The Party is in Full Swing. Come join us!
May 31, 2023
Polymer community news, The Polymer Arts magazine news
What party is this? The latest project from little ol’ me, Sage. The Sage Arts podcast is more than up and running… I have 25 episodes up as of this posting, ready on your favorite podcast player (New to Podcasts? Click here to find out how easy it is to enjoy them!) and a new one coming out every week.
What’s This Podcast All About?
This podcast is all about feeding and exciting your muse. By enlightening or reminding you about important and maybe unconsidered aspects of creating and living as an artist, I hope to help you find more joy and satisfaction in what you do, sharing ways to create with authenticity and fearlessness, while supporting your uniquely defined version of success.
Now what the heck does that all mean? Well, let’s look at what this is and what this is not…
It IS…
… a way to consistently feed your muse
… all about you. Myself, my guests, and my guest co-hosts speak to the issues, curiousity, and hurdles that you as a creative deal with on a regular basis.
… focused on creating a more fulfilling, joyful, and meaningful artistic journey.
… a conversation that goes both ways with lots of opportunities for you to be heard.
It is NOT…
… all about polymer clay or any one medium, as it’s important stuff for all artistic folks.
… focused on “how-to” or the latest tools and materials.
… just interviewing successful artists and talking at you. Rather it is like a coffee house chat or other friendly gather and I include you, the listener, in every way I can.
I created this podcast to supercharge your creativity, motivation, and artistic style through novelty, story, conversation, and community. Everyone has how-tos and ways to increase your sales – valiant and necessary stuff, of course! But what does your muse need? What does your work and your love of your art need to thrive? That’s where I want to help.
I aim to give artists ways to further hone their unique voice, increase their joy and productivity, and create a version of artistic success that is meaningful, satisfying, and anything but ordinary.
Come Join the Conversation
If you have something to share, would like to be a guest (for a chatty interview), or be a guest co-host (you and I banter on a particular subject) drop me an email me via my contact page on the show website: https://thesagearts.com/contact/ or send a voice mail (use the red button on that same site, bottom right corner of any page.)
And join me on social media!
Instagram https://www.instagram.com/thesageartspodcast/
Facebook https://www.facebook.com/TheSageArtsPodcast
And don’t forget to click “FOLLOW” or that little arrow on your favorite Podcast player so you get notices of new episodes. New Episodes come out weekly on Friday evenings, barring natural disasters or other bits of interference, of course. I hope you’ll join me there, on The Sage Arts podcast!
There are new artists and creatives joining every day with tons of great things to say…
“Just what I needed!”
“I just binged-listened … and I can’t wait for more!”
“There is so much validity in your presentation…”
“Looking forward to all the thinking and creating that they prompt.”
Taste test on my RSS website: https://rss.com/podcasts/thesagearts/
Or on the podcast home website: https://thesagearts.com/
Or start with this episode:
Outside Inspiration: Wood with Spirit
March 29, 2013
Inspirational Art
Yes, it’s true … on Fridays I usually bring you something that is not polymer. And believe it or not, I am being true to form. As much as it might seem that this below should be polymer, it is not. It’s wood and the stunning creation of Liv Blåvarp, a Norwegian born artist whose has received a tremendous amount of recognition in the USA over the last few years.
Here is an excellent article with numerous examples of her work. As she says in the article, “… the recurring theme in my artistic practice is to create structures that seem alive.” I think we’d all agree that she manages that tremendously well in this piece. Truthfully, there hasn’t been any of her work that I’ve seen that doesn’t do this. She repeatedly gives one the impression that her pieces could get up and slink off or fly or even rise up like a proud peacock just gently prodded.
She does not seem to have a website, but the article and these couple of pages I’m listing here will give you the opportunity to really delve into the beauty of this incredible work. Enjoy!
Lentils, Snakes and Extrusions
March 28, 2013
Inspirational Art, Tips and Tricks
Lentils, snakes of clay and extrusions are more than a little common in polymer but how often are they brought together?
I do enjoy discovering new ways to use scrap clay. Below is another option for making something beautiful from leftovers. These wonderful colors–and a new take on the possible definition of a ‘swirl’ lentil–are from Russia’s Tatiana Begacheva. I can’t say for certain that she used scrap (the Google translation makes her sound like an ethereal poet–which she very well may be–but it didn’t help explain her process.) Nonetheless, it is a fantastic idea for scrap and a jumping-off point for using scrap-extruded snakes.
