Jewelry Relationships
September 30, 2013
Inspirational Art
I am on the road this week and have been for several days previous, so my researching time is limited for this week’s theme. Instead of a more direct theme, I thought I would share my thoughts on things from my Pinterest boards, those poor but extraordinary pieces that I have not yet found a theme for. They must get out, I say!
So for our first pull from the polymer board, let’s look at this piece from Tory Hughes. I adore the work Tory does, in part because she makes me feel better about my constant experimentation in my own work. I like to explore and Tory’s body of work, from the very beginning, has been so obviously focused on discovery and asking the “what if” question. This piece is one of my absolute favorites. I can’t find it on her gallery, but my pin says I got it there. Either way, here we have it.
Now why do I like this so much, with all the rich, intricate texture and designs she has created through her decades of work? Well, let me ask you … are you drawn to it? Are you finding yourself spending a lot of time looking over it’s many pieces? If so, why do you think that is?
I see this piece being about relationships. We have the same shape treated in multiple ways. Even some interior shapes within the shapes reflect the basic tile form or work with it. The symbol of the state of New Mexico (where Tory resides and where I also once lived) and the “+” sign are both the same essential shape of the tiles if you reduce it to a shape with an extension on all four sides. Having lived in New Mexico, I can see the obvious relationship to the materials, textures, and colors so prevalent in what is deemed native art work in the area. The black one with the white graphic markings ended up drawing me in the most, not just because it’s so different, but because it feels personal. It makes me wonder what her relationship is to this particular tile. I have no real guesses, but I do feel like I might be glimpsing a bit of her in that one bead.
Tory Hughes is easily one of our community’s most important artists due not only to the quality of her work, but to her innovations both in the early days and now, the philosophies behind them, and the generous sharing of her techniques and ideas. If you’ve never done so, do spend some time on her website as well as in her galleries to get a better glimpse of this masterful artist and what she does.
Resource for Inquiring Minds
September 29, 2013
Tips and Tricks
I know I usually give you a few words of wisdom from great minds on Sundays, but we were short a day to honor our guys, so I thought today I would bring up a gentleman who was very influential for me. If you’ve seen Garie Sim’s work, you’ve probably seen his miniatures … his really teeny, tiny miniatures. Here is the world’s smallest minion!
Although I love his little mini sculptures, this is not why Garie influenced me so much. It was his crazy experiments. Well, some weren’t so crazy, but they were all quite thorough. His was the first strength test of clay brands I saw. He is also the first person I’ve seen who has tried microwaving polymer, frying it in oil, and cooking it in a pot. He’s worked out numerous ways to rejuvenate old clay (based on age, actual condition, and sometimes brand), distilled how to use a variety of glues with polymer, and has worked with and documented a multitude of ways to work with and cure liquid polymer. His crazy and varied experiments really pushed me to go ahead and try the many crazy things that came to mind, because if some guy in Singapore is willing to pan fry polymer, what could I possibly do that would be wackier?
Are you intrigued? Take a look at all his wild “what if?” experiments, tips, tricks, and, of course, his teeny, tiny creatures and food. Mind you, you might get lost on this very dense site, but it’s quite a fun and very informative trip.
Guys Do Play with Dolls
September 28, 2013
Inspirational Art
Today we’re going to visit with Chris Bivins, another artist that chooses his medium based on what fits best with what he wants to create. Chris is an illustrator as well as a craft artist who works in pottery and makes polymer figures. He will also unashamedly refer to his figures as dolls. Yes, he’s a guy who clays (and plays) with dolls.
Why dolls? Well, in his words: “I’ve always been intrigued with dolls. They have a decidedly eerie quality that stems from the fact that they are really tiny recreations of ourselves or, at least, some part of ourselves.” I couldn’t agree more. So if this piece, Crow’s Gift, is a tiny recreation of Chris, one might wonder about the guy just a tad.
Actually, Chris seems to have a particularly keen sense of humor, so even when his work tends toward a darker aesthetic, I think he is just having fun and enjoying letting out his child self.
Go and enjoy more of his work yourself on his website here.
