Taking You Sideways
February 23, 2020
Inspirational Art
How often do you sit down at the studio table to create something and think, what am I going to do with the edges of my design? It’s unlikely to be the first thing you think of but does it come into play at all? This is something we have been exploring in the Virtual Art Box this month. We started with work on texturing edges for variation but this week, I thought we talk about the sides of edges!
As you know, we work in a 3-dimensional material and, therefore, even a flat pendant has not just a front and back, but sides and a top and bottom. Do you consider and treat those with anything like the consideration given to the front? Well, if you haven’t done that often to date, let’s make it a thing from now on!
Whether it’s a flat pendant, a bangle bracelet, the lip of a vase, or the base of a sculpture, those edges on your three-dimensional objects should be planned out just like every other surface. If it’s going to be seen, it should be well considered.
Side Effects
So, here’s an artist who obviously considers the side view (and the back and the top and the bottom) in every piece she creates. Sarah Shriver, known for her canes, doesn’t hesitate to add pattern and additional embellishments to all surfaces of her beads. The thick cut of the patterned layers on the back and snakes that work like frames in the front, bring the patterns into the side view, making the sides an integral part of her beads rather than an afterthought.
Sarah even treats rounded edges, such as lentil beads, with additional embellishment. See the twisted snake that encompasses her lentil beads in this post’s opening image? It not only adds pattern and energy to the piece, making them key components of the design, but they seal off the two halves of the lentil with no finishing of a seam to contend with.
Donna Kato is doing something similar to layering in these bangles below. There are several layers and patterns just on the side edge, but with the dome of the bangle surface curving into the side, it all becomes a unified design. Even if you don’t make bangles this thick and domed, you can certainly treat the edge with layers and patterns of this kind.
And what about thick slabs of mokume or canes? These would create a pattern for the back as well as the sides and can be used either as a base upon which to build the front view or it could be covered by a thin, solid sheet of clay and just be the pattern for the back and sides. I couldn’t find any photos of someone doing this in polymer although I’ve seen it. However, looking at examples in other materials can show you how good such an option can look.
This is mokume in metal, the original material for mokume gane, designed by an Australian company, Soklich & Co. Just look at how beautifully the layered pattern decorates the side. It would not be hard to imagine getting a similarly patterned side from thick slices of mokume off a stack whose layers were not rolled overly thin.
Of course, solid, straight cut, rounded, wrapped, or otherwise well finished edges may do just fine. It all depends on what the piece is about, what your intention is for it. Just consider that you have so very many options beyond solid colors for your edge’s sides.
If you want to dive in deeper with my wonderful group of Art Boxers, there is still time to get this month’s bundle and get a subscription for next month. Get it all right here!
Taking Off
I’m taking the weekend off to spend it with one of my amazing and beautiful children who is out visiting me. Our intention this weekend – to just relax and live in the moment. A coastal drive, tidepools, rock shops, gluten free bakeries, and yoga with baby goats in pajamas (the baby goats are PJs, not us … oh the cuteness!) are on the list to fill our few short days. So, if you reach out this weekend and I don’t answer, I’ll get you on Monday! I hope you have a beautiful week!
Giving Voice to Vision
February 16, 2020
Inspirational Art, Polymer community news
Alev Gozonar, Herd Psychology I, 2019
Do you consider yourself one of those people who like to talk about their art, or do you want never to talk about it, like it might lose some of it’s magic if you try to explain it?
I think a lot of artists feel a little of both. We love what we do so much that we want to share it with anyone who has the slightest interest, but at the same time, we don’t want to over analyze it for fear of diminishing the personal and often mysterious process that is the creation of art work.
You don’t have to be over analytical about your art in order to verbalize what you do but you should consider how putting your thoughts about your process and what drives you to create into writing can help both yourself and those who view your work.
Let’s look at a few artists and their words to see how authentic and intelligent discussions of one’s work can illuminate and grow our appreciation for the art and its creator.
From the Mouth of Artists
For some artists, their intention is wound up intensely in the stories they would like to tell. Christine Damm is an artist who believes so strongly in the power of storytelling, that she named her business “Stories They Tell”. In her own words:
Stories They Tell is the name I call my company, because I am a storyteller. For me, life is a process, a journey, a transformation, an unfolding. And as our lives tell a story, so does our art. We – and it– are shaped by what we’ve done, who we’ve met, what we’ve learned, what we’ve struggled with or succeeded at. Life is an intersection with other souls, other lives, other ways of seeing, other ways of living. Art expresses that in a wonderful and ever-changing, topsy-turvy marvel of creation and discovery.
This paragraph from her website is an honest expression of how she sees the world and how that viewpoint lives with her and her day to day creative work. You can tell that it is a heartfelt view and description of herself, right? She’s not saying anything that hasn’t been said before, but she is saying it in her own words, and it gives us an understanding of what is important to her and what drives her creative process.
