Imagining Stone Bones
January 21, 2015
Inspirational Art
Alright, this piece isn’t in itself particularly old-looking, but it does represent another element of time and hide a possible story in its history. Plus, I just think it’s a beautiful piece.
France’s Karine Barrera regularly creates tribal or ethnic pieces, but I don’t think there are any particular civilizations they are drawn from. Rather they seem to be an amalgamation of tribal aesthetics. This one appears to be a most interesting composition of stone, although its form is more reminiscent of bone; the gentle curves recall tusks, claws and ribs.
But if it were stone, what kind of stone would have such layers? Or is the white not supposed to be stone but a material for joining two types of stone? What kind of material is that? What kind of people would find these shapes and the combination of stones meaningful? There are so many possible stories that can be imagined for this piece.
Karine’s work is full of possible stories. Even in her explanation in the blog post, her words are translated from French to say, at one point, that these “are stories designs”. Not sure what that means exactly, but Google Translate creates some pretty wacky text sometimes. In the end, it’s not so much about the story the artist has in her head but what the viewer of the piece comes up with. If your work makes someone stop and consider and create their own little stories and worlds in their mind from what they see, you have succeeded in communicating and maybe even entertaining. And that makes for some pretty good art. See more examples of this kind of thing on Karine’s blog.
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Mandalas Well Used
January 20, 2015
Inspirational Art
I think part of the draw to old and well-used (or abused) items is that the scars and wear give us a peek into a hidden past. The object may have been many places, been handled by many hands and may have taken part in a an adventure or two. It’s hard, especially for those of us with wild imaginations, not to consider and maybe even fill out some of the secret pasts of an object. It can be rather thrilling to imagine actually.
That is what drew me to Danna Gussman’s piece here. The pendant seems somewhat like an ancient compass, clock or just a talisman for a secret organization that has been in existence for hundreds of years. Their leader would wear this during their ceremonies, but it would remain hidden in a stone box otherwise. It got those scrapes and scratches from its travels in that box and from the handling of it over so many years. Or so my imagination decided. But that’s just me. What do you see?
Danna refers to this as a geometric mandala. Her pieces are highly geometric and so very precise, and yet they do feel spiritual rather than being simply decorative. You can see what I mean by taking a look at other piece she has in her Etsy shop.
On a very un-polymer related note, there is an amazing book by Anne Proulx called Accordion Crimes that is about the journey of a single accordion and all that happens in the lives that surrounded it for a century. It was a mesmerizing tale, but, moreso, I think it made me see old objects a bit differently because it made me more fully consider what any one object may ‘see’ in its journeys. Being able to imagine the stories can help you develop your designs by creating the narrative behind them. Imagining a piece having a story can help steer the design choices you make. And it’s also quite fun!
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Old Stories, New Faces
January 19, 2015
Inspirational Art
So since I spent all last week aiming to introduce you to something new, I thought this week we could do something “old.” Not that I would bore you with old techniques or things you’ve seen a million times — but how about old looks, as in antiqued or ancient, while meeting new faces we haven’t seen on the blog before? Well, that will be my aim this week.
Ancient, antique, patina, aged, degraded, worn out and rough … these looks are hot in many markets right now. If you have a penchant for anything of that sort and you are looking for some new looks for your line of sellable art, you might just want to consider playing with some of those faux old techniques and looks.
Here is the work of an artist I’ve followed for a while now, due to the way her pieces seem to embody some mysterious tale. Lisa Renner makes very distinct art dolls, books, jewelry, sculpture and wall art, much of which is in a mixed media arena. Most all of her work has an old or ancient feel to it but nothing that can be pinned down to any one type of technique or period influence. What I decided to share of hers is not on her website or any site I could readily find, but there is something about this faux ivory pendant that makes me want to ask about its story. It looks like something that has been beaten and well worn, with embellishments that might have been added at different points in time, if it had been an ancient piece of jewelry. There is so much subtle complexity here to explore: cracks, impressions, gouges, random beads. One can spend a lot of time pondering it.