And thanks to Lynette Yore for reminding me of Chris and his fabulous figures.
Math Art
September 27, 2013
Inspirational Art
Torolf Sauermann is an artist and a mathematician. It would be very difficult to say if he was more one than the other, but either way I do think he may be quite obsessed with what he does. Torolof creates math art–artwork that is formed by playing with mathematics. He is not the only person out there creating math art, but from the sampling I saw, no one does anything quite as intricate or nearly so much of it.
So what is math art? It is art created in mathematically based software programs using things I won’t pretend to understand like topological mesh modeling, parametric equations, and isosurfaces. In essence, these programs (to the best of my understanding) are used to manipulate mathematical models in visual forms. Torolf then has them printed using a 3D printer which, using extremely thin layers of plastic resin, builds the models from the ground up so they can then exist out in the world. One might imagine a piece developed through math might be rigid, but that is not always the case. Just look at this intriguing piece–it appears extremely organic.
I brought Torlof up today not only because he’s an artist and a guy to go with our theme this week, but because he was introduced to our community for the first time through one of our polymer guys, Dan Cormier, at Synergy 2 a few years back. And his work, which you can check out here on his website, also sometimes looks like Daniel Torres‘ hollow polymer forms. I’m sure it’s wholly coincidental, but it is kind of cool to see two very analytical guys coming up with similar forms.
Speaking of Dan Cormier and the things he brings our attention to … over at The Cutting Edge, Dan and Tracy are giving away signed copies of the issues of Ornament and The Polymer Arts that featured articles on The Broken Telephone Project. If you want to get in on that drawing, send them an EMAIL, FORWARD this news to a friend, COMMENT on our Facebook page, or SHARE their Facebook post with others.
Remembering Gwen Gibson
September 26, 2013
Inspirational Art
I interrupt this week’s theme to acknowledge the passing of one of our more influential artists, Gwen Gibson. She passed away peacefully just this past Tuesday.
Some of you may not find her name familiar. She had been focusing on painting and mixed media wall art in recent years so was not front and center in the polymer limelight but her influence has been wide ranging nonetheless.
Gwen started working with polymer in the late 80s and developed ways of working with polymer yet unseen. In her words, “Partly because I didn’t know anyone else working in polymer clay, and partly because I had spent time painting, my work took its own direction from the beginning. My main departure was the use of paint for surface effects rather than the color of the clay.”
Her paint and silk screening work in polymer pushed many artists to move past creating effects with polymer alone and try integrating paint and then other materials into their polymer work. Her philosophy about creativity influenced the direction and ability of many artists to grow their own style and find their own artistic voice. It was also her vision that made La Cascade, the workshop center in France, a reality.
We were lucky enough to have some of her thoughts and influences described and acknowledged in our last issue of The Polymer Arts. The simple but rather moving words i our Fall 2013 issue, written by Ronna Sarvas Weltman for our Muse’s Corner section (the back page) garnered quite a few comments and notes of appreciation from our readers, some who had the pleasure of meeting Gwen and expressed just how much she touched them with her gentle ways and simple but profound philosophies about creating art.
Gwen Gibson with her 3 wall pieces in the MIPCES exhibition, 199.7 (Image and the above quote from Polymer Art Archive–click image to read the associated article.)
I’d like to suggest we all take a moment to look through Gwen’s gallery, to appreciate what she brought to our medium and because her work, especially if you haven’t seen much of it yet, is still inspiring and beautiful as is the work of any great artist.
Choosing Polymer
September 25, 2013
Inspirational Art
David Vanover is not a polymer artist. He is a jewelry artist. Sometimes he uses polymer. Sometimes he does not. The thing is, when he uses polymer, he uses it well and when it is needed. Although he has worked in more complex pieces in years past, I find his more recent and simpler pieces use a well-balanced restraint that is really to be admired. Pieces like this brooch, with just enough complexity in the polymer inlay to keep your attention yet an open silver shine to pull you out without distracting you from the focus, would be hard to improve upon.