Alev Gozonar is a very conceptual artist. She clings to, and explores, words, stories, and specific ideologies as she creates. In the piece below I found on Instagram, she tags her images with just a handful of descriptors, primarily #concrete and #brutalism, referring to an architectural style in the mid-20th century that was characterized by monolithic, blocky, concrete elements. She contrasts the concrete shapes with delicate floral petals in this piece, but in other pieces in this line, the polymer petals are spattered or covered in concrete rather than just existing alongside the harsh building material, so there’s both an interesting juxtaposition and an immersion of the delicate in the hard and harsh. (You can find those other pieces on her Instagram page.) Now read how she sees her work. Her statements about reveal even more layers to her approach. In her words:
The dominant theme in my works is the composition of a whole via the repetition of parts. This can be seen as an extension of my textiles education and has become a cornerstone of my identity as an artist. If I make an attempt to describe the general framework of my artwork, I would say that the most important starting points for me are the emotional losses and gains I have experienced in various phases of my life, my observations about life, my personal experiences and the way all of these things reflect on daily life, behavior and emotional states.
Now what do you think when you look at this piece, or at the piece that opens this blog? Does it change how you see them?
Debra Adelson is a jewelry artist working in a “centuries old Bohemian cold work glass technique. Cold working does not use heat but, rather, water to keep the glass cool while manipulating it using abrasives such as sandblasting, grinding, drilling, and cutting.”
Look at her pieces below. If you did not know what her process was, you might take but a very quick glance at her work but you would not have had a lot to ponder. However, you now know something of her process and so probably have an increased appreciation and so, you’ll linger longer to identify how her process forms the work.
She has a very specific design process as well and often photographs her work to show the original inspiration which further informs us about the piece. For instance, it will be hard to look at the amber colored brooch and not see the water worn slot canyon walls, now that we have seen the photograph – the image is forever connected in our minds to that brooch, even if we see it without the image.
So, yes, images can help but, still, Debra gives us further insight into her process and thoughts with this selection of words from her online bio:
I am inspired by the natural world and our relationship to it. My pieces pay homage to changing forces that shape our landscape—both natural and manmade. I seek to create harmony in my work and find balance between our need to shape our environment while preserving and respecting the natural world. Each series begins with a distinct inspiration or concept. I base the initial piece on an image, a moment in nature and experiment to come up with my ‘visual language’ that tells a story for the series.
Her work is really amazing so do stop and click through to look at the colorful and very interestingly carved glass “gems” on her Instagram page or website.
Obviously, this is just a small taste of what people post to talk about their art. I might suggest that, as you zip around online and run into various artists that you admire or work that inspires you, go to their websites and read the ‘About’ page or their artist statements. The more of these you read and the more aware you become of how statements inform the artwork, the easier it will be for you to form a statement, a bio, or other text about you and your work that is authentic and truly brings across what it is you would like people to see in what you do.
Me and My Projects
I can’t tell you how energized and excited I am these days! For one, the Virtual Art Box which was released a bit over a week ago, has been so enthusiastically received (for which I am so relieved as I wondered how people would like it) and, secondly, because I’m getting to write tons about the things I am most passionate about! I get up in the morning and write like a mad woman. It just comes pouring out. I have to actually stop myself so I can make room for some guest artists and writers. When was the last time you were so excited about something that you could hardly think of anything else? It’s a great feeling!
It truly helps my enthusiasm to have such glowing comments sent to me (“This changed my life, already!”, “This was just what I needed. I thought I was burned out on creating but that wasn’t it …”, “I feel like I’m taking a college course!”) but I was a bit overwhelmed and emotional at moments. I am trying, in everything I do with my publications and projects, to affect other people’s lives in a positive and nurturing way but, unlike when teaching in person, in this business, you don’t get a clear idea of what people are doing with what they learn. But with the Creative Pursuits (a challenge and form in the Virtual Art Box that lets readers connect with me on their focus and goals) and the social media pages, not to mention the kind emails and messages I’ve been getting, I’m hearing exactly what your fellow polymer enthusiasts are up to and what they want. It’s fascinating and creates such energy for me and, I think, it will do so for the active VAB members. It’s so exciting!
If you aren’t getting the VAB, you can join in today by buying the one month February box, no subscription required, and then you can check out what we are doing. You can get a subscription right now too although that won’t start you until March. Whatever you do, I just hope you have a chance to get in on this energy.
Lindly Needs a Little Love
If you have not already heard, one of our very dear community leaders and pioneers, Lindly Haunani, had a horrific accident a bit over a week ago. She has multiple broken bones, including bones in her dominant hand, and although she is sure to recover, it is going to be a very long and difficult road. Of course, this community jumped in to help her out in a huge way, but she will need your continued love and support for quite a while.
Take a look at her Go Fund Me page and send Lindly a little love this Valentine’s weekend if you can.
Additional fundraising avenues are being worked on as well. I will keep you updated on those and her well-being as I get news.
Shimmer and Shine … and Get Published.
