Covering the Original Artistic Voice
April 30, 2013
Inspirational Art
Since there seems to be a lot of conversation about originality lately, I thought we’d focus on that idea for a bit this week (which is a great excuse to just bring the most stunning work I can find to post for you!) Finding your own original voice versus copying or following trends has been a point of discussion since Synergy 3 with the widely shared talk, The Good, The Bad & The Ugly in the Age of the Internet given by Harriete Berman, to comments and links here, to other articles and posts making the rounds like this one regarding copying posted by Ronna Sarvas Weltman on her Facebook page over the weekend. Originality is a very hard thing to teach. But awareness of what it is may be the first step in finding your own original artistic voice.
Covering objects with cane slices is in no way an original idea. But if someone did it for the first time today and for weeks after other people started doing it, would they be copying this innovative artist? Not necessarily. It is not the process or the skill that makes a piece unoriginal but the ability for a person to make what they see or learn their own personal expression (see Sunday’s post for the more in depth philosophical discussion on this). There are techniques, concepts and approaches to making art with your material of choice. Learned well, they become a skill. This will not make one an artist. It is what you do with it, how you make it your own, let it express what you see and care about. So … how can covering with cane slices be wholly original?
This frog is a Jon Anderson piece (see the Spring 2012 issue of The Polymer Arts for a gallery of his work and bio based on the only interview he has ever given.) It is completely covered with cane slices. However, every slice has been placed with purpose and as a way to express what Jon wants to portray about this creature and the colors and patterns he has been inspired by throughout his life.
Jon chooses the patterns on his slices, the colors and the way he lays them out to emphasize the form of the frog as well to embody his sense of what is beautiful. He also embeds symbols such as the moth on the frog’s head that give you reason to pause and wonder what else this is about besides the frog. There are a few other artists that use the same patterned approach to covering forms with cane slices but I have never seen any of their pieces that could be mistaken for Jon Anderson’s. His approach is a reflection of himself, the individual, the original person that his life and experience has formed.
Who would you consider the most original artist that works in the forms, techniques and/or approaches that you do? (And it’s okay if you think it’s you. It may very well be!)
Mixing it Up … The Polymer Arts Summer 2013 Cover
April 29, 2013
The Polymer Arts magazine news
This is always so fun for me. Putting out the cover of the upcoming issue. It means we’re almost ready to go to print! Plus it’s still just really cool to share it with you all.
The art on this cover is a collaborative piece by our prolific Christi Friesen and glass artist Sharon Peters. The two are featured in the “Mixing up Talent” article of the Summer 2013 issue.
This issue is full of ideas for mixing things up in the studio, be it through mixing materials, experimenting with new inclusions, trying new types of objects to cover, making your own wire findings or, yes, merging your talents with someone else’s by collaborating. I can tell you, collaborating is such an eye-opening and energizing experience. Every issue of the magazine is one huge collaboration between all the great artists that contribute, my little helpers and myself. It has its moments–I won’t say that collaboration is always easy–but the rewards are tremendous and the results are thrilling.
The Summer issue print copies are scheduled to all be mailed out by May 18th, with the digital being released by May 20th. If you haven’t renewed, would like to pre-order the issue or are ready to start a subscription, you can do so on our website at www.thepolymerarts.com/Subscribe.html.
And if you are as excited as we are about the next issue, we’d love to have you share the cover. There are links at the end of this post to share through all kinds of networks. (If you are getting this by email, just click on the post’s title and it will take you to the post page for sharing and comments!) Thanks!
Speaking
April 28, 2013
Ponderings
Earlier this week I received an email from one of our readers, Dara Meunier who came across an article and quote by Luann Udell that she thought we all might enjoy …
“Take what speaks TO you; tranform it into what speaks OF you.”
I had to wholeheartedly agree with this sentiment. Whether we are cognizant of it or not, our art is a translation of the things we see and experience in this world, things we found that spoke to us in some way. Udell’s article is about this translation in the context of looking at other people’s art work. We see other artists doing something we really like and find ourselves inclined to want to either create the same work or do something quite similar. Of course, that pushes us towards the deep, dark realm of copying but not only that, it influences our own personal voice, the source of originality we could be instilling in our work.