I would heavily encourage you to take some time exploring her portfolio on her website. If this is the first you’ve seen her work, this single piece does not do justice as an introduction to her artistry.
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How To Clay Doodle
January 17, 2015
Inspirational Art
Have you started doodling yet? We talked about doodling as a drawing technique yesterday, but you know what … you can also doodle with clay! The main objective in clay doodling is to create something unplanned, to let your mind and hands work up a design that comes from unconscious ideas and to follow the patterns that emerge with your directionless play. Like drawing doodles, this kind of clay play can relieve stress and help you break though design problems and the creatives blahs.
These cabochon beads are clay doodles by Jael Thorp. See just how beautiful a bit of clay doodling can be? Jael actually does a lot of clay doodling. Even those pieces she doesn’t list as doodles, such as cane-covered ornaments and extrusions decorated hearts, have a definite doodling feel to them. They are great examples of how limitless this doodling with clay idea is. There aren’t any restrictions as to how you doodle with clay. Use extrusions, bits of clay, cane slices, sheets of clay you take hand tools to or embellishments. It’s about letting the mind and hands go and seeing where they take you.
To see more of Jael’s work, visit her Art Fire shop or her Flickr pages. You can read about her process on her award-winning blog site, “Jael’s Art Jewels Blog.”
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Outside Inspiration: The Art of the Doodle
January 16, 2015
Inspirational Art
So yesterday I brought you a wire artist who got into carving rubber stamps. Did the carving idea pique your interest? I think the hardest part of carving a stamp is not going to be the carving itself but deciding on a pattern to carve. How do you come up with stamp design ideas? Well, besides copying someone else’s patterns or designs — which would negate the point of creating your own original stamps — you can find your own personal patterns by doing something you probably did a lot as a kid or as a bored teenager in class. You can doodle.
Doodling is not as pointless and aimless as it might seem. It is really a translation of what is going on in your subconscious or, or it’s an expression of your mind’s reaction to what you see and hear around you. If you are doodling without a preconceived idea of what you are drawing, especially while otherwise occupied (such as being on hold during a phone call or listening to a lecture), the doodling can create a very personal design and set of patterns pulled from subconscious thoughts.
A recent doodling-related development is the Zentangle which uses repeated patterns and lines to lend your doodling direction. The original Zentagle method includes a series of rules, such as drawing only in 3.5 inch squares, only drawing in pen so you can’t erase and only drawing abstract designs. So it’s not quite doodling, but it can result in similarly personal designs. A lot of people have expanded on the Zentangle idea, throwing many rules out the window and developing cool abstract art like the Zentangle doodle you see here, by illustrator Angel Van Dam. Her doodles are a bit more organized and purposeful than your standard notepad doodle but aren’t standard Zentangling either. The thing is, it doesn’t matter how you approach it –doodle loose and randomly, mark off the 3.5 inch square to Zentangle in, or use a contractor to draw concentric circles, as Angel did for this illustration, and fill it in as you like.
And why should you want to doodle? Because it can offer so much for your polymer play! Use doodles or Zentangles to create the patterns for your carved rubber stamps. Doodle with colored pencils, and use it as an image transfer onto clay. Use the patterns, imagery or colors to inspire or directly design a polymer piece from.
Doodling is also thought to help you problem-solve so, if you hit a creative block, stop and listen to some music, a book on tape or podcast, and then just doodle away! The solution to your creative work can then bubble to the surface, or you may find a whole new idea there in front of you. No matter what, it is no waste of time. The other thing about doodling that has been discovered through clinical studies is that it reduces stress and can make you more aware and mindful. So doodle for your well-being as well as for your art!
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Of Stamp Carving and Swellegant and Wire and Whorls
January 15, 2015
Inspirational Art
Do you like to mix things up? Today we have a blog post that will give you a taste of a number of techniques you can apply to a wide range of other work. Carve your own rubber stamps, create colorful patinas on stamped polymer clay and wrap up your patina-colored pieces with wire frames full of loops and whorls.
