Colored Paper
May 13, 2017
Inspirational Art
Today, we step just to the side of polymer and check out some amazing paper mache.
This collection I found today just blew me away. The work is by Gustavo Ramirez Cruz and the color and whimsy are just irresistible. Well for me, certainly, but I bet this little guy will tug at quite a few of you, too. It was hard to pick which one to show off. They are such strange creatures he creates, but they invariably have this vulnerable and unaware look that makes me just want to pack them up and take them home to protect them … and to cheer me up while they are at it. Kind of like my dogs, really! And nearly as big as our smaller furball. This cutie measures 46 x 28cm (18″ x 11″) but when I first saw it, I thought, that would make a great brooch! It would have to be shrunk down some!
Well, instead of blathering on with patterned animal comparisons from our other artist’s this week, how about you use your precious time to jump over to Gustavo’s site and give yourself an eyeful of joy and color this weekend. Just jump over to his simple but entrancing website.
Weekly Inspiration Challenge: Find the pattern in the animals around you. Whether they are pets, critters you see outside your window or exotic animals in a book or online, look for color and patterns that inspire you and let what you find inspire a new piece.
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Loveless Animals
May 11, 2017
Inspirational Art
Let us allow Jon Stuart Anderson’s cover piece dictate the theme this week … animals full of color and pattern. Although, unlike Jon’s bull on the cover of the upcoming Summer 2017 issue (due out end of May) is a three-dimensional sculpture, this piece is a wall mosaic by Mary Anne Loveless who just so happens to be gracing our pages as well in the gallery section of that same issue.
Even though this is a two-dimensional approach to using canes to create the shape and flow of an animal’s likeness, the mind-set is probably not dissimilar when the artists sit down to work out where the canes will go. What canes and where would they best serve the image of this animal they want to convey? Mary Anne is using mosaic and pointillism to create the form of the seahorse here while Jon uses a three-dimensional form. Does seem pretty different from that aspect but the patterns are what form the details of these animals in both cases.
I really enjoy picking out the individual canes in both cases. I am enthralled by Mary Anne’s choice of color juxtaposition in this. The aqua next to the reds and the beige and peach being the color the blues fade off to like in the chest area. It’s just beautiful.
Mary Anne really likes seahorses, as you will find upon opening her Flickr page which as of this post, is pretty much all seahorses. But she also likes fish and flowers and faeries! But mostly she loves, and is very good at, pattern and color which you can see in full evidence on her Flickr pages and her Etsy shop.
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The Summer Cover … Thank you Mr. Anderson
May 9, 2017
Inspirational Art, The Polymer Arts magazine news
Today, I just want to share the newest cover of The Polymer Arts. We are so very lucky to have Jon Stuart Anderson gracing the cover with a wonderful close up of his Raging Bull sculpture. The article on Jon’s art and life is alone worth getting this issue for.
Jon had previously not talked much about his work and yet it is absolutely unforgettable. His process, his thoughts on creating, on color, and on living as an artist are from the heart and he minces no words. The interview conducted, and article written by, the equally amazing Ron Lehocky was a dream for us. Ron had so much material, there really could have been a book. Ron was just the person to pull from Jon the stories and details that allow us a rich and colorful glimpse of the man and his work like we’ve never seen it before. I am so thrilled about this issue. Can you tell?
The whole Summer 2017- Color issue will be a great reference for color exploration now and in the future with the talent and knowledge of some of our best artists including Tracy Holmes, Christine Dumont, Lindly Haunani, Meg Newberg, and Anke Humpert, along with Ron and Jon. Here’s some of the articles you can look forward to:
- Color Theory – Simplified!
- Creating Relatable Color Palettes
- Fixing our Brains’ Flawed Color Perception
- The Wild & Colorful World of Jon Anderson
- Dramatic Color Blends for Canes
- Painting with Polymer clay
- Color Guided Necklace Designs
- Re-Thinking Your Artistic Identity
- Funding a Guild or Group
- Color Spotlight on Christine Dumont
- New Ways with the New Liquid Clays
… and much more!
Don’t miss out on this essential issue. Be sure your subscription is up to date by going to your account page or start your new subscription. It’s easy … just click here!
If you are jonesing to see more of Jon’s work or want to purchase his work, you can find it on his website.