I think looking at other polymer artists is important to expand our view of what is possible and as a means to inspire and motivate us. On the other hand, I do agree that we may let what we see influence us too greatly or more precisely, too directly. The art we find we would like to try our hand at should not be translated through just our skill set–that’s not really translating but more copying within the limitations of what we are presently capable of–rather we should filter inspiring work through who we are, our spirit and our particular view of the world. Let what you do “speak OF you”. Otherwise it is not art, as art by definition is personal expression; recreating someone else’s object of expression is just fabrication, nothing more, and certainly nothing that is uniquely you. And showing the unique you is where the true beauty of a piece will come from.
Jump over to Luann Udell’s very honest and down to earth article about these ideas.
Thanks, Dara, for sharing this with us.
Through a Stone Clearly
April 27, 2013
Inspirational Art
In this last post on translucent and polymer I thought I ought to touch upon one of the oldest ways to use translucent polymer… creating faux semi-precious stones.
I don’t know if there is any semi-precious stone we can’t emulate in polymer. There are so many options and with some of the new materials we now have–different types of inks, foils, and clays that weren’t available or known in polymer’s early days–it’s a wonder that there is not more faux stone experimenting going on. Not that there isn’t any. It may just be that I wish there was more. So you can just imagine how intrigued I was when I came across Ekaterina Gamayunova’s experiments with a number of semi-precious stones. You can see some of the wonderful results she got in this composite necklace.
The allure of semi-precious stones comes from the the variation of color, texture and the way light plays through their layers of transparency. To emulate that effect we need similar layers of transparency which we get with translucent clays and liquid polymer. But we don’t need to just copy nature. We have available the boundlessness of our imagination which gives us the ability to make “stones” that nature cannot. Why not pink or red jade? Agate with square or hexagonal ‘rings’ or purple malachite? We can do what nature cannot. It’s like a nature and artist collaboration. How cool is that?
If you want to explore (or re-explore) faux semi-precious stones, you might want start by reading Ekaterina’s post on her LiveJournal page. She includes process images of her agate technique along with explanations of how she attempted to achieve different effects for different types of stone so you too can try making some of your own. Might be just the ticket for some stress-free play time in the studio this weekend.
Outside Inspiration: Glass–The Original Translucent
April 26, 2013
Inspirational Art
Of course polymer work in translucents has been heavily inspired by glass art. Glass was the original crafted translucent art material. Glass making can be traced back as far as 3500 BC but it wasn’t recognized as an important decorative art until the 19th century. So although glass art is not nearly as young as polymer, it is actually one of the younger crafts and a kindred spirit of sorts. There are many art glass applications that we have translated in polymer and other applications that were organically developed in polymer but look similar in approach to some types of glass work.
Take a look at this stunning vase by glass artist David Patchen …
What came to mind? Don’t tell me you didn’t wonder for half a second if this artist was influenced by polymer caning. If it weren’t for that unmistakable deep, pronounced shine of glass, which polymer still can’t quite replicate, one can imagine this being made with translucent cane slices. So, okay, we can’t quite get that shine that permeates all the way through glass but on the other hand we could do similar work with much more intricate patterns. That’s the advantage of polymer.
I’m going to have to leave it at that for today–so much to do getting ready to send the Summer 2013 issue of The Polymer Arts magazine off to the printer. But if you want to immerse yourself in some gorgeous translucent colors and get some ideas for creating patterning with canes from a master artist, take some time to look through David Patchen’s portfolio especially his vases. They’re just gorgeous.
Let The Light Shine Through
April 25, 2013
Inspirational Art
Although many of us may be mesmerized by the jewelry possibilities of translucent clays, we should not forget just how wonderful they can be on decor, especially pieces for which light is integral such as lamps, candle holders and night lights.
Below we have a beautifully detailed example of just what translucents offer when covering lighted decor. This is a lamp by Diane Dunville … created in 1998. (Yeah … we didn’t need no Pardo back then!)
The thing about lighted decor is that it needs to be designed for two different types of existence–lit and unlit. Obviously it’s gorgeous when lit from within but since it won’t always be on (one would think) it should be a beautiful object when unlit as well. Which is done here. Diane’s bold colors and a considerable consideration for the layout of the patterning should make this nearly as impressive a piece of decor in its unlit state as it is when illuminated from inside.
