase many of the delicate sculptures Konjevod has created over the years, each one marking a step along his path of self-expression. Konjevod estimates he’s produced at least 800 creations, his favorite being his stunning rendition of the Golden Gate Bridge — an homage to the iconic structure spanning the San Francisco Bay that for nearly a century has represented the American West’s spirit of adventure and innovation.
“The bridge is special to me because it’s a rare example of me designing something that’s out there in the real world,” he said. “It was just a lot of work to get through it, because for that one, I actually wanted it to look like a suspension bridge, so I needed to know the shape and the number of folds that go into those pieces that look like cables holding the bridge and so on. I couldn’t just make it look like whatever it came out to be.”
From the labor-intensive nature of folding to the occasional setbacks and failures, Konjevod approaches each piece as an opportunity for growth and learning.
“It can be mediative, it can be frustrating, but for the most part, it’s positive,” Konjevod said. “Otherwise, I wouldn’t be doing it."
With each fold, Konjevod continues to explore new possibilities in origami. Whether it’s refining existing techniques, the satisfaction of solving a complex folding puzzle or the thrill of seeing his work displayed in an art gallery, Konjevod has a passion for the craft and is grateful for the opportunity to share origami with the world.
One of the most rewarding aspects of Konjevod’s journey in origami is the sense of community he shares with fellow enthusiasts, educators and practitioners who gather to celebrate their shared interests and promote the art of origami. Konjevod strongly supports the community’s collective goal of establishing origami as a legitimate and accepted medium in the art world.
“At this point, it’s still a little bit of a novelty, and so it may be a little easier to get noticed and look impressive. If it becomes accepted as an art form, that won’t be the case anymore,” Konjevod said. “I think there’s no reason for it not to have a little corner of the of the art world. They are three-dimensional sculptures. There are things in the arts that are not very far from it; some of the mixed media work that is regularly exhibited, and assemblage has a similar type of graphic feeling. But I think it’s a long process, and it’s not clear how long it’ll take.”
From conventions to traveling exhibitions to workshops, Konjevod has had the opportunity to connect with origami artists from around the world, exchanging ideas, techniques and inspiration. His work has been featured in dozens of galleries and art installations in the U.S. and Europe, including the annual 50-50 show at the Sanchez Art Center in Pacifica. Artists in various forms of media, including painters, photographers, potters and glass artists sign up to create 50 small art pieces in 50 days, with a jury deciding who will be included in the show. Konjevod has been chosen to participate several times.
“It’s always a little bit stressful when you’re working on the pieces because it’s relentless for 50 days; you feel like you’re behind. It starts getting crazy after about 30 or so. And of course, I have my job [at LLNL] full time,” Konjevod said. “It forces me to create a full set of small pieces at once. What happens at the end is I have like a sketchbook of new ideas and designs because I’ve had to work through it all. So the first 50-50 [in 2010] was one of the early situations where I thought, ‘OK, I’m going to be in good company, all these people around me in the exhibition, that’s great work.’”
Konjevod’s star in the origami world has risen to his work being featured in international galleries and the coffee-table book “New Expressions in Origami Art,” published in 2017, where he was included among the world’s 25 “leading paper artists” — a recognition he calls humbling. In 2023, while in Japan to take a workshop on papermaking — which took him from cutting tree bark and boiling pulp to a finished paper product — Konjevod was highlighted on the NHK World — Japan series “Origami Magic,” where he discussed his philosophy.
“I rarely use my knowledge of math or geometry in order to create my pieces,” Konjevod told NHK.
“I sort of think of nothing and just work through the process. The improvisation is often how I come across my designs. I see something else that I wasn’t quite expecting, and it can take me into a different direction.”
Looking to the future, Konjevod remains committed to pushing the boundaries of origami as an art form and exploring new avenues of creative expression, experimenting with unconventional materials and tackling ambitious new projects. In recent years, Konjevod has begun pre-painting sheets of paper with wax-based paints to explore color and texture, and has embraced digital platforms like virtual workshops and online tutorials to connect with aspiring artists from around the globe.
Konjevod’s origami odyssey shows no signs of slowing down. In a world of fleeting trends, his dedication to an ancient art serves as a reminder of the boundless potential of a simple material and the timeless power of imagination.