Deadline for submission of ideas is March 15th
Scheduling this for Fall 2020, the Polymer Arts Projects – Shimmer and Shine book will, like the PAP – Organic’s book, feature numerous in-depth tutorials by some of our community’s most accomplished artists.
If you feel you are one of these folks that have something fantastic to offer readers for this theme, I am now open for submission ideas. Here are the basic guidelines:
- As the theme is Shimmer and Shine, the project should be shiny, glitzy, sparkly, or blingy but also artistic, well-designed, and skillfully conceived.
- The tutorial should work for readers in the experienced novice to moderately advanced range. This will not be for absolute beginners.
- The tools and materials, or workable alternatives, should be obtainable by the majority of our worldwide readership.
- The project should have a specific technique or look that can be reproduced in different forms and styles with examples of possible variations shown.
- Artists submitting should be experienced at photographing their process and writing detailed tutorials.
This special publication offers payment and profit sharing for our contributing artists. Keep an eye on these newsletters for your submission opportunity next month. Check out the Polymer Arts Projects – Organics book for further examples of the kind of tutorials we will be looking for.
At this time submit just the summary of your idea–just a few sentences–and links or small attachments to images of the technique and/or pieces of the kind your proposed tutorial would include. Send them to sage(a)tenthmusearts.com. My response will be sent after the March 15th deadline.
I look forward to your ideas!
Well, my dear readers, I do hope you’ve had a loving weekend. I’m off to spend the rest of it with my sun and stars. I hope you have an exciting and creative week!
The Purpose of Intention
February 9, 2020
Inspirational Art
How often, when you sit down to create something, do you think about why you’re doing it, the story behind what you are creating, or even just the theme or look? Apparently, it’s not overly common, at least not amongst the readers writing me this weekend.
Friday evening, I finally got the Virtual Art Box out after some technical difficulties that required a change of plans on the backend. I was a bit frazzled over reworking the technical stuff and, even though I was happy with the content I’d created, I was getting a bit nervous about how this new project would be received. But, as I wrote in the immersive design article for the Virtual Art Box project, things generally work out well when you have a particular idea in mind and you make all your decisions based on that overriding intention.
Well, my intention for the Virtual Art Box was to immerse the readers in a particular design idea that can be explored throughout the month. I was hoping that the primary design article, supported by the additional content the readers would journey through, would encourage them to really delve into the idea I presented in a purposeful and substantial way. But the question was, would they?
I thought it might be a bit of a challenge this first month since my chosen theme is conceptual rather than being a more concrete design element. But it’s just such an important concept in art. The immersive design theme this month is “Intention”. It’s simply the idea that when you sit down to create something, you can be more successful and have a more fulfilling creative experience if you have an overriding idea of what you are creating in terms of its purpose and its concept, concept being the theme, story, style or whatnot.
Well, I think my own intention to keep my focus on making the Virtual Art Box an immersive learning experience is working. Already. (Yay!) I have to say that I am a bit startled and overwhelmed by the reception of the project so far. In a community where publications, both in print and online, are dominated by project tutorials and things that are “easy and fun” (not that there’s anything wrong with fun at all!), my approach feels rather serious even though, as many of you may have seen, I do try to stay conversational and lighthearted and occasionally I just get silly. Art should be fun, and enjoyable, and fulfilling. But making good art in a truly fulfilling creative life does take work. I don’t know why I was worried that people wouldn’t want to put the work in. You, my readers, have always been pretty gung ho!
I already have a few Creative Pursuit challenge forms in (this is the part of the Box in which you create a self-challenge, and the form shares it with me and with you, and I help track it and keep you motivated.) It turns out, people look to be quick intrigued by the idea of working with intention. I love that I’m not the only art nerd who gets into things like that!
The thing is, I think intention is the core of all design. Without it, no matter how well you understand the various aspects of design, construction, workmanship, etc., it is difficult to create a successful design. Every piece of art needs a base, a core, a grounding concept from which the artist can build, otherwise the work risks being chaotic. It’s true that a chaotic design could work but only if it is the artist’s intention to create chaos. Then it has purpose. But chaos without intent is not art; it is just messy.
Intention not only gets you where you want to go but it helps guide your design choices along the way. When you make design choices based on what works for your overriding intention, the result will be a cohesive, purposeful, and, most likely, well-designed piece.
Now, I know, some of you are already thinking that you don’t want to think so deliberately about what you’re creating or that you just like to explore. Exploration, creating for the joy of it, and stream of consciousness creating are still processes with a particular intention. Because isn’t the success of a piece really measured against how well it fulfills your intention?
Let’s look at a few of the examples.
Debbie Crothers prefers to explore and make lots of pieces as she exhausts a technique or material’s possibilities. She doesn’t usually work with a finished piece in mind but, with extensive exploration as her intention, she finds success in much of what she does and ends up with undeniably stunning beads.