This is not just a covered object either. Here is the description of Diane’s work from the Polymer Art Archive post (written by Rachel Carren) in which I found this lovely piece:
“Fascinated by glass art, Dunville created a series of lamps during the late 1990’s. After building a foundation of mesh, Dunville added layers of translucent polymer which were then textured and carved. The results are a graphic and playful blend of color and pattern which make for bold, decorative surfaces when unlit and cast a colorful glow when lit.”
Agreed!
While Waiting for your Pardo Translucent Clay …
April 24, 2013
Inspirational Art
It’s funny how many comments and emails I got on Monday when I mentioned that I had untouched blocks of Pardo translucent clay in my studio. There is such a demand and yet so little available. I have had email conversations with a contact at Viva Decor but I never got a straight answer as to why its in such short supply or when we might expect to see it more readily available. So what’s a frustrated artist to do? As far as actually getting your hands on some, your best bet in the US seems to be getting on PolyClayPlay.com’s waiting list. (Is it any easier getting it in Europe by chance?)
In the meantime, I say go play with our other options. Pardo may be the clearest (so we’ve heard) but only in the clays themselves. The absolute clearest polymer you can work with is Fimo Decorating Gel. Although it can also be tough to locate in some places, it’s not impossible to get a hold of. (See our post last year regarding Fimo Gel and a false rumor; I listed places to find it.) You may not consider Fimo Gel to be a primary polymer to create forms with but with a little outside-the-box thinking, you’ll find you certainly can work with it as something other than an addition to the surface of clay.
Kathrin Neumaier has been playing extensively with both Pardo Translucent Art Clay and Fimo Gel, sometimes interchangeably. Here is a piece in Pardo Tranlucent clay (and what a fun piece!):
And here are basically the same forms but created in Fimo Gel:
So, yes, you can form pieces from liquid polymer and get a translucene as good if not better than with the elusive Pardo. And just think … there’s no conditioning!
The easiest way I found to work with liquid polymer as a form is to start out making sheets of cured lpc. You simply drizzle then lightly brush out the liquid polymer on a clean and very smooth, flat surface and bake it like that. A piece of tempered glass or polished sheet metal is an ideal surface. If you don’t have either, you can use a sheet of window glass (you can buy small panes at hardware stores or take the glass out of a picture frame) but you should put untempered glass into a cold oven and wait until it’s completely cooled before taking it out–rapid temperature changes can cause the glass to crack. (And tape up the raw glass edges with masking tape–let’s not cut ourselves!)
If the liquid polymer comes out of the oven still a little milky in spots wave a heat gun over it, keeping the heat a couple inches (50mm) away until it goes clear. (If you baked it on untempered glass, take it off the glass first.) Then you can cut whatever forms you want from that sheet. You can even add more liquid polymer to build it up or add color.
I would say about half the work I did in the first couple years I worked with polymer was created with lpc forms made this way and not just with Fimo Gel. After practicing for a bit, I could get any lpc to got completely clear. It just takes a little patience but its wonderful fun.
Kathrin has made all kinds of forms from liquid polymer including hollow beads and one piece collar necklaces. If you have the translucent bug, you need to take some time to browse through her Flickr pages for some inspiring ideas on what you might try while waiting for your Pardo.
Clearly Accidental Composition
April 23, 2013
Inspirational Art
Translucent layering is a wonderful way to add depth to a bead or, in the case of this piece below, a little polymer painting.
Roberta Warshaw isn’t too happy with this polymer painting but I think she has accidentally ended up with a better design than she might have if she had been able to fully control the process.
Her process here includes marker ‘painting’ on the clay, layers of translucent polymer lamella (a technique using very thin translucent layers embedded with metal leaf as developed by Kathleen Dustin) and a little carving of the clay. She professes to have laid a layer of lamella the wrong direction thus losing the “golden glow”. She doesn’t say where this mistake is and I can’t see it or maybe the photograph doesn’t show it. Regardless, any misdirected layer is not affecting the end result in any negative way. And what is wrong with a glow-less layer? A little contrast between glow and no-glow could add dimension … an expanse of matte color among the glittering lamella sea. Sounds a bit dramatic but, hey, it’s true–uninterrupted shine will often have less impact than shine interrupted and contrasted with a little dull or subdued mixed in.