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In the Russia Pages
May 6, 2017
Inspirational Art
While doing my research this week on Russian polymer, I finally got to see what their polymer magazine looks like. I knew there was one out there but it’s really hard to search for “Russian Polymer Clay magazine” when you don’t have the corresponding keys to type Полимерная глина on your keyboard. The title you see says “Polymer Clay” and in the pink says “in Russia”, at least that is what Google told me. But it took me a while to figure that out since I couldn’t copy it from the image. In other words, there are barriers to us seeing the full range of what the world is doing in polymer because language can get in the way. But some of us are determined … or just plain obsessed with seeing everything people are doing with this wonderful medium!
This cover piece is by Maria Vidova. I feel pretty sure it is not 100% polymer clay but I can’t read it to find out–not yet at least. It is a beautifully laid out piece with the green of the succulents being repeated in the green stones. With both plant and gems being important focal points, having the same green color presents the plants and stones as equally precious objects of beauty, which I have to agree with.
Those succulents look perfectly real, don’t they? Well, their perfection comes from silicone molds and she uses liquid polymer to give it that partially translucent look. The molds look to be of her making and she sells them on her Creative Molds website. You’ll need Google Translate to navigate (if you use the Chrome browser, it usually does this automatically for you) or you can write them for instructions at info@creative-molds.ru.
Now, how about getting our hands on a copy of this beautifully presented magazine? Well, I’m going to! And since they do have this available in a digital format, all of us non-Russian speaking folks should be able to copy out the text and get some kind of translation on Google. But you know you want it for the art, even if it will be a bit more challenging to read.
You can get issues of Polymer Clay in Russia in digital or print on the polymerclay-guild-ru site.
Weekly Inspiration Challenge: Find work from a region of the world you are not familiar with–and it doesn’t have to be polymer, it could be any medium–and pick out the elements that you like as a source of inspiration for a new piece. Don’t copy what you see; just take the time to determine what makes it work and why you like it then take that knowledge and create an inspired piece of your own.
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Sutazhnuyu
May 4, 2017
Inspirational Art
So, what else are our Russian colleagues up to besides quilting large polymer maps of their country? A lot actually. I got rather lost, pulling on the little threads I found when I went in search of more on the Russian blanket project. There is so much lovely work out there but in the end, I spent so much time on Anastasia Astafieva‘s blog, Handmadeblog.ru, that I just had to share some of her work.
Anastasia works polymer in a number of ways–from jewelry to decor to figurines and dolls–but I was particularly taken by her work in polymer soutache. Just look at all the detail in this soutche’d purse. The color palette has a reserved energy that keeps the whole thing from feeling like its going overboard between the intricate whorls and the large glass ‘gems’. Just that touch of brown clay and the tan beads brings the lovely variations of blues and cyans a little contrast and allows us to see the soutache in defined sections.
She’s made quite a few of these purses along with coordinating necklaces and even some earrings. You can see her collection which she calls “Sutazhnuyu” (Google pronounces it in Russian as “sue-tash-nah” … cool sounding word!) on this blog post.
Anastasia does more than just blog about her work. She reports on events and even did a video documentary on what she is calling the “grandmother” of polymer, Kathe Kruse (it shows up as Keti Kruze on the translation) a famous German dollmaker whose company looks to have used polymer back in the late 50s and early 60s to make dolls. She even has a photo of what is probably one of the very first polymer clay kits. You can find that post and video here. Now if Google can only figure out how to translate audio on the fly!
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The Shape of Polymer in Russia
May 2, 2017
Inspirational Art
Russia is in the news a lot lately, especially out here in the States, but the conversation is not often a positive one, which can leave us with a rather uneven view of things. Personally, I think Russia is an amazingly beautiful place and I have so enjoyed the people I have met from there. My parents spent some time traveling through the country in the 90s and the photos and stories they brought home were so wonderful and memorable.
Their artistic heritage and rich culture translates beautifully to modern materials like polymer but it is not easy to find a good range of the work being done in Russia since on the internet, the difference in language keeps their pieces, listed on Russian sites and with Russian text, from popping up on English searches. So this week, we’re going to take a look at Russian polymer work in a teeny tiny effort to rectify this.
The idea for the theme this week came from the IPCA‘s most recent International Polymer Clay publication, a digital publication sent to members every other month. When I saw this wall piece, referred to in the brief article’s title as a Russian Blanket, I just thought it would be a shame not to get this out to more people. This community project, coordinated by Svetlana Taratunina had 362 polymer participants contribute work for the completely polymer quilted map of Russia. The piece is going on tour in the country right now although no schedule was mentioned.