Joseph Barbaccia specializes in inspired polymer illustrations of people and things he admires and enjoys so his intention is to visually represent objects, places, and beings from his view point such as this great portrait of David Lynch.
In Melanie Muir’s Summer Seas in White cuff, you can see that from the colors to the patterns, even to how the patterns are tilted on the tilted square of the beads, this piece speaks of bright light on rippling ocean waters. Her intention is clear and all her design choices align with the intended look.
Are you starting to get the picture? If so, think about what your intention means to you and what you intention is next time you sit down to the studio table. And if this concept really intrigues you, even if you don’t want to subscribe, you can buy the Virtual Art Box for just the one month, get all the details and ideas I am offering on how to make intention a new and exciting tool for your creative work, and see how you like the Box.
Now, if you signed up for the Virtual Art Box and didn’t see your access email, check your spam folders. It went out Friday evening (PST). If you purchased it online (rather than had your prior magazine subscription balance transferred to the Virtual Art Box), you should find the PDF package download in your account on the website. If you expected it and can’t find it in either place, write me and we’ll get you fixed up.
And with that, I am off to relax a bit. Its been a bit of a marathon getting the new project off the ground but now that is has taken wing, it’s time to attend to me a bit and I am going to make that include some further intention … the intention to make studio time a priority at least a couple days a week. How do you ensure you get the creative time in that you need? Maybe we’ll look at that subject a bit this week as well.
In the meantime, have an intentionally, purposefully, and mindfully creative week!
Love Not Failure
February 2, 2020
Uncategorized
Scarlette, a small but fierce fighter, shows off her Beads of Courage. This image fronts the short article on the Beads of Courage Project on the new site. Polymer Clay Love.
What do you do when you have failed at a project, deadline, or goal? I think your actions at such times say everything about who you are and what you are capable of. I keep that thought in mind whenever I crash and burn or miss the boat or come up short–basically, whenever I disappoint myself or others. Because, the most important thing at that moment, when I realize I’ve failed, is my next step, not the failure itself.
Whatever you didn’t do or whatever you didn’t accomplish has immediately become a thing of the past. Sure, we stop to kick ourselves and second-guess what we could of done better, but if that goes on for longer than a couple emotional venting minutes, it’s a waste of time, isn’t it?
So, today, I failed … temporarily. Today should have been the first release of the Virtual Art Box. I was so excited about it. I haven’t produced anything in six months and here I was making something that I feel very passionate about and its coming together great! However, a few things went haywire along the way, particularly this past week and, with my business turned into an unintentional solo project of late, I have discovered that I am not a superwoman enough to do it all under short deadlines and cannot get out the Virtual Art Box today as promised. I need a few more days. *sigh* I hate not living up to promises.
It also got in the way of getting a blog done for today. Double *sigh*!
So what am I gonna do now that I double failed today? I’m going to stop sighing, forgive myself, plan for a decompression meeting with me, myself and I once the Box is out so I can figure out how to keep this from happening again, and I’m going to get back to work. Let’s call this a bump in the road. Just like when the piece you’re working on just doesn’t come together or you burn a batch of long worked pieces. It’s just a bit of set back. You didn’t fail as an artist, not unless you give up.
So, I sat down at midnight and wrote this blog. There. I’ve managed to recover one thing. Now I have a post for you and I’m feeling a bit more accomplished already! Also, I’m going to change this conversation from one about failure to one about love. Polymer Clay Love that is.
See, while I work on fixing things over here, I can direct you all to visit a new site and project by huge polymer community supporter, Ginger Davis Allman. As of yesterday, she opened up a new website and a very different project called Polymer Clay Love.
Ginger Davis Allman, produces the content on The Blue Bottle Tree which is a polymer clay information website. She writes, “I started Polymer Clay Love because I felt the world needed a centralized resource to bring together people all around the world to share and celebrate the love of polymer clay. I want to share about and bring recognition to makers and creators who are working diligently (and often alone) to make beautiful art, develop their craft, and create connections around this amazing medium … I’m joined by leaders and creators who share their thoughts, their stories, and their art with you here on the pages of this website. It’s my vision for Polymer Clay Love that we can bring positivity, cooperativity, and growth to all who work with this intriguing medium.”
Intriguing is the word, for our medium, of course, and for this new project of Ginger’s. Head over to the website to see what it’s all about and sign up for the site’s summary emails.
For those waiting on the Virtual Art Box, it really will only be a matter of a few days before I get the content out. I truly appreciate your patience and understanding!
If you haven’t signed up for the Virtual Art Box, I’ve kept the early Loyalty Forever discount going so you still have time to get in on those deals.
And if you want to share some love and get yourself some new goodies, check out my partner advertisers, those businesses that help me pay the blog’s bills. For instance, Helen is presently offering her latest video class, “In the Loop Pendants“, for only $13.50, just for you, my dear readers. Advertiser links are at the top and ads are at the bottom if you get this by email, or off to the right if you’re reading this online.