I do wonder what would happen if you actually applied the swirled lentil process to these wrapped beads. As soon as I have time to spend in the studio, I think I’ll try it. If anyone tries it out before me, do send photos or share with us on our Facebook page.
The Secret to ‘Charming’ is Variety
March 27, 2013
Inspirational Art
I guess I’m on a variety kick this week. The mixture of color in these bangles by Lauren Abrams are particularly attractive but I think it’s the uneven repetition of the elements that gives them true charm.
Bands of color filled with stripes and crackled metallic are repeated but in uneven, varying widths and not predictably ordered. The pin head beads, although of the same shape and size, vary in color and spacing. The bangle underneath boasts but one accent, which if worn alone might seem a bit unbalanced but if worn together, the variation would feel supported. Actually an arm full of them would be truly charming.
I’m not saying orderliness can’t be charming, but quirkiness, unpredictability, and a disregard for expected order is what we find most delightful in children, pets and ourselves when we let go. But even when letting go, there needs to be some underlying order or consistency to keep things from falling into chaos. In the bangles it is a repetition of color and visual texture as well as repetition of common elements including the consistently used bands. A simple device but highly effective and easy to apply when you want to have a little fun.
Gather Your Flowers
March 26, 2013
Inspirational Art, Technique tutorials
My mother is a horticulturist so although I have never been heavily drawn to flowery things, I learned through her to fully appreciate the beauty of a well-formed bloom. Polymer artists, as a whole, do like their flowers likely because so many of our ladies are drawn to their inherent beauty, but also because the complexity of a flower can easily be achieved through the repetition of relatively simple petals. But the petals of a real flower are, in reality, quiet complex, each petal with its own curls and waves and way of enfolding the flower’s center. To properly reproduce this complexity, each petal needs to be given a little individuality. That is what I enjoyed so much about finding these little beauties by Taisa Chernyak.
It might take a bit longer to give each petal its own form but don’t you think the individuality of each gives the whole a much more convincing and natural beauty? Take a look at her tutorial on how she produces these life-like blooms.
The idea of each individual providing the character that creates the true beauty in the bigger picture is true on so many levels. Even as individual artists, bringing our own personality and uniqueness to the artwork we produce creates a more splendid picture of polymer art overall. Repeating what has already been done will add very little to the art world, but your own unique art adds much, much more.
Mixed Media Full of Grace
March 25, 2013
Inspirational Art
Mixed media is part of the theme of the next issue of The Polymer Arts (coming out in May) so my recent research has been focused on how polymer is combined with other mediums. Here we have one of my favorite mixed media and polymer artists, Grace Stokes. Grace is not afraid to combine whatever works to create the designs she has in mind. Can you guess what she has combined here?
Chances are polymer is one, right? (Being that is what I usually talk about here, that’s a pretty sure bet.) So yes, it’s that and sterling silver. That’s all she lists. Can that beautiful cabachon in the center be polymer?
Not only does Grace mix materials, she mixes approaches to creating her pieces. She uses traditional metal craft, polymer craft, bead making and CAD drawing. Yes, technology is something she likes to use in order to create the forms she wants to cast in precious metals. And why not? If it helps produce your vision, there is no good reason not to use it.
Creating is not about the medium. It is about the artist, what they want to create, what they want to share. What you use (and how you use it) to get there is of little importance as long as the design and vision is authentic you.
Best Business Practice: Cooperation not Competition
March 24, 2013
Polymer community news, Ponderings
If you have the first issue of The Polymer Arts, you may have read the back page Muse’s Corner piece written by Marjon Donker and Saskia Veltenaar, the editors of From Polymer to Art. It told the story of how we e-meet and why we decided to work together, not compete, even though we were all producing polymer clay magazines.
The thing is, I would not have started The Polymer Arts magazine if Marjon and Saskia were producing the same type of magazine I wanted to produce. Nor would I have done so if our other industry magazine, Polymer Cafe was covering the material I wanted to cover. So, when it came down to it, we weren’t at all competing, rather we were complementing each other. The ways things are now, hobbyists and those who just want to play with polymer have Polymer Cafe to look to for basics and fun projects while the more experienced clayer who wants to branch out can look to From Polymer to Art for more advanced projects and articles on issues that interest the polymer fan. For those who look at what they do or aspire to as serious art or are looking to make their craft into an income producing business, they have The Polymer Arts to push and challenge them, make them think, and help them build a better art business. As one of the attendees said during the magazine editor’s panel, we’re now covering the full range for polymer clayers.