If you are a member of the IPCA, you should have this publication in your inbox right now (or check your spam folder). If you’re not a member, considering supporting our community’s central organization with a membership and you’ll be getting this little treasure of a publication in your inbox every other month.
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Going to the Dogs
April 29, 2017
Inspirational Art
Today, let’s look at when cute works. Because cute stuff is, of course, a legitimate form of art which, like any contemporary or statement piece, still needs to follow basic design guidelines, along with that touch of artistic inspiration, to work well.
This adorable cane covered pup, fighting the chill of a spring morning on a distant northern European coastline with a little neck muffler, has been in my queue for some time. It was created by France’s Isabelle Chatelain. I don’t know what I had in mind when I grabbed it and even after looking it over, mostly what I can say is that it just makes me smile.
It does work design wise though. There is a limited hue palette made up of various greens and a splash of orange and the eye and button have you playing a bit of eye tennis as you glance back and forth between these two obvious focal points but you’ll still stop to admire the patterns and the overall ‘cuteness’ of this guy with his little neckerchief. Isabelle has a whole set of these guys on her Flickr page but this one, by far works the best. Why is that?
I think it’s very, very simple. The button. The button is a darkest point against the lightest background which creates the most contrast aside from the eye. That makes it the primary focal point and gives us a very calm but certain spot to rest between checking out all the pattern. Is there anything else that you think really makes this one work so well? I have a couple other thoughts but I’d love to her yours!
Weekly Inspiration Challenge: Go back to basics. Create something without worrying about pushing the design. Chose classic color combinations you enjoy, basic shapes, and easy finishes you find attractive. Don’t reference anyone else’s work though and don’t worry about what others might think. Follow your own whim on this classic creative road.
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Boldly Big and Metal Bright
April 27, 2017
Inspirational Art
I have another bit of design contemplation for you today, this time in terms of color and finish.
This necklace, created by Svetlana Parenkova, as you can see by the watermark, has a lot of attractive details, things that on their own might draw the eye. The metallic shimmer of the shield like disks are a primary draw–human beings do like their sparkle and shine. The texture aids the shine by causing more varied reflection with dark contrast in the shadows of the texture. The blue and orange (copper in this case) is a classic color combination that has been enjoyed through the ages. The graduated size of the disks are also a classic necklace composition.
So with all these classic and long used elements, what makes this necklace stand out? Or perhaps you don’t think it stands out that much. If so, why not?
For my two cents, I think the bold size and clean finish certainly helps to carry it but perhaps it comes down to the centered notch in the sides of what would have been a background disk if it was not cut like two emerging fans. This cut-away creates a space for the pieces to nudge up close to one another, for a more united front. The lack of spacing matches the sense of strength that shield like objects convey as well as working well with the bold size of the elements. What do you think?
This strong and bold look is fairly common in Svetlana’s work as you can witness on her Flickr and Livemaster pages.
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Ordinarily Wonderful
April 25, 2017
Inspirational Art
I very much enjoyed the comments and the interaction of last week. Maybe we’ll do that once a week or every other. Getting you to think about art is definitely one of my high goals!
So let’s ponder a few together this week. I find it curious that some pieces, even though very much like other pieces we see, will just strike you as working so much better than similar work. Like this set by Cécile Bouesnard. It is quietly striking although the shape is a common one these days and the composition of shape and focal point is what one might expect. But the coloring and the marks keep it from becoming just ordinary. So why is that?
Success is not always easy to define, primarily because the success of a piece is really due to the sum of its parts. Key elements will often shine but if everything else didn’t work with it or support it as needed, those key elements would not have the same impact. So what is it here that is working? I think everything supports the overall feel. The soft shift of a rich green to that mellow yellow and the lime green snuck into the middle of it (did you even notice it was there?) gives the surface a glowing effect. The softness of the coloring contrasts with the perfectly trimmed shapes but those black marks, like the careless placement of a messy bottle contrasts with both the soft coloring and the clean shapes. These subtle but consistent contrasts make for an interesting and fulfilling piece to look upon.
That is my take on why this works. If you have other ideas, please add them to the comment section at the end of this post. In the meantime, you can see what else Cécile created with a similar combination of elements in varied compositions and colors on this post of her blog.