Okay, I’m going to go get some sleep and greet tomorrow with a smile and determination. I do hope you all have a beautiful and love filled week!
How often do you sit down at the studio table to create something and think, what am I going to do with the edges of my design? It’s unlikely to be the first thing you think of but does it come into play at all? This is something we have been exploring in the Virtual Art Box this month. We started with work on texturing edges for variation but this week, I thought we talk about the sides of edges!
As you know, we work in a 3-dimensional material and, therefore, even a flat pendant has not just a front and back, but sides and a top and bottom. Do you consider and treat those with anything like the consideration given to the front? Well, if you haven’t done that often to date, let’s make it a thing from now on!
Whether it’s a flat pendant, a bangle bracelet, the lip of a vase, or the base of a sculpture, those edges on your three-dimensional objects should be planned out just like every other surface. If it’s going to be seen, it should be well considered.
Side Effects
So, here’s an artist who obviously considers the side view (and the back and the top and the bottom) in every piece she creates. Sarah Shriver, known for her canes, doesn’t hesitate to add pattern and additional embellishments to all surfaces of her beads. The thick cut of the patterned layers on the back and snakes that work like frames in the front, bring the patterns into the side view, making the sides an integral part of her beads rather than an afterthought.
Sarah even treats rounded edges, such as lentil beads, with additional embellishment. See the twisted snake that encompasses her lentil beads in this post’s opening image? It not only adds pattern and energy to the piece, making them key components of the design, but they seal off the two halves of the lentil with no finishing of a seam to contend with.
Donna Kato is doing something similar to layering in these bangles below. There are several layers and patterns just on the side edge, but with the dome of the bangle surface curving into the side, it all becomes a unified design. Even if you don’t make bangles this thick and domed, you can certainly treat the edge with layers and patterns of this kind.
And what about thick slabs of mokume or canes? These would create a pattern for the back as well as the sides and can be used either as a base upon which to build the front view or it could be covered by a thin, solid sheet of clay and just be the pattern for the back and sides. I couldn’t find any photos of someone doing this in polymer although I’ve seen it. However, looking at examples in other materials can show you how good such an option can look.
This is mokume in metal, the original material for mokume gane, designed by an Australian company, Soklich & Co. Just look at how beautifully the layered pattern decorates the side. It would not be hard to imagine getting a similarly patterned side from thick slices of mokume off a stack whose layers were not rolled overly thin.
Of course, solid, straight cut, rounded, wrapped, or otherwise well finished edges may do just fine. It all depends on what the piece is about, what your intention is for it. Just consider that you have so very many options beyond solid colors for your edge’s sides.
If you want to dive in deeper with my wonderful group of Art Boxers, there is still time to get this month’s bundle and get a subscription for next month. Get it all right here!
Taking Off
I’m taking the weekend off to spend it with one of my amazing and beautiful children who is out visiting me. Our intention this weekend – to just relax and live in the moment. A coastal drive, tidepools, rock shops, gluten free bakeries, and yoga with baby goats in pajamas (the baby goats are PJs, not us … oh the cuteness!) are on the list to fill our few short days. So, if you reach out this weekend and I don’t answer, I’ll get you on Monday! I hope you have a beautiful week!
Read MoreAlev Gozonar, Herd Psychology I, 2019
Do you consider yourself one of those people who like to talk about their art, or do you want never to talk about it, like it might lose some of it’s magic if you try to explain it?
I think a lot of artists feel a little of both. We love what we do so much that we want to share it with anyone who has the slightest interest, but at the same time, we don’t want to over analyze it for fear of diminishing the personal and often mysterious process that is the creation of art work.
You don’t have to be over analytical about your art in order to verbalize what you do but you should consider how putting your thoughts about your process and what drives you to create into writing can help both yourself and those who view your work.
Let’s look at a few artists and their words to see how authentic and intelligent discussions of one’s work can illuminate and grow our appreciation for the art and its creator.
From the Mouth of Artists
For some artists, their intention is wound up intensely in the stories they would like to tell. Christine Damm is an artist who believes so strongly in the power of storytelling, that she named her business “Stories They Tell”. In her own words:
Stories They Tell is the name I call my company, because I am a storyteller. For me, life is a process, a journey, a transformation, an unfolding. And as our lives tell a story, so does our art. We – and it– are shaped by what we’ve done, who we’ve met, what we’ve learned, what we’ve struggled with or succeeded at. Life is an intersection with other souls, other lives, other ways of seeing, other ways of living. Art expresses that in a wonderful and ever-changing, topsy-turvy marvel of creation and discovery.
This paragraph from her website is an honest expression of how she sees the world and how that viewpoint lives with her and her day to day creative work. You can tell that it is a heartfelt view and description of herself, right? She’s not saying anything that hasn’t been said before, but she is saying it in her own words, and it gives us an understanding of what is important to her and what drives her creative process.