Polymer magazine editors after our Q&A panel at Synergy 3. Starting top left and going clockwise, Sage Bray (The Polymer Arts), Anne Huizenga (Polymer Cafe), Saskia & Marjon (From Polymer To Art)
Do we have different philosophies on publishing for this community? Yes, we certainly do but we all have the similar goal of spreading the wonder and improving the work of polymer artists, regardless of their level of work. We all four talked over the week in Atlanta for this reason. All the editors even came to my Writing for Polymer in Print workshop (get the guidelines from this workshop on The Polymer Arts website)which was fabulous as the attendees got to hear from us all once again. That’s exactly how it should be.
The thing is, my magazine really NEEDS these other magazines. Someone new to the material might be overwhelmed by The Polymer Arts (unless they are really gung-ho and determined, are coming from another art medium, or they got the polymer bug bad from the start!) So yes, if you’re new, you may want to start with one of the other magazines and if you find yourself getting serious and want to push yourself and your art, we’ll be here. Or just give in and get them all. I do! You just can’t have too much polymer information, can you?
If you are interested in writing for a polymer publication, please do consider sending us ideas. Any of the editors here would love to see your ideas. Just help us out and send it to us one at a time. If what you have doesn’t fit my magazine, for example, I’ll pass it on to one of the other gals. The more we share as a community, the better it will be for clayers everywhere.
Finding Our Authentic Voice
March 23, 2013
Inspirational Art, Tips and Tricks
One of the big discussions at Synergy (Are you tired of hearing about that show yet!? Sorry … it was just such a treasure box full of ideas and I want you all to benefit from it too) was about finding our voice as artists. I was not the only one that came away with this concept eating away at me. Linda Garbe jumped right on it with a new video discussing texture and materials in the context of finding personal creative expression. Her Box of Color, as seen below, showed up in the video and I just had to get a closer view. Linda kindly sent photos so we could all get a good look at the details. Talk about an authentic voice!
Linda Garbe’s Box of Color, top view
… and a view of the bamboo and fungi sides.
Linda says she created the box as a result of doing the exercises in Lindly Haunani and Maggie Maggio’s book Polymer Clay Color Inspirations.
“While it took great discipline to do each and every exercise in order, it was well worth it. I learned a lot about color. The last exercise is to cover a box using what you have learned about color. I visited the Chicago Botanical Gardens during the time I was doing the color exercises. They have a Heritage Garden which show how early gardens featured one type of plant in each area. They did not mix plants together in the same flower bed as we do today. This garden became the inspiration for design of the box. Each side features one type of plant: bamboo, fungi, Queen Ann’s Lace, and ferns. The top is a fantasy garden created in my mind.”
This box and more of Linda’s explanation about its creation come in at about 3:10 on Linda’s video. The video starts out with thoughts on cultivating our own unique approach to creativity but the majority of it actually focuses on texturing and using everyday objects as tools. A lot of good ideas here so if you have a few minutes, sit back and soak up a little inspiration this weekend.
Outside Inspiration: Abstract Derviations
March 22, 2013
Inspirational Art
Have you ever thought about how often polymer work is abstract? Many jewelry, wall art and object artists that work in polymer do not work with recognizable imagery. We commonly work with just color, lines, forms … motifs perhaps. Technically, much of this would be called decorative design but tell me … is there really any difference between the intuitive arrangement of elements to create mood, impressions and symbolic meaning in a piece of jewelry and that can’t be done on a canvas?
Take a look at this beautiful painting by Carol Nelson. Can’t you see it as a lovely polymer pendant? She even finishes it off with a layer of clear resin to increase the depth of color just as many polymer artists do.
My mind has already gone off and figured out how to make something like this. Gold, copper and pearl mica clay blended backgrounds textured with a comb and colored with splashes of alcohol ink. That would probably do the trick, don’t you think? I wouldn’t copy it exactly–we all need to make our work our own, even if it is in a different medium. Translating the work means filtering it through your own aesthetic and personal statements. But the cross imagery, the straight lines contrasted against the rough edge of the space, along with the splashes of rich color … that’s what speaks to me, and what I would pull to make my own work.
So why isn’t our jewelry highly revered abstract works of art? In some arenas it is in its own way, but being functional or wearable puts craft work into another category. It really doesn’t matter though. What does matter is that what we often do in polymer can be derived from much larger work hung on walls in museums and galleries. Also, if you’ve been stumped by abstract art but can appreciate the wide breadth of polymer art, you can apply your appreciation of the decorative to an appreciation of abstract paintings–the colors, textures, lines, etc. are used in a similar manner and often with similar goals.