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Are you familiar with something known as the flow state? This is that space you get in where you are lost in your own little world because you are so wrapped up in what you are doing. It happens quite commonly when people are working on creative projects and it’s a really good thing for you, both because it dissipates stress and because it increases your level of “feel-good” chemicals like serotonin and dopamine. It’s also defined as an “optimal state of consciousness where we feel our best and perform our best.” Now, who wouldn’t want that?
I bring this up because I want to talk about mosaics. I think a lot of people look at all those tiny pieces and think, “That looks like a ton of work!” And, yeah, there might be a lot of steps to putting a mosaic together, but the technique is also one that really gets you deep into a flow state. It can be kind of like doodling but with little pieces.
It would not be a hard thing to start on. Most of us have access to tons of tiny pieces, either through leftover canes, unused polymer sheets, or failed projects we haven’t had the heart to toss out. Just slice up those canes, cut up those sheets, and/or start chopping up those cured elements and you have all you need to start creating mosaics. Of course, you can make pieces specifically for mosaics from fresh clay, too!
Mosaics have been on my mind these last couple weeks because, while working on the latest book, Polymer Journeys 2019, it became quite apparent that one of the bigger trends making a splash right now is polymer mosaics and so I thought we ought to take a closer look at this not so new but definitely interesting and flexible technique. (By the way, today is the last day to get the Pre-order Sale pricing on Polymer Journeys 2019! Go to the website to get it at 30% off the cover!)
Mind you, being the insanely creative and exploratory artisans and crafters that they are, polymer enthusiasts aren’t just slapping together any old standard expectation of a mosaic. They are mixing mediums, trying out every shape in the book, using three-dimensional forms, and generally just pushing the boundaries of what the mosaic technique is. Gotta love polymer crafters!
So, let’s take a look at what some people are doing as of late and we’ll end with suggestions for getting into the mosaic flow yourself.
Different Kinds of Bits & Pieces
One of the folks who, at least initially, takes a classic approach to the art form of mosaics but certainly adds her own flavor to it, is Christi Friesen. She cuts out squares of polymer, lays a base to adhere them to and then arranges the pieces in pleasing and energetic patterns. But of course, Christi can’t leave well enough alone — she has to add bling and embellishments of all kinds! She’s been mixing in glass, wire, charms, beads, and probably a bunch of other things I will never be able to identify, to create her whimsical tiles, vessels and jewelry. Can’t you just sense the depth of the flow state she must have been in creating this beautiful maelstrom?
You could say that Claire Fairweather is classically inspired too, but her work has a twist to it. That twist is a commitment to circles used to create these wonderful images of graduated color and varied texture. Using round elements instead of squares and straight-sided shapes that join neatly together, leaves more open space but it’s one that has a fairly regular rhythm that flows in and out of the carefully placed circles. This gives the imagery more orderliness and a softer look as you can see in the many sides of her mosaic globe below. (Be sure to jump over to her blog to get the rundown on what each side is showing.)
Keep in mind that a mosaic piece does not have to be all mosaic. Large swaths can be made up of other types of polymer elements such as textured, silkscreen, impressed, or hand tooled layers or forms. A lot of Susan Crocenzi’s work, especially earlier in this decade, consist of entire halves of her pieces being a kind of polymer landscape, surrounded by glass mosaics or a mix of mosaic mediums. Here is just one example below but you can find more on her website too.
For all of you mad caners out there, here is an example of how beautifully energetic a piece can be just by arranging thick cane slices on a simple form. This bib necklace is a yet-to-be-hung creation by Ivy Niles, who makes some of the most impressive canes. You can see how much more impressive they are when working together in this off-center mandala type pattern.
If you really like the idea of doing mosaics don’t relegate your sources of inspiration to the work of polymer artist’s, as unique as they may be. Take a look at what glass and tile mosaic artists are doing these days as well (just type “mosaic art” into your favorite browser or an image-centric site, like Pinterest or Instagram) if for no other reason than there is some amazing and gorgeous work out there to enjoy. Here is a gorgeous piece by Francis Green in what seems to be a rare piece of wall art. This woman will mosaic anything she can get her hands on! She kinda reminds me of some unbridled polymer artist with their canes. Just take a look at her website.
The How-Tos of Mosaics
So, are you itching to try some mosaics now? Here are a few places you could start:
- If you want to start with something classic, even, and orderly, check out this straight-forward mosaic tile tutorial by Korrina Robinson on her blog.