Alev Gozonar is a very conceptual artist. She clings to, and explores, words, stories, and specific ideologies as she creates. In the piece below I found on Instagram, she tags her images with just a handful of descriptors, primarily #concrete and #brutalism, referring to an architectural style in the mid-20th century that was characterized by monolithic, blocky, concrete elements. She contrasts the concrete shapes with delicate floral petals in this piece, but in other pieces in this line, the polymer petals are spattered or covered in concrete rather than just existing alongside the harsh building material, so there’s both an interesting juxtaposition and an immersion of the delicate in the hard and harsh. (You can find those other pieces on her Instagram page.) Now read how she sees her work. Her statements about reveal even more layers to her approach. In her words:
The dominant theme in my works is the composition of a whole via the repetition of parts. This can be seen as an extension of my textiles education and has become a cornerstone of my identity as an artist. If I make an attempt to describe the general framework of my artwork, I would say that the most important starting points for me are the emotional losses and gains I have experienced in various phases of my life, my observations about life, my personal experiences and the way all of these things reflect on daily life, behavior and emotional states.
Now what do you think when you look at this piece, or at the piece that opens this blog? Does it change how you see them?
Debra Adelson is a jewelry artist working in a “centuries old Bohemian cold work glass technique. Cold working does not use heat but, rather, water to keep the glass cool while manipulating it using abrasives such as sandblasting, grinding, drilling, and cutting.”
Look at her pieces below. If you did not know what her process was, you might take but a very quick glance at her work but you would not have had a lot to ponder. However, you now know something of her process and so probably have an increased appreciation and so, you’ll linger longer to identify how her process forms the work.
She has a very specific design process as well and often photographs her work to show the original inspiration which further informs us about the piece. For instance, it will be hard to look at the amber colored brooch and not see the water worn slot canyon walls, now that we have seen the photograph – the image is forever connected in our minds to that brooch, even if we see it without the image.
So, yes, images can help but, still, Debra gives us further insight into her process and thoughts with this selection of words from her online bio:
I am inspired by the natural world and our relationship to it. My pieces pay homage to changing forces that shape our landscape—both natural and manmade. I seek to create harmony in my work and find balance between our need to shape our environment while preserving and respecting the natural world. Each series begins with a distinct inspiration or concept. I base the initial piece on an image, a moment in nature and experiment to come up with my ‘visual language’ that tells a story for the series.
Her work is really amazing so do stop and click through to look at the colorful and very interestingly carved glass “gems” on her Instagram page or website.
Obviously, this is just a small taste of what people post to talk about their art. I might suggest that, as you zip around online and run into various artists that you admire or work that inspires you, go to their websites and read the ‘About’ page or their artist statements. The more of these you read and the more aware you become of how statements inform the artwork, the easier it will be for you to form a statement, a bio, or other text about you and your work that is authentic and truly brings across what it is you would like people to see in what you do.
Me and My Projects
I can’t tell you how energized and excited I am these days! For one, the Virtual Art Box which was released a bit over a week ago, has been so enthusiastically received (for which I am so relieved as I wondered how people would like it) and, secondly, because I’m getting to write tons about the things I am most passionate about! I get up in the morning and write like a mad woman. It just comes pouring out. I have to actually stop myself so I can make room for some guest artists and writers. When was the last time you were so excited about something that you could hardly think of anything else? It’s a great feeling!
It truly helps my enthusiasm to have such glowing comments sent to me (“This changed my life, already!”, “This was just what I needed. I thought I was burned out on creating but that wasn’t it …”, “I feel like I’m taking a college course!”) but I was a bit overwhelmed and emotional at moments. I am trying, in everything I do with my publications and projects, to affect other people’s lives in a positive and nurturing way but, unlike when teaching in person, in this business, you don’t get a clear idea of what people are doing with what they learn. But with the Creative Pursuits (a challenge and form in the Virtual Art Box that lets readers connect with me on their focus and goals) and the social media pages, not to mention the kind emails and messages I’ve been getting, I’m hearing exactly what your fellow polymer enthusiasts are up to and what they want. It’s fascinating and creates such energy for me and, I think, it will do so for the active VAB members. It’s so exciting!
If you aren’t getting the VAB, you can join in today by buying the one month February box, no subscription required, and then you can check out what we are doing. You can get a subscription right now too although that won’t start you until March. Whatever you do, I just hope you have a chance to get in on this energy.
Lindly Needs a Little Love
If you have not already heard, one of our very dear community leaders and pioneers, Lindly Haunani, had a horrific accident a bit over a week ago. She has multiple broken bones, including bones in her dominant hand, and although she is sure to recover, it is going to be a very long and difficult road. Of course, this community jumped in to help her out in a huge way, but she will need your continued love and support for quite a while.
Take a look at her Go Fund Me page and send Lindly a little love this Valentine’s weekend if you can.
Additional fundraising avenues are being worked on as well. I will keep you updated on those and her well-being as I get news.
Shimmer and Shine … and Get Published.