Her other disappointment was stated to be in her carving skills. The leaf stem on the left is wider than she intended. However, stop and imagine if the stem was as slim as the rest (see the photoshop version below). Do you see how it changes the balance and the movement in the piece? In the one above, the heavier leaf on the left pulls the balance towards the outside and the stems going from a barely there slimness on the right to a heavy, robust leaf on the left suggests growth (which is often what we sense in a graduated scale of size … from small like a sapling to large like a full grown tree.) Between the pull to the side and the sense of growth, there is a feeling of movement, something more dynamic than the pretty but comparatively static feel of what I think she was after.
I can’t disagree with her on wanting more control with her carving. Even though I like the composition better the way it ended up, you can kind of tell the larger leaf was not intended, that the carving of it may have been worked over a couple times or was done with a heavy hand unlike the other two. Often, a large part of the beauty we perceive in a piece of art is the sense that the work done was wholly intentional and under the artist’s control. You can have good composition, excellent color choices and an intriguing form but if it is created without skill, it is very difficult to enjoy the other aspects. Do you agree?
Mapping Translucents
April 22, 2013
Inspirational Art
This week I thought I’d focus on translucent clay. Why? Well, maybe because I was in my studio looking at the as yet unopened bars of Pardo translucent I ordered a while ago that I still haven’t had a chance to play with. I do love writing about polymer art but, sheesh, it’s keeping me out of the studio far too much lately!
So since it will be a couple more weeks before I can play with the translucent ideas in my own head, let’s talk about it. What is it about translucent clay that make it so special? Well, I would say it’s probably because unlike all our opaque clays, translucents are about playing with light. Whether it has been sculpted, colored or layered, translucent clay allows light to pass through it (in varying degrees) which can give forms interior shadows and dimension, make colors glow, and give a layered surface depth and added detail–all unique and beautiful effects.
Here is a pair of earrings by Agnès (aka Primatoide on Flickr) where the use of the translucent clay allows light to filter through the image transfers of a tiny map colored by oil paints. The images absolutely glow, making the earring look like small lamps.
Although the image of the earrings here is quite beautiful, there is one issue. Would these be able to catch the light when worn? If the wearer had short hair or hair pulled back it might. It’s hard to say. Light needs space to play through and around. Without the play of light what do these look like? My guess would be that there would still be a patterning of white and blue and the clever, stylish wire work the polymer hangs from make for an interesting overall form. But when working with translucents, it helps to consider whether light will be available to show off your design if its very much dependent on the viewer seeing the transparency.
We’ll touch on more ways to use translucents throughout the week as I work madly on getting the next issue of The Polymer Arts magazine together. I suppose I should warn you that I might be a little tired and my blogging might get a little silly but bear with me. I promise we’ll have lots of beautiful work to ogle so we don’t need to depend on my ramblings for entertainment.
The quote below came to mind when I got, for the third time in as many weeks, a kind note from a reader telling me how much they enjoy the blog even though they don’t always agree with what I say. I so enjoy these comments. It means people are stopping to think.
I certainly can’t claim that what I say is “right” or gospel in any manner. We are talking about art here–a subjective matter with many right answers. The fun part is actually being deemed “wrong” and having people stop to say so. It means that whatever was said, whatever was done, was interesting enough to make someone stop and consider. And at the end of the day, that is truly the purpose of art, even when (or especially when) the observer thinks it should have been done differently.
If you aren’t familiar with the concept, Occam’s Razor is, at its essence the idea that, all other things being equal, the simplest solution is the better option. It’s a hard concept to wrap around the creation of art but I have found the idea to be a life saver … or an art saver. I have these words taped above my studio table: When you can’t decide … Occam’s Razor! It’s a reminder for those times I get really wound up over a design and can’t figure out how to fix it. The inclination is often to add more or overwork what I’ve done but it usually works out much better when I can step back, look at the basics of what I am doing and pare down the work to its simple essence.