- Prefer a more open and visually textural approach that is flexible enough to use any type of clay sheets or even canes? Take a look at this mosaic vase by Kathy Koontz on the Sculpey website.
- If you’re ready to really dive in, might I suggest you invest in this great tutorial on micromosaics and faux glass by Pavla Čepelíková. The opening image of this post shows examples of some of the things she’ll teach you to make in this downloadable PDF.
- If you want to use mosaic as a way to diminish your pile of scrap clay and cured bits, take a look at Christi Friesen’s mosaic video tutorial here. You can also have fun creating mosaics Antoni Gaudi style on an unusually formed box with Christi in the Polymer Art Projects – Organic book (go to our website to get your copy!)
- And if that’s not enough, Christi sells mosaic kits on her website where you can also find tons of other embellishments and bobbles to assist in your mosaic flow. Just click here!
- I even have some exciting mosaics for you to look forward to too … We just found out that Staedtler/Fimo is going to sponsor Ann and Karen Mitchell, the Masters of liquid polymer clay, to create a mini mosaic tutorial for the next issue of The Polymer Studio magazine. This is a changeup to Karen’s tiny micromosaic technique published in The Polymer Arts back in the Fall of 2015.
Whew! I got into a flow a bit there myself writing excitedly about all this fun stuff. I hope you’ll give mosaics a try if you have not already, or at least give yourself some time to just get lost in your craft today. It’s good for the brain and the soul and you never know what will come of it later in your creative journey!
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I know I just featured Katie Way in February, but this is such a great example of taking a technique and making it your own that I didn’t want to pass by this opportunity. This seemed particularly apropos after an incident came up a week or so ago that I was consulted about involving a student submitting something to a contest that they created either in a class or based on a class. The problem was not in taking something that was learned in a class and creating from that knowledge but using the design choices that the teaching artist used. So, let’s just review what that means. In a way, it’s very simple – you can replicate technique, but you cannot use the design decisions of another artist.
I think part of the issue is that there is some confusion as to what’s is technique and what is design, so let me try to define that.
Technique is how you manipulate the material including how you apply texture, the process of forming/sculpting, the mixing or application of color treatments, the creation of mechanisms or use of materials for constructing the piece, etc. In other words, it’s about the process of creating.
Design is about the specific choices you make about how something is going to look. So, your choices about the type of texture (not how you apply it), the shapes you create (but not how you create them), the colors you choose (but not the source of the color), and the arrangement of your construction (but not the mechanisms used to put pieces together), are all design choices. If the majority of your choices are based on someone else’s examples, then you’re in danger of copying their design. Changing the color or shape is simply not enough, nor is it fair to the artist that inspired you and, equally so, it’s not fair to you and your creative growth to skip the exploration of what a piece could be by not making the design decisions yourself.
In the piece we see here, Katie Way took a class with Alice Stroppel and made a piece that is uniquely her own. You can see the influence of both artists in this work. The big, bold cane work shows Alice’s influence, but the color choices and all those bulls-eye circles are absolutely Katie. I would’ve known this was Katie’s right away, but it would’ve taken me a few moments to realize where her change in technique came from if she hadn’t made note of her influencer. And that’s really how it should be.
You can absolutely copy the work of the teaching artist in class as a way to learn. Most of them do prefer that. But when you go home, don’t make that same basic piece ever again. Have enough confidence and belief in your artistic self to work out your own designs. It is far more fulfilling to create from your own sense of aesthetic and ideas than to simply be successful with someone else’s design.
Okay, getting off my soapbox now. If you’re intrigued by Alice’s cane mapping class, go to her website to check out where she will be teaching next. And if you’ve somehow missed Katie’s work, check out her Etsy shop and her Instagram page.
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I spent a lot of time looking for differently constructed clocks in polymer and couldn’t find much that really illustrated the point I was hoping to make. What I wanted was to show that a clock does not have to be on a flat surface. It can be made of many parts, attached or not, and fully dimensional. As long as you have something that can house or hide the clock mechanism while holding out the hands, the rest is wide open. You can have the hour markers designated by any form and attach them with sticks or wire or be free floating–whatever suits the piece and your inclination.
These two examples are commercial designs rather than polymer art but I think they give you the basics of this idea of moving beyond the flat clock face. Not only do these kinds of clocks make for really interesting wall pieces, they give you the freedom to use pieces you may already have such as large hollow beads, faux stones, unhung pendants, small figurines, flowers, etc.