Deadline for submission of ideas is March 15th
Scheduling this for Fall 2020, the Polymer Arts Projects – Shimmer and Shine book will, like the PAP – Organic’s book, feature numerous in-depth tutorials by some of our community’s most accomplished artists.
If you feel you are one of these folks that have something fantastic to offer readers for this theme, I am now open for submission ideas. Here are the basic guidelines:
- As the theme is Shimmer and Shine, the project should be shiny, glitzy, sparkly, or blingy but also artistic, well-designed, and skillfully conceived.
- The tutorial should work for readers in the experienced novice to moderately advanced range. This will not be for absolute beginners.
- The tools and materials, or workable alternatives, should be obtainable by the majority of our worldwide readership.
- The project should have a specific technique or look that can be reproduced in different forms and styles with examples of possible variations shown.
- Artists submitting should be experienced at photographing their process and writing detailed tutorials.
This special publication offers payment and profit sharing for our contributing artists. Keep an eye on these newsletters for your submission opportunity next month. Check out the Polymer Arts Projects – Organics book for further examples of the kind of tutorials we will be looking for.
At this time submit just the summary of your idea–just a few sentences–and links or small attachments to images of the technique and/or pieces of the kind your proposed tutorial would include. Send them to sage(a)tenthmusearts.com. My response will be sent after the March 15th deadline.
I look forward to your ideas!
Well, my dear readers, I do hope you’ve had a loving weekend. I’m off to spend the rest of it with my sun and stars. I hope you have an exciting and creative week!
Read MoreHow often, when you sit down to create something, do you think about why you’re doing it, the story behind what you are creating, or even just the theme or look? Apparently, it’s not overly common, at least not amongst the readers writing me this weekend.
Friday evening, I finally got the Virtual Art Box out after some technical difficulties that required a change of plans on the backend. I was a bit frazzled over reworking the technical stuff and, even though I was happy with the content I’d created, I was getting a bit nervous about how this new project would be received. But, as I wrote in the immersive design article for the Virtual Art Box project, things generally work out well when you have a particular idea in mind and you make all your decisions based on that overriding intention.
Well, my intention for the Virtual Art Box was to immerse the readers in a particular design idea that can be explored throughout the month. I was hoping that the primary design article, supported by the additional content the readers would journey through, would encourage them to really delve into the idea I presented in a purposeful and substantial way. But the question was, would they?
I thought it might be a bit of a challenge this first month since my chosen theme is conceptual rather than being a more concrete design element. But it’s just such an important concept in art. The immersive design theme this month is “Intention”. It’s simply the idea that when you sit down to create something, you can be more successful and have a more fulfilling creative experience if you have an overriding idea of what you are creating in terms of its purpose and its concept, concept being the theme, story, style or whatnot.
Well, I think my own intention to keep my focus on making the Virtual Art Box an immersive learning experience is working. Already. (Yay!) I have to say that I am a bit startled and overwhelmed by the reception of the project so far. In a community where publications, both in print and online, are dominated by project tutorials and things that are “easy and fun” (not that there’s anything wrong with fun at all!), my approach feels rather serious even though, as many of you may have seen, I do try to stay conversational and lighthearted and occasionally I just get silly. Art should be fun, and enjoyable, and fulfilling. But making good art in a truly fulfilling creative life does take work. I don’t know why I was worried that people wouldn’t want to put the work in. You, my readers, have always been pretty gung ho!
I already have a few Creative Pursuit challenge forms in (this is the part of the Box in which you create a self-challenge, and the form shares it with me and with you, and I help track it and keep you motivated.) It turns out, people look to be quick intrigued by the idea of working with intention. I love that I’m not the only art nerd who gets into things like that!
The thing is, I think intention is the core of all design. Without it, no matter how well you understand the various aspects of design, construction, workmanship, etc., it is difficult to create a successful design. Every piece of art needs a base, a core, a grounding concept from which the artist can build, otherwise the work risks being chaotic. It’s true that a chaotic design could work but only if it is the artist’s intention to create chaos. Then it has purpose. But chaos without intent is not art; it is just messy.
Intention not only gets you where you want to go but it helps guide your design choices along the way. When you make design choices based on what works for your overriding intention, the result will be a cohesive, purposeful, and, most likely, well-designed piece.
Now, I know, some of you are already thinking that you don’t want to think so deliberately about what you’re creating or that you just like to explore. Exploration, creating for the joy of it, and stream of consciousness creating are still processes with a particular intention. Because isn’t the success of a piece really measured against how well it fulfills your intention?
Let’s look at a few of the examples.
Debbie Crothers prefers to explore and make lots of pieces as she exhausts a technique or material’s possibilities. She doesn’t usually work with a finished piece in mind but, with extensive exploration as her intention, she finds success in much of what she does and ends up with undeniably stunning beads.
Joseph Barbaccia specializes in inspired polymer illustrations of people and things he admires and enjoys so his intention is to visually represent objects, places, and beings from his view point such as this great portrait of David Lynch.