After talking about pushing the construction of your work this week, I did wonder if some readers might think complexity would be the way to break out from any standard forms they had been adhering to, but complexity is not what it’s about. So here is a great example of pushing a standard necklace design in the most simple and yet highly impactful manner. This piece was created by Kaytie Johnson, a curator of contemporary art who professes to be obsessed with design. I can see that … this is all about the design not about the polymer at all.
She’s taken a dangling bead necklace design and pushed it by repeating the chains of beads but with a carefully measured change in color from one to the next. The beads themselves are very basic but done well, with a good eye for color so that the piece looks anything but basic. It’s simply simple design executed well.
So if you have been inspired by the construction and form ideas this week, just keep in mind you don’t have to go crazy. And only push the design when it makes sense for the effect and use of the piece you are creating. Sometimes it’s better to not deviate from the standards. They became standards for a good reason. Occam’s Razor … sometimes the simple solution–using a proven form–is the best answer. Just keep in mind, that it’s not always going to be the case.
Read MoreI have been holding onto these little gems (pun intended) for a while now. I was fascinated but I wasn’t sure what you all would think of these tiny creative creatures, or even the artist that got these little creepy crawlies to collaborate with him. But nature’s unstoppable creativity is so well high-lighted by these very unusual pieces that I couldn’t help but hope there would be an appropriate occasion to share this. But here’s a warning … if you get buggy about bugs, you may want to avert your eyes. If, on the other hand, you are as fascinated by what Mother Nature’s creatures create as I am, I think you’ll find this utterly intriguing.
These golden cocoons below were not some bizarre concept created by a mad jewelry artist and imposed upon some unsuspecting insects. These cocoons were actually created by the creatures crawling out of them. The caddis fly larvae, an insect closely related to the butterfly constructed these casings from available material. Talk about a different way of constructing art jewelry!
The caddis fly collaboration was conducted by and with an artist by the name of Hubert Duprat. My first sighting of these amazing pieces were in a back issue of Cabinet magazine, the publication of an arts and culture organization out of Brooklyn, New York. According to their website “Cabinet aims to foster curiosity about the world we have made and inhabit.” Yep, they got me curious. How did Hubert get these creatures to build their cocoons out of gold and gems?
Well, apparently these little guys spin cocoons out of silk but incorporate other materials from their environment. Since they are river dwelling bugs, sand, bits of shell, fish bones, and plant matter are common inclusions in their casings. Since gold and stones are common river material, Hubert thought he would see if the larvae would include precious natural materials in their cocoons if their more mundane alternatives were not present. And they did. But isn’t it amazing how they designed their casings? Striations of stone and aligned rods of gold wire decorating only the top and center portions of the sheaths. The casings are beautiful and well balanced. It seems almost impossible that these creatures would create something that wasn’t just a total mish-mash of materials until you stop and think … nature is the ultimate designer. Our own sense of design comes from what we have been seeing in the natural world around us for eons. These creatures may not be aware of their inherent design sense but they too would have assimilated the balance of the world around them into what they do.
Bottom line here … when looking for new ways to develop and construct your artwork, don’t forget to look to the work of the master and original architect you can find all around you.
There are videos on YouTube showing the caddis fly building these with Hubert explaining the process if you just can’t get enough: http://www.youtube.com/watch?v=jID1_GwxiE0
Read MoreI considered moving on to rings today but since we covered that subject so thoroughly in The Polymer Arts Winter 2012 issue (and so many of you are subscribers), I thought we ought to move on to another kind of construction consideration … home decor! This most commonly involves covering objects–vases, bottles, boxes, switchplates, clock faces, etc. Our inclination is to cover the object, keeping within the boundaries and following the shape of the form we’re covering. But why? We work with a material that can create a myriad of visual effects and be built into almost any form we can imagine. Why would we let a pre-formed object dictate so much of what we do with it?
Ariane Freisleben doesn’t actually say she covered an object in the piece below but it certainly looks like it and it beautifully demonstrates the idea of moving beyond a standard shape.
This was created using techniques Ariane learned in a Jeffery Lloyd Dever workshop (but no pods here!) which could have been executed by layering the clay flat on a standard bottle shape. Instead she plays with the edges building them outwards and twisting them away and beyond from the expectation of straight vertical lines that would have stopped before the neck of the vase. The result is a much more dynamic object with curves in the form that reflect the playful lines decorating the surface of the clay.