This great mixed media approach is a result of explorations by wire artist, Gayle Bird. She seems unafraid of trying and mixing it up with all kinds of materials to create her intricate pieces. Wire is her home base material, but polymer, glass, stones and found objects play important roles in her neckpieces and rings.
Her post on these mixed media pendants can be found on her website. You won’t find a lot of very specific instructions but rather a series of ideas. For those ideas that really pique your interest, take it a step further and seek out independent instruction for more details. If you’re looking for a how-to on carving rubber stamps with linoleum cutters, try this Stamp Carving 101 lesson here. For using Swellegant, B’sue’s Swellegant articles are some of the best. And for wire work, well, there are many, many sources for that, but you can start with some of Gayle’s tutorials or go to Pinterest and search for “wire work tutorials” to show a wide range from which to choose the approach that interests you.
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Vintaj Patina Time
January 14, 2015
Inspirational Art
Who here likes mokume and also likes working with inks? I bet I’d see a lot of hands raised if I could actually see you all. This link will send you to a kind of exploration, that doubles as a tutorial, on working with Vintaj inks with a mokume technique. Vintaj is an opaque ink created to be used with metals, but Amy Crawley decided to try it out with polymer.
What I’m getting from her experiments is that this is a good alternative for opaque color layers. We already have metallic foils and gilder’s paste, and you can use oil paints or alcohol inks for varying levels of transparency, but we don’t have any good opaque options. Acrylic paints, because they become a stretchy plastic when dried, stretches when cut, so it makes a rather funky color layer that can also pull your layers apart when cutting. Trust me, I tried, and it was a mess. But the Vintaj ink doesn’t stretch. It will crack, though, which is actually kind of cool.
So I thought I’d share this with you all as an alternative idea for mokume layers. It made me think that maybe tempura paints would work in a similar manner — crackling, not stretching, when manipulated and cut. In any case, if you are up for exploring mokume layer options, this set of three blog entries and her results may get you thinking and get you playing.
Her original experiments with Vintaj just on the surface of clay is the first post Amy write on Vintaj. Then go here for the first half of her mokume and Vintaj process, and here for the final steps.
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Vibrant Caning
January 13, 2015
Inspirational Art
This tutorial caught my eye, I have to admit, because of all the vibrant color. It’s also a nice form that undulates, not unlike those glowing bullseye canes that make the center of the outside slices.
The tutorial and the finished set you see here were created by Karina Formanova and include a number of simple yet effectively combined canes, as well as a how-to on creating the form and building up the layers it needs. Although you are supposedly just learning to create a bracelet, you learn some further composite caning, forming, finishing and color combining. So, really, it’s a pretty full little tutorial when it comes down to it.
You can find the full tutorial on Karina’s LiveMaster pages. Also, drop by her page of buttons and other fun bits also there on LiveMaster for other fun ideas and color combinations.
A Dusting of Design
January 12, 2015
Inspirational Art
So, I thought this week I’d simply do what is trending for the new year on Pinterest. Turns out tutorials and how-to tips are the big thing right now. That was rather heartening to see really. Its great that so many people are looking for ideas to expand and explore. So this week will pretty much be that … showing some of the better tutorials and resources for you to expand your polymer knowledge base.
Iris Mishly’s website, PolyPediaOnline, is a wealth of wonderful, easy to follow tutorials. The PDF and video formats explore all kinds of techniques and forms. This stencil tutorial looks a lot like silk screen, but the look is actually created with easy-to-use pastel chalk and craft stencils; you can find them at pretty much any large craft store. Not only that, this tutorial is free!
Like silk screen (which I still would encourage you try at some point — we have all the tips and resources you might need in the The Polymer Arts‘ 2014 Winter issue), this stencil method gives you quickly patterned surfaces that can add visual texture and contrast to your pieces, without the mess of paint. While the lines may not be quite as clean and some of the application looks lighter than with silk screen, that could be more desirable since it can give an aged or rough look. The only thing Iris doesn’t mention is sealing the chalk. You can use any polymer-compatible sealer, but spray sealers such as PYMII or water based Varathane would likely be best so as to not dislodge any chalk while sealing.