I bring David into the theme this week because bringing up his work gives me a chance to touch on the role of our medium in what we do. Many of us are so enamored with the medium of polymer that we have no desire to work with anything else. Still others find themselves in a purist mindset, where branching out and using other mediums makes us feel like we’re cheating on our first love. For many others, we have limitations in our lives that make polymer the only reasonable choice. All of these reasons are restrictions though and some are not necessary. I only want to put out there that if you feel your vision could be better expressed with the aid of, or wholly through, another medium, you should allow yourself to explore those options–when real world restrictions won’t stop you, of course.
The bottom line is, we make art. What we make it from is not important except when it comes to the material being able to support our ability to express ourselves. After four decades of exploring a myriad of ways and materials through which to express myself, the only thing I have found that is constantly true is that it is the ability to create that matters most at the end of the day, not the material and sometimes not even what was made.
So, does David Vanover belong in a week dedicated to men working in polymer? I think so. He does certainly belong in a week about men who create art and appreciate this one particular medium that has grabbed and held the imagination of so very many of us.
David’s art jewelry can be admired on his Flickr page and in his Etsy shop.
A Perfect Finish
September 24, 2013
Inspirational Art
Seth Savarick kind of comes and goes in the polymer spotlight, and I think he could use more web presence. (Just saying, Seth. Some of us would like to see more of your work!) But recently, between his Synergy 3 seminars and his participation in the collaborative project of the year and its resulting book, Polymer Clay Master Class, he is getting re-introduced to many of us.
The most noticeable thing about Seth’s work, I think, is the absolutely flawless execution and finish. He works in both very contemporary designs and designs with the influence of ancient Japanese cultures, such as this inro.
Right now, if you want to check out more of Seth’s work, your best bet is to get the above mentioned book (which you will want for more than a view of Seth’s work) and check out his biography and images on the IPCA pages from this year’s Synergy 3. In truth, he does have a website under construction here. Let’s all give him some more encouragement to get that up and done!
The Guys Have It
September 23, 2013
Inspirational Art
I’ve had several conversations recently about the ratio of men to women working in polymer. I’m not sure I’m really the authority on the subject, but we do know it’s small. I seem to recall that Cynthia Tinnapple and Judy Belcher pulled up a statistic at Synergy 3 but I can’t recall the exact number, only that we are an overwhelmingly female-dominated art form. That poor handful of guys!
So this week, I thought I’d highlight a handful of our guys, trying to stick with the ones that don’t get seen around quite so much.
First, for your pattern- and color-viewing pleasure, we have Adam Thomas Rees. His work is similar to that of Jon Anderson, who we have featured on here and in the magazine; but for the most part he works on a larger scale and the focus is more on color rather than controlled patterns.
I can’t say if Adam was influenced by Jon or if they individually came to work in cane-covered animal forms separately, but I think I see some influence by other men in polymer here. At the very least, there are some canes that look quite a bit like the the mica-shift canes of Dan Cormier. Maybe its just that these guys are all sticking together!
If you know of any guys in polymer (or are one of them!) that aren’t getting the attention you think they deserve, write me at sbray(a)thepolymerarts.com with a link to their work, and let’s see about getting them highlighted this week!
Humans Elevating Nature
September 22, 2013
Ponderings
When I started researching the theme for this past week, I jumped over to the online thesaurus and was surprised to find that the synonyms for “man-made” were all things like “fake”, “counterfeit,” and “false”. There was no synonym that celebrated the genius of human creation, that referred to things made by man as positive. How silly is that? Man-made is not a bad thing, not when done with care and awareness.
So here is a quote to counter that negative sense of man-made:
I’m actually surprised that more urban polymer artists don’t look out their windows and want to reflect back the cityscape around them. What human beings have created is incredible. We build both functional and artistic structures all over the globe, forever changing the landscape with our huge buildings, bridges, and ports. Some may find this sad as it represents an absence of nature’s creations, but we too are from nature and our creations are still part of this world. We can’t stop the progress of civilization, but at least we can celebrate the beauty we add.
Ana Belchi celebrates the cityscape through a series of pins she created. Nature gets its say in this piece with the added patina and rust, representative of time and corrosion.