In Melanie Muir’s Summer Seas in White cuff, you can see that from the colors to the patterns, even to how the patterns are tilted on the tilted square of the beads, this piece speaks of bright light on rippling ocean waters. Her intention is clear and all her design choices align with the intended look.
Are you starting to get the picture? If so, think about what your intention means to you and what you intention is next time you sit down to the studio table. And if this concept really intrigues you, even if you don’t want to subscribe, you can buy the Virtual Art Box for just the one month, get all the details and ideas I am offering on how to make intention a new and exciting tool for your creative work, and see how you like the Box.
Now, if you signed up for the Virtual Art Box and didn’t see your access email, check your spam folders. It went out Friday evening (PST). If you purchased it online (rather than had your prior magazine subscription balance transferred to the Virtual Art Box), you should find the PDF package download in your account on the website. If you expected it and can’t find it in either place, write me and we’ll get you fixed up.
And with that, I am off to relax a bit. Its been a bit of a marathon getting the new project off the ground but now that is has taken wing, it’s time to attend to me a bit and I am going to make that include some further intention … the intention to make studio time a priority at least a couple days a week. How do you ensure you get the creative time in that you need? Maybe we’ll look at that subject a bit this week as well.
In the meantime, have an intentionally, purposefully, and mindfully creative week!
Read MoreScarlette, a small but fierce fighter, shows off her Beads of Courage. This image fronts the short article on the Beads of Courage Project on the new site. Polymer Clay Love.
What do you do when you have failed at a project, deadline, or goal? I think your actions at such times say everything about who you are and what you are capable of. I keep that thought in mind whenever I crash and burn or miss the boat or come up short–basically, whenever I disappoint myself or others. Because, the most important thing at that moment, when I realize I’ve failed, is my next step, not the failure itself.
Whatever you didn’t do or whatever you didn’t accomplish has immediately become a thing of the past. Sure, we stop to kick ourselves and second-guess what we could of done better, but if that goes on for longer than a couple emotional venting minutes, it’s a waste of time, isn’t it?
So, today, I failed … temporarily. Today should have been the first release of the Virtual Art Box. I was so excited about it. I haven’t produced anything in six months and here I was making something that I feel very passionate about and its coming together great! However, a few things went haywire along the way, particularly this past week and, with my business turned into an unintentional solo project of late, I have discovered that I am not a superwoman enough to do it all under short deadlines and cannot get out the Virtual Art Box today as promised. I need a few more days. *sigh* I hate not living up to promises.
It also got in the way of getting a blog done for today. Double *sigh*!
So what am I gonna do now that I double failed today? I’m going to stop sighing, forgive myself, plan for a decompression meeting with me, myself and I once the Box is out so I can figure out how to keep this from happening again, and I’m going to get back to work. Let’s call this a bump in the road. Just like when the piece you’re working on just doesn’t come together or you burn a batch of long worked pieces. It’s just a bit of set back. You didn’t fail as an artist, not unless you give up.
So, I sat down at midnight and wrote this blog. There. I’ve managed to recover one thing. Now I have a post for you and I’m feeling a bit more accomplished already! Also, I’m going to change this conversation from one about failure to one about love. Polymer Clay Love that is.
See, while I work on fixing things over here, I can direct you all to visit a new site and project by huge polymer community supporter, Ginger Davis Allman. As of yesterday, she opened up a new website and a very different project called Polymer Clay Love.
Ginger Davis Allman, produces the content on The Blue Bottle Tree which is a polymer clay information website. She writes, “I started Polymer Clay Love because I felt the world needed a centralized resource to bring together people all around the world to share and celebrate the love of polymer clay. I want to share about and bring recognition to makers and creators who are working diligently (and often alone) to make beautiful art, develop their craft, and create connections around this amazing medium … I’m joined by leaders and creators who share their thoughts, their stories, and their art with you here on the pages of this website. It’s my vision for Polymer Clay Love that we can bring positivity, cooperativity, and growth to all who work with this intriguing medium.”
Intriguing is the word, for our medium, of course, and for this new project of Ginger’s. Head over to the website to see what it’s all about and sign up for the site’s summary emails.
For those waiting on the Virtual Art Box, it really will only be a matter of a few days before I get the content out. I truly appreciate your patience and understanding!
If you haven’t signed up for the Virtual Art Box, I’ve kept the early Loyalty Forever discount going so you still have time to get in on those deals.
And if you want to share some love and get yourself some new goodies, check out my partner advertisers, those businesses that help me pay the blog’s bills. For instance, Helen is presently offering her latest video class, “In the Loop Pendants“, for only $13.50, just for you, my dear readers. Advertiser links are at the top and ads are at the bottom if you get this by email, or off to the right if you’re reading this online.
Okay, I’m going to go get some sleep and greet tomorrow with a smile and determination. I do hope you all have a beautiful and love filled week!
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