You can find this tutorial on YouTube and on Iris’ website, but be sure to check out what other goodies, free and otherwise, she has waiting for you on PolyPedia Online and PolyPedia Online Express.
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Well, the Spring 2015 issue of The Polymer Arts is getting whipped into shape, and we can now finally show you the cover. It’s a bit different, being that we have three instead of our usual one artist on it. But the theme is “Diversity”, so it just seemed appropriate to have a diverse cover!
All three of these amazing artists, Wendy Wallin Malinow, Lisa Pavelka and Celie Fago, kindly gave us detailed insight into how they came to work in mixed media, the role that polymer plays in their art and their own tips and tricks as well as a handful of quick tutorials to get you going in combining these artists’ favorite “other” medium.
This issue also has a multi-artist article on alternate ways of coloring polymer, a crazy-fun “string impression” experiment (you’ll have to read the article to understand what that all means!), ways to diversify your polymer income, ideas for changing up your process to bring about breakthroughs in your design and business, plus inspiration from other mediums including in-depth info on using resin and Kroma crackle and a technique tutorial on translating paper quilling into a polymer art.
There will be, of course, tons of other goodies, eye candy and ideas inside. Keep your eyes peeled for the issue due out end of February. If you need to renew or subscribe for either digital copies or print, you can do so at www.thepolymerarts.com/Subscribe.html.
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Conceptual work in contemporary jewelry is no rare thing. What is a tad rare, in my opinion, is conceptual jewelry that is wearable (how else can you really fully share it if you can’t wear it out?) and accessible. And by “accessible,” I mean a creation that most people can appreciate because it speaks to and pulls at the one thing we all share — the experience of being human.
I actually love conceptual jewelry, the kind that makes you stop and think, but to share something that this community will find inspiration in kept me focused on finding something that we can all smile at or find something to admire. Our experiences and wanting to hang onto memories of the times and places we’ve experienced is pretty ubiquitous, don’t you think? Tzu-Ju Chen seems to be speaking to that aspect of our human side with this ring. It does push the “wearable” boundary with its size, but I love the nostalgic sense he’s captured with the little cropped photos. Chartres Cathedral, as it is named, shows off photos of the building from a variety of angles on angled little boards accented with semi-precious gems. Tzu-Ju actually sees this work from a slightly different perspective, saying, “My works explores the conceptual play of material and meaning. Travel photography and vintage snapshots serve as mementos that embody the present reality.”
Maybe I am tired, but I’m not sure about the “present reality” embodiment here. Nonetheless, I think I could spend a lot of time staring at my hand and checking out the little photos. Especially if they were photos from a trip of my own. It’s kind of a neat idea to consider how we might integrate our own memories into our work in such a literal fashion.
Tzu-Ju’s work certainly does explore the play of material and meaning and in a wide range of approaches and materials. Tzu-Ju’s website is a beautiful, quiet gallery of her work and concepts that should make a perfect quiet break for you today.
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Conceptual art can be about anything that isn’t literal or tangible. Abstract art seeks to represent an idea or emotion or, like in this fantastical teapot here, both.
On Pinterest, somewhere along the way, someone made a note saying this is about Israel, and I feel pretty confident that is right although I can’t find a source for that comment. But Yudit Yitzhaki, the creator of this amazing bit of decorative art, lives in Israel, and this is not the first time we’ve seen such a vibrant representation of the country. Last year we had a post about wall art by Joan Israel that also depicted a fondness for this part of the world, with similarly bright colors and busy scenery. I do love that it’s on a teapot, of all things. Teapots conjure up thoughts of comfort and warmth and a quiet afternoon taking in the scenes outside our window. So it’s perfect that Yudit’s fond imagery is on something many of us associate with that kind of emotion.