Ana goes through a whole series of experiments with patina, which you can find on her blog. She is a wide-ranging polymer artist with beautiful finishes. Take a look over the pieces in her store as well.
I just wanted to stop and think about a possible source of inspiration that I can’t say I’ve seen a lot of in polymer, most likely because we don’t deal with any particularly intricate versions of it: the tool. Our tools are pretty straightforward, but if you venture into the hand-tool section of the hardware store, there are some really interesting forms such as bobs, hand planers, lathe knives, and specialty drill bits. Get yourself into other crafter’s studios (like those of glass-, ceramic-, fiber-, and metal-smiths), and you’ll find even more cool and curious items.
We can really draw inspiration from anything; but specialized tools can be particularly interesting, since their forms are based on specific and unusual functions that may need special handles or angles to work. I remember the first time I saw an old-style block plane. The handles made such beautiful shapes. Here is the profile of an antique version; it could be a sculpture unto itself.
Okay, you probably think I’m nuts; but really, if you stop and look at a tool or–any functional object–and see it for its form, pattern, colors, or texture, you can find all kinds of unexpected beauty and inspiration. I assume that’s how Jude Clarke decided to create this pin out of rulers.
I had never really looked at a ruler as anything but the most banal tool, something I’ve had around me since I was in grade school. But the rhythm of the line repetition and the elegant font of the numbers make for a beautiful surface design. There’s also a great juxtaposition between the ruler and the diamond, the contrast of ordinary and precious, which gives you pause and makes you stop and think about how a ruler might be seen as highly valued as a gemstone. Or at least, I did; I don’t know that I will ever look at a ruler quite the same way again.
You’ve probably been trying to guess what our other man-made inspiration was in Tuesday’s amulets. This one might have been harder to identify, as it was more in the form than from a literal interpretation of a source. Wheels themselves are man-made objects, but the form isn’t wholly absent from nature. There is the underside of a mushroom, the cross-section of citrus fruit, and certain parts of microscopic organisms that have that round shape and ‘spokes’ of some sort. Our Tuesday amulets were formed like wheels, round with lines leading to the center. When searching for man-made inspirations in polymer, our penchant for wheels was readily apparent–not just in forms, but things with wheels as well. From cars and bikes to kaleidoscope and pinwheel canes, the wheel form pops up in polymer quite a bit.
And we don’t just show our wheels straight on; we also like to display their sides. A few years ago, a handful of bobbin necklaces started appearing. Bobbins are just wheels; they are more related to gears than what we put on bikes, but the basic form is the same, and it’s all man-made. This bobbin necklace from Dotty McMillan shows how fun the sides of a wheel form can be.
We, just as other humans, do like our spinning things!
If you read yesterday’s post and took a guess at the two elements of man-made inspiration in the amulets that I was going to talk about, you probably came up with something about the runes. Runes are characters in ancient alphabets, specifically in Germanic-based languages. (English is one, even though we’ve been burdened with arbitrarily applied Latin rules for the last couple centuries. But that is a soap box to get on in another place and time. ) One of the first and truly most unique things we created as a species is writing. Other creatures can create structures and designs; they even have their own versions of language. But no other creature has created writing.
That may be part of why we have such an affinity for any kind of lettering, although we are certainly drawn more to words of our own language. Once you learn to read you can’t help but be drawn to text wherever you find it. Yes, we are overly inundated with the written word in our modern lives and ignore much of it, but it will take more than that kind of overdose to keep us from being drawn to and reading any small set of words we find in a piece of art.
This mosaic by Julie Ann Haas would be difficult not to stop and read, even if it was among dozens of other wall pieces. It has both words and imagery to convey it’s meaning and speaks to a feeling we have probably all had at one time or another (perhaps especially so for us artists).
What did you see first when looking at this? I’m guessing the word ‘cracked’. Well, it is rather large, centered, and a word at that. It’s hard not to just keep returning to it, as it really gets the point across. You can read the rest of it once, but all you need to see after that is this one word. Eventually you probably found yourself looking over the rest of the piece to see what imagery and symbols were inserted to support this statement. If you did, I would think you were smiling by the time you were done examining it. The happy and playful figures along with the words are reassuring for those of us who think of ourselves as cracked all the time!