So if you have time this weekend, maybe you can go to a museum or traipse through some galleries and try to imagine the pieces you see translated into polymer. You might find some amazing inspiration and ideas in work you just hadn’t considered in that way before.
It doesn’t matter what medium it is. It’s all art. It’s all visual communication.
If you are interested in examples and ideas about how artists derive inspiration from other art and artists (as opposed to copying) keep an eye on The Cutting Edge page on Facebook. I hear Dan Cormier will soon be revealing the steps and each brooch in his Broken Telephone project on that page (I blogged about the project from the Synergy conference last week). It’s amazing what truly talented artists will do and how connected the pieces are, even when elements seemed to have disappeared along the way. Stay tuned here and at The Cutting Edge.
Words and Images
March 21, 2013
Inspirational Art
I taught a workshop at Synergy this past week on the craft of writing for the art community, hoping to encourage our heavily visual community to share their visions in words as well as images. The important thing to realize is that our words are just as important as our art. Its all communication.
Don’t dismiss the power of words combined with art, even if you don’t want to attempt an article or write a book someday, because just words themselves can have incredible visual impact. The thing is, we are automatically drawn to word–we can’t help but read what is before us–especially when they appear somewhere we don’t really expect to see them, like in jewelry. Erin Prais-Hintz uses words regularly in her work. They enliven the pieces, giving them a whole other layer of thought and contemplation which would be difficult to get across just with visuals.
What words do you have to share?
By the way, if you would like to share any ideas with the polymer community of how we might craft with words, you are warmly welcome (and highly encouraged!) to send them my way. You don’t have to write to create an article for The Polymer Arts, you just need to have ideas you want to share with the community – things that will push, inspire, challenge and get other artists thinking. You don’t even need to have a clear idea of what to present, because that’s my job–giving each issue of the magazine a particular vision and direction.
Whether you’re using words in your art or writing about art, you have a chance to be heard in a clear and certain voice. Do insist on being heard.
Polymer Pioneers
March 20, 2013
Polymer community news
One of the truly exciting things about going to an event like Synergy is getting the chance to meet the people who you admire and aspire to be. Although you may have the opportunity to meet a great polymer artist by taking a class, there is nothing like a lengthy event like this, a retreat, or a workshop to give you the opportunity to chat and hear their stories.
At Synergy, we had the opportunity to not only talk to a large number of highly talented and innovative artists, but we were also treated to their presentations and panels. One of my personal highlights was the closing banquet’s presentation with three of the most influential polymer pioneers – Nan Roche, Kathleen Dustin and Lindly Haunani. They told stories of the good old days, how they started in polymer, and how they started organizing polymer artists and the hurdles they encountered in the early days. A lot of funny personal notes and anecdotes were included as well. It was just great fun to hear of our polymer beginnings from these very important artists who were there.
I have my own personal anecdote about Nan Roche from this past week. For those of you who might not know, Nan wrote the first book on polymer clay, The New Clay, published back in 1992. That book precipitated the advent of polymer being considered a true art medium, and really pushed the public awareness of it. And today, it is still considered one of the best books on polymer for beginners. So this genius of woman comes up to me the first day of Synergy, all bubbly and kind of bouncing and says, “Oh, I just love your magazine!” I was floored and started babbling back about how much I admire her and what she has done for the polymer communtiy. I knew she subscribed (she gets both the print and digital versions of The Polymer Arts) but I thought it was just a matter of keeping track of the industry. As it turns out, Nan had to back away from doing polymer for a number of years, so she actually considers herself far less talented than many of the folks she is often grouped with, and finds The Polymer Arts inspiring. Whoa. I get some really touching compliments but a comment from someone like her … its hard to explain how much that meant to me.
As you take a closer look at the picture here, note all the pretties down in front of the presenter’s table. Those are the pieces that were auctioned off at the banquet–they include vintage pieces by Marie Segal, Jeffery Lloyd Dever and Lindly Haunani. Most of the larger events run by guilds have such auctions, giving the attendees a chance to buy some really wonderful work while supporting the organization – just another reason to make it to a retreat or other big polymer event. Check your local guild to see what they have going on and keep track of others through the IPCA newsletter, or by checking The Polymer Arts Resource list.