If you missed the switchplate we showcased a week ago, that is also another example of breaking out of the boundaries of an object. If you cover objects, have you ever pushed beyond the boundaries of the form and shape?
If you haven’t played with covering objects or would like to learn more including some suggestions for some more unusual objects to cover, don’t miss the covered objects article in the upcoming Summer issue of The Polymer Arts due out second half of May.
Read MoreSo today let’s talk bracelets. Bracelets have a consideration that necklaces and earrings do not in that they will regularly be knocked and rubbed against a wide variety of objects so they need to be durable and their surfaces need to be able to take some wear. That is probably why the three primary constructions used in polymer bracelets are a string of beads, the bangle and the cuff–good standards and well suited for showing off bead work and surface designs as well as being strong. But what other approaches can we take?
The more exciting construction designs I’ve seen combine common approaches. Below we have a modified cuff made of two halves that could be called beads since they are strung together with a band of elastic through their center. (There is a tutorial on how to make these in the July 2010 issue of Art Jewelry magazine and on AJM’s website.) So it’s a combination of cuff and bead really.
You may have recognized these bracelets as the work of Helen Breil, an amazing artist with an intensely creative yet practical approach to jewelry art. She is the author of one of the most unique how-to books for polymer, Shapes. Her sophisticated bracelets popped directly to mind when I started thinking about what we have to consider when constructing bracelets.
Bettina Welker was the other that came to mind. I introduced you to one of her more ingenious bracelet constructions in February. Bettina has quite a number of interesting and problem solving ways to build, hinge and close a bracelet in her book Polymer Clay Bracelets. If you have an interest in pushing beyond the usual with bracelets, you’ll really want to get your hands on this book.
By the way, both Helen and Bettina’s books were reviewed in our Spring issue of The Polymer Arts magazine with sample pages and titillating previews of some of the ideas inside. Get your copy at www.thepolymerarts.com.
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Alright, more construction chatter. I thought I’d go for the hardest form to talk about … earrings. Mind you the construction of earrings themselves are not usually challenging but that’s the point. What else can you do with them but create a bead of some kind and attach an ear wire or a post? Finding something different to share … THAT turned out to be quite a challenge.
So let’s think about this. What about the earring form is different from all other adornment? Well, two things come to mind … for one, they are usually made in pairs and secondly, they are the only standard type of body adornment that doesn’t go ‘around’ a body part. We have two ears so we think we need two earrings because of the symmetry inherent in the pair of ears that they will adorn. So that is the first area we can push … the symmetry. I’ve seen quite a bit of this kind of thing–a pair of earrings that are related in form and color but are not alike. Have you ever tried that?
That is not so much about construction as about the type of design you choose. The second unique characteristic is the fact that earrings hang off the ear in some manner, so they have the potential for movement as well as being seen from nearly all sides. Can we push the construction to exploit these characteristics? (Because it wouldn’t be me if I didn’t ask you to consider pushing an idea!)
With earrings you have all this open space below an ear to work with and when the wearer moves, the earring can move through all this space. So why not exploit the possibility of movement? This might require a few more connections, maybe a row of beads or multiple dangles. There will need to be some consideration of how they will hang from the post or ear wire if there are multiple parts. But this could be fun.
So this is what I found for you. Talk about movement! Here we have the polymer not only able to swing in the space below the ear but this eclectic jewelry artist, Sunitha Lal, makes more space within the polymer, space from which additional pieces can swing and move as well provide areas of attachment to hang additional beads.
The chandelier style of earring here is not that unique, certainly not in metal work. But in polymer, creating space as part of the design is not utilized quite as often. I imagine much of that has to do with consideration for strength but also it may simply be out of habit, some kind of standard that we’ve established whereby we expect to make solid pieces to dangle from our ears.
If you have any unusual earring constructions, I’d love to see them. Perhaps we can share a few at the end of the week. Just write me directly at sbray@thepolymerarts.com.
And if you want to expand your repertoire of ear wires and findings, don’t miss our next issue in which we have a whole article on that very subject. Subscribe or renew at www.thepolymerarts.com to ensure you don’t miss out!