Julie’s Etsy shop is named Little Altars Everywhere (officially abbreviated to LilAltarsEverywhere.) She says “I am particularly inspired when creating pieces that elevate the human spirit …” and you’ll see as you look through her shop, she’s pretty darn good at doing that.
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Well, one man-made thing we do see drawn (sometimes literally) into the work of polymer artists is the texture we find in walls and paths–bricks, stepping stones, rock walls, and cobblestone streets. These come pretty close to being nature-based with the stone or stone like elements that make up these walls, walks, and roads; but it’s what the structures themselves represent that often draws us to them. Walls represent things like protection or barriers, and roads are symbols of opportunity or the unknown future. The textures of these things can, on their own, bring up the same associations. Whether the association is positive or less so, most people will feel a connection to these things and so we see, in our easily textured medium, the regular appearance of elements that represent walls and roads.
These necklaces by Spain’s Noelia Contreras bring the textures of a man-made concrete or stone structure into a a spiritual realm by having these textures frame runes and stand as the base for rune stones in these pieces presented as amulets. The pieces are full of implied and literal symbols; without even knowing what the runes are, you get from them collectively a sense of ritual, myth, and history.
I’ll let these pieces stand as introduction to two other types of man-made elements that we often see in polymer art, elements that are filled with meaning and have a long history for mankind. Can you identify what they might be? We’ll talk about them in the next couple posts. Just wanted to get you thinking. You are welcome to post your guesses!
We spend a lot of time looking at inspiration that comes directly from nature here so I thought this week we should look at things inspired by man. That turned out to be a tall order. Man-made inspiration seems to make up only a fraction of inspiring sources for polymer artists which made finding subjects for this week’s theme challenging. It is even more challenging if I try to eliminate man-made creations that were inspired by nature themselves. It all comes back to nature at some point, really, but this week I aim to find work inspired by our purely functional forms. We’ll see how that goes.
Of course, when you first think about man-made inspiration in our community, the steampunk trend is likely to come immediately to mind. I will try not to make this a steampunk week but let’s start with that as a first example. Mind you, I like the steampunk aesthetic having been exposed to its basics even before there was such a categorized aesthetic but it is harder and harder to find it done well these days.
I think the original idea of steampunk–an fantasy-esque alternate history of Victorian times with anachronistic technology–has been rather buried under some misconception that it can be simply represented by the presence of watch gears. I am not a purist and I don’t believe an idea should be preserved in its original form just for the sake of preserving it but it is a little disappointing that the idea of steampunk or even just the borrowing of elements of that aesthetic is so often used as the only reason for creating a piece rather than creating work that calls for including such elements.
What exactly does that mean? Well, you can say “I want to create a steampunk piece based on a heart shape.” That’s fine but I would not call that making art. If you instead wanted to show the idea of love being an automated emotion for some people or if you wanted to contrast human emotion with the machinery of our every day world then a heart that has gears and metal plates created with these concepts in mind could become art as long as it also follows rules of good design.
The fact is, too much steampunkery is slapped together without concern for concept or good design. Watch gears and screw heads tossed onto a form do not alone make a piece beautiful or interesting. So I decided my first task was to find a piece that was inspired by steampunk but for which good design obviously came first. I think this piece by Australia’s Sabine Spiesser is exactly that. Can you see why?
In this piece Sabine uses watch gears as visual design elements, creating lines and focal points within the beads that make up this necklace. She is visually presenting an abstraction, time, as a rich and beautiful concept with movement, color and texture. The gears are laid out in an orderly fashion which can be read as reflecting on how we use the organizational construct of time. Time visually winds its way through the piece, presenting itself in both large a small ways in much the same way as we think of time with its big and small moments in our lives. I can’t say that Sabine had these specific ideas in mind as she created the necklace but she does end up with a piece using watch parts to build and support the design, not to have watch gears just for the sake of it.