Yudit’s work is full of joy and a sense of fondness for color, energy and positive imagery. She doesn’t do only conceptual art but also functional pieces of jewelry. You do see in her work a focus on capturing an atmosphere or emotion, rather than just a purely decorative drive. Take a look for yourself on her Flickr photostream.
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One of the reasons I wanted to do this theme this week was so I could also share some of Christine K. Harris’s latest work. Her pieces are almost wholly conceptual, relaying personal, societal and universal emotions and ideas. The richness of her pieces are the primary draw, along with the clear and ubiquitous nature of so much of her symbolism.
I think this may be my favorite piece of hers to date. I say “I think” because I’m not done examining its many sides, imagery, symbolism and just beautiful application of rhythmic motifs. Every side — inside, outside, front, sides, back — is different and wholly intriguing. Most of Christine’s work is a combination of polymer, two-part sculptable epoxy and other materials as needed. But this box or sculpture or altar, or whatever you want to take it as, moves far beyond the definition of its materials, as does most of her work.
The piece is called Long Division and starts at the top with what I am sure are mirrored twins, maybe even Siamese twins. Within and without, there are Christine’s iconic birds, skulls, skeletons and other symbols of birth, freedom and death that appear in so much of her work. This piece feels more joyous than a lot of her past work though, even with the death symbology; death is so much a part of the cycle of life we are in. I have so many ideas about what might be going on here, but art is a personal interpretive experience when it really comes down to it so I will leave it to you to take from it what speaks to you. As Christine says on her home page, “As important as it is for me to use my art to make sense of the world, it is just as important that viewers take their own experience from my work …”
For a full view of this piece, you will want to go to Christine’s page with its many detail shots. But don’t hesitate to wander further about her site and find other concepts and connections for yourself. If you are curious about her use of symbolism and how you might work this kind of thing into your own work, don’t miss the beautiful article she wrote for our Spring 2013 issue still available in both print and digital.
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I realized after the fact that I posted yesterday’s blog about conceptual art without really going into the particulars of what that phrase means. So I thought I’d correct that, only I ended up going down a bit of a rabbit hole as I went ahead, as I do, when I researched the term and how it is used today. So, just to be fair and to stave off counter-explanations about what the term is used for in contemporary art and various art movements (see Wikipedia’s explanations), I’m going to define our use for it based on how we often used it back in my art school days. We may not have been using it correctly by some people’s account, but we did use the term “concept” correctly and talk of “conceptual art” as being created to relay an abstract idea or complex group of ideas.
Here is an example of both a literal representation and a conceptual representation. Girl on a Blustery Day, by Melissa Terlizzi, is a depiction of, well, a windy, blustery day. That is the visual representation of a state of weather. On the other hand, it also depicts the distress and dishevelment of this poor girl, and particular experiences and emotion are abstract. Along with recognizing the concept, we all connect to the feeling of being caught in a bit of a gale and dealing with the surprises Mother Nature tosses our way. Plus, it’s just a fun piece! It’s too bad I didn’t find a “Blizzardy Day” piece so we could all visually commiserate with our Eastern US friends held captive by the crazy weather right now. You all hang in there!
Although I love this wall piece, it is not, in my opinion, the pinnacle of Melissa Terlizzi‘s work. She also creates the most wonderfully detailed sculptures and fabulous miniature food stuffs. Sophistication and adorableness reside side by side on her Flickr photostream, so wander on over for a delightful e-tour.
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Polymer lends itself particularly well to decorative arts, since it is so versatile in form and color and has the ability to be combined with so many other materials. But it can also be a very expressive medium. An artist can use a variety of sculptural techniques, colors and textures to recreate all kinds of imagery, which makes polymer particularly wonderful for conceptual work. I thought we’d take a week to see just what wonderful and new work is being produced in that area of polymer.