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One of the more challenging aspects of jewelry art can be the engineering. Even if you are making a simple pendant, there is at least a moment or two where you should stop and consider how it is going to hang, what kind of bail or attachment it will have and how long the chain or cord should be. That is the engineering of its function as adornment. When getting into more complex necklace designs you might have to consider points at which it needs to ‘hinge’, the balance so the center stays at center, how the parts or beads will fit together, how it will sit around the neck or on the shoulders, etc., etc., etc.
There are some standard necklace designs you can always stick with, like a straight-forward string of beads or a large focal piece strung with a symmetrical arrangement of companion beads on either side. Keeping the engineering simple is often the best route. But have you tried challenging yourself with unconventional designs? Asymmetrical arrangements, unconventional hanging points and/or bails, pieces that must fit precisely together, etc.? How about a piece that can change at the whim of the wearer? Now that is a challenge.
And it’s a challenge that Cristina Almeida took up several years ago with the construction of this piece, the Infinity Necklace.
Click on the image to open a larger window so you can better see the different ways the necklace can be worn.
In Cristina’s words, ” The Infinity Necklace is all about construction … you can actually change the whole construction of it, add and reduce components, make it shorter or longer and it all connects with body piercing [jewelry]. The whole piece is made using polymer clay … Kato clay for the rigid parts, Sculpey Bake&Bend clay for the flexible parts.” Besides the unique ways the necklace can be hung, it has some very intriguing beads within those intriguing bands. Beautiful and ingenious.
This really does take engineering a necklace to a whole other level. But a necklace isn’t the only thing that takes a little engineering. I thought I might spend a little time this week on that idea. I had quite a lot of fun last week with the Swirls and Curls themed posts and thought I’d try a theme again. What do you all think about posting according to themes for the week or at least part of the week? I thought I’d try it for the next few weeks and see what comes of it. Let me know if you’re enjoying them!
By the way, did you know … subscriptions and purchases of The Polymer Arts magazine are what make this blog possible? As you might have noticed, it is not plastered with ads. We may have to expand the advertising a to help with increasing costs but I’d like to keep it to a minimum, so if you enjoy this blog and aren’t already a subscriber, do consider supporting it with a subscription or issue purchases. And you’ll get even more in-depth and inspiring information in The Polymer Arts magazine. Its a win-win-win for us all!
Read MoreThis Sunday’s thought is rooted in a discussion I overheard while waiting in line at the store. This woman kept speaking of someone’s shortcomings, I think a co-worker. By the time I was checking out I surmised it was likely someone new at their job and this woman was wholly unforgiving of this person’s mistakes. It seemed to be the typical put down others use to elevate themselves when, in anyone else’s eyes, it doesn’t do that at all. However, helping a willing person learn and become better at whatever they need to do should raise both people in the eyes of any empathetic observer–the person helping because of their generosity and the person learning because of their openness to be taught.
We should always keep in mind that someone somewhere is probably better than you at any one thing you do. This is especially true in creative fields. But it’s not even that someone out there will do what you do better, but rather that they will do it differently. There’s no point in anyone thinking of any other artist as being above or below another. Art is a personal journey and the most productive path includes helping those that can learn from you, and you, without ego, willingly learning from those that know what you do not.
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I know I bombarded you with swirls and curls this week but while we are on the subject, I thought we could look at another element that also really draws our attention. The circle.
Circles are a prominent element in all kinds of artwork because they are one of the most powerful basic shapes we know. It is the shape of some of the most important elements in our world such as the sun, the earth, the moon, eyes, and human faces. Circles are a signal to focus in on a particular spot; we don’t usually put a square or triangle around something we want to make note of … we draw a circle. It’s also a very pleasing shape … balanced, continuous, and soft. So if you use it in artwork, a circle, more so than probably any other element you have in a piece, will draw the eye.
So what if you use a lot of circles? And dots which are designators like pins on a map? Well, I think you can get a lot of attention. Just look at these pieces by Beatriz Rubio. Circles and dots and spots … you can’t help but check them out, can you?
So what have we learned this week, kids? Things that go round can certainly draw our attention. That’s enough for now. It’s the weekend. Time to go out and play!
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