This is a really detailed piece so you will want to be sure to visit her Flickr page and see the piece in her detailed shots as well as look at the beautiful pieces she’s been making of late. She has really done some great work expanding on Eugena’s faux cloisonné technique as well as creating work that is becoming more and more recognizable as her own fresh, original, artistic voice.
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A quote from Buddha to start a very particular thought I want to express:
Quite regularly I have people write and ask if I will post something for them on the blog. I am always happy to do so if it fits the criteria for what we do here, and that it is as least as useful to the readers as it might be to the person or group that would like me to get the word out or promote something. That means it has to be relevant to the polymer community, and I need something visual to post. The visual part, oddly enough, ends up being the hurdle.
It’s not that people don’t send imagery or art work, it’s the quality of what is sent. With dozens or even hundreds of emails flowing through any one individual’s inbox and as many or more posts lining up in an RSS feed or on Facebook, the images in these dispatches need to be eye-catching and clear. If they are not, they will be passed over for those that are.
The reason I bring this up is because I see far too much beautiful work that is presented poorly online. I can’t tell you how many pieces I have passed on blogging about because you just couldn’t see it well in the photos–too dark, blurry, or overexposed, with flat lighting, distracting backgrounds, or overly yellow light will diminish or even ruin the impression of your work. So I just wanted to take this opportunity to say this: If you are going to post photos of your work in any public forum, be it Flickr, Facebook, Pinterest, your blog or website, and especially places you hope to sell like Etsy or Artfire, post well-photographed work. Even if you don’t find yourself so serious about what you do now, if you have any aspiration to become a professional artist or craftsperson and sell or show your work, the impression you give now can stick with the viewing public for quite a while. Images posted on the internet live on the internet for years. What you do today may come up in someone’s search 5 years from now. You may not be doing your best work yet; but at least, when your older work is still popping up in years to come, the photos will show it well. And if you have an aspirations to someday be featured in any one of the wonderful blogs or periodicals that feature craft artists, you have a better chance if you have good photos of your work posted.
The thing is, this is your art; this is part of who you are, who you have been, and who you will be. If you put yourself, your heart, and your soul into your work, take it that step further and show it well also.
You can get tips on creating better photographs from the many articles in The Polymer Arts magazine or you can take a class locally or get a book like Steve Meltzer’s Photographing Arts, Crafts & Collectibles.
We’re back to Western Europe today with something lighthearted and fun. Over in Italy, Dorothée Vantorre creates these unusual but irresistibly cute creatures, along with other stylized creatures, graphic jewelry, and further adorable manifestations of her imagination.
Dorothee is getting all kinds of attention in the fashion world, as evidenced by the magazine pages she’s posted on her Flickr site. I just keep going back to the pink-lidded, sleepy, weeble-wooble-like faces. I might have some kind of affinity for hem and their tired but content looks. Have fun perusing her Flickr photostream and her website this weekend.
Today’s post will be a little different, and short, mostly due to the uncertainty of my internet connection and the constant interruption and bit of bedlam we’re dealing with here. I live in Colorado, in a suburb east of Denver that got just bombarded by the monsoon rains yesterday. My home is on a high point in the neighborhood, so we are fine here, but getting in or out of my neighborhood is a serious and time-consuming challenge due to flooded streets closed off all around us. Of course the news makes it all seems quite dramatic, and people from all over are calling and texting. Us Coloradans, although not at all used to being flooded, are a hardy bunch, and deal with Mother Nature with patience. She tends to bring us mostly sunshine and mild weather, so we put up with a few eccentricities here and there.
But water is on our mind (and in our houses, and cars, and businesses…) so today, we’re just going to bow to mother nature’s beauty with a particularly pretty take on water and texture.
This would not be hard to duplicate in polymer. There’s a nice design break in the texture, too.
The site I was sent to with this image has a whole series of pretty amazing photos; most of them are water- and weather-focused, but primarily ones that are a bit mind-bending. Jump over to http://xaxor.com/photography/7168-beautiful-photos.html to see what I mean.
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