EvaMarie Törnström’s Malta Horse is what got me really thinking about this area of polymer art. For those of you who have been to Malta, the iconic crosses, the aged limestone walls and the intense blue of the surrounding ocean are instantly recognizable, collectively, as representative of that beautiful country. There is a lot more to this particular piece, but I’ll let you puzzle out its other less obviously related characteristics. I’m still puzzling them out myself. But even if you haven’t been to Malta, you know there is a connection between the chosen elements, and it will make you stop and think. As all good art really does.
Sweden’s EvaMarie is partial to creating horse sculptures but does very large wall pieces as well, also usually equine-related. Do take a moment to look at some of her unusual and visually intriguing pieces on her website.
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Has this week’s selection of faux ancient and old art got you thinking about ways to create more of that look in your own work? The techniques used to create these looks can be applied to a variety of forms and even be reinvented using brighter colors and not-so-old-looking contrasting textures and finishes. Searching for something fun and easy to get you started on that track, if you haven’t already, I found this delightfully easy and highly textural tutorial for you.
The blog post with this tutorial is originally in Russian, but I’ll send you to the the translated to English version here. It’s really pretty well laid out in the photos, and the steps are simple but with a beautiful and sophisticated result, as can be seen in the necklace Russia’s Katerina Sidorova designed from her technique. The layering of the clay is an ingenious way of adding that additional color for the aged look since it will show on the ends and wherever the salt digs through the very thin top layer to the colors underneath. So no additional painting or other color is needed. Pretty neat.
Katerina is the shop owner at Russia’s online polymer and jewelry supply shop, KalinkaPolinka, and for what I think must be wholesale or at least bulk-buying, Kalinka-Pro. If you are on that side of the globe, it is a shop well worth checking out. But for everyone everywhere, she has a great page on her website of articles, free tutorials and links to other tutorials that would be a great starting point for other new avenues to explore.
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Emulating other cultures and ancient work is not a new idea. Artists throughout history have been inspired by the relative uniqueness of other cultures and times. This adaptation of other aesthetics, however, became quite a bit more common when world exploration, archaeology and increased global trade and communication made this type of inspiration more readily available to more and more artists.
The 19th and 20th centuries were particularly enthusiastic about other cultures. The discoveries of ancient Egypt at the end of the 18th century spurred what is know as the Egyptian Revival in American decorative arts. This period began sometime after Napolean’s campaign in Egypt and lasted all the way into the 1920s. We have the combination of this Egyptian Revival with the period of Art Nouveau to thank for gorgeous pieces like this hair comb and bracelet. Their creator is unknown, but the Tumblr page I found it on said they are of French origin and are estimated to have been made around 1900. They consist of gold, enamel, rubies, sapphires and ancient Egyptian scarabs noted to be glazed steatite. I just call them lovely.
I wish I had a particular site to send you to in order to do some more exploring of your own, but I didn’t find anything better than a keyword search on Pinterest or Google images. So if you want to see more Egyptian Revival or Art Nouveau or the combination of these, let your fingers do the tapping and have fun getting into lots of pages of beautiful, inspiring imagery.
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This bit of inspired faux old art has more to do with the disintegration of materials than any past culture. The material it emulates could be seen as stone or sap or bone, but it long ago degraded into something soft and well-weathered. The texture and colors are simple but lovely in their organic connection.
I found these on an Etsy shop called @Logan Square. The artisan only identifies herself as Kristin. She does have some interesting words to explain where her textures come from and how she sees her beads:
“Each bead is unique, created by impressions taken from found objects. These objects come from my collection of plant forms, drift wood and pebbles from Lake Michigan, fossils and shells, as well as copper etchings of digital patterns I’ve created (I call these my digital “runes”) … my beads are fantasy fossils and relics.”
Take a look at her shop and the other wonderful textures she has there, especially her banner; she identifies the impressions made in those beads as being from “walnut seed, crayfish claws, fish vertebrae, digital runes, swordfish skull bones, and weathered concrete.” Wow. I would say no texture is safe from being used in this polymer work!
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