As a gift, giving a clock that has separate pieces might be best attached to something that can be hung as one piece, like a backing of Plexiglas or painted plywood. Or include instructions for a template to mark on the wall where each piece goes. There is little to no construction to deal with but you will have to make concessions in the design for how the individual pieces will be hung. Alternately, go for a design where the elements are attached like the flowers you see here.
The sky is the limit with these kinds of designs. For more ideas, try searching “DIY clocks,” which was the keyword set that brought me to these two pieces. I hope these sparks some ideas and I look forward to seeing inventive clock designs this month!
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In my search for clock inspiration, I veered a bit off the polymer path, but then again, I kept running into pieces that I thought were polymer but were not. Of course, pieces like this splendid celestial clock by Natalya Polekh could be created in a very similar fashion with polymer. Large textured sheets and fun with alcohol inks and mica powders could produce similarly stunning results so I took a closer look.
Natalya looks to be a well-known mixed media artist in Eastern Europe and Russia and when I say mixed, I mean all kinds of things. Her primary materials look to be various types of acrylic paint, dimensional and pearling paints, 3D gel, embossing paste, and glass and metal accents of different types. She works in texture, mosaics and layered media that is applied in such a way that knowing the materials is rather superfluous. She creates a beautiful complexity of texture and motif with shine and shimmer applied in abundance but always in a tasteful and often intriguing manner.
She does much more than clocks although she has done quite few of them. Take a look at her shop for more clock and textural ideas as well as very well priced tutorials on how she creates this work. Her VK.com page has more images.
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A lot of the peek-a-boo designs you see peer in at just one contrasting surface although there are a few out there who add in a little charm or an additional focal point. But I really like what Czech Republic’s Jitka Petrů did with this opening in her pendant’s surface.
The many overlapping layers look like they are moving back, one depth at a time and seem like we will soon see the inner surface although it stops at just giving us the tiniest of peeks. But that effect really draws your eye in. When you pull back, it even has a bit of an optical motion effect, in part because of the angling of the layers but also because of the very slight change in color value and hue which makes for a gradual transition to the center.
Jitka plays around with this peek into layers in a number of ways as you can see in her shop here.
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Since we started out this week with a spooky something or other peeking out at us, I thought I’d try to make a theme of it and the idea of peeking into things is always intriguing. Spaces that allow us to look into things beyond is like the revealing of a tiny mystery, a look into a place that we might otherwise be shut off from. When this is part of a design, I think it automatically will draw the eye. Whether you can keep a viewer looking is up to the rest of your design.
The idea of a partly revealed letter that Samantha Burroughs chose for this beautifully textured pendant is certainly alluring. Who doesn’t get a little bit of thrill from the possibility of seeing the inner thoughts of another person? We are also very drawn to text in general as our brain wants to immediately read and decipher it so it was a good choice for the interior content of the holes here. It also creates a contrasting texture to the organic surface of the piece.
Samantha has honed her skills in a variety of established techniques and looks to be fully exploring quite a few of them. You can find her work on Etsy.
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Being that tomorrow is Halloween, I could not help but get in one last spooky bit of polymer creativity. The thing that makes something truly scary is the stuff you can’t see, or so I have always felt. The bogeyman under the bed, the creature in the closet, the shape of some beast in the bushes … just the hint that something is there allows our imagination to run wild. And in the dark and the shadows, our imagination comes up with some pretty scary stuff!
So, seeing the pair of eyes staring out from the forest in this polymer illustration by Korrina Robinson, what are you thinking is in there? You know I was thinking those eyes need to be glow in the dark and then I would so want this to be a light switch plate because how freaky would that be in a shadowy room to have to reach into that to get the light on and banish the very fears it invokes? Can you hear your inner voice saying, “Don’t do it! You’ve seen this seen in the movies and someone always loses a hand!”
Okay … enough with trying to spook you all. Especially since I think I am very much spooking myself in the process. But isn’t it neat how our imaginations can add so much to what we look at? And isn’t it great that polymer clay allows us to create any such thing our imagination comes up with?
For those of you who celebrate this holiday in which we face and often embrace our fears, have a very safe and happy Halloween.
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I was going to start off a week of spooky ghoulishness but I have to delay that for one more post as I wanted to take the opportunity to share a beautiful piece recently created by the ever-surprising Beth Petricoin. The glass vessel you see here, accompanied by a similarly styled neckpiece was part of an entry for a decorated table contest in a local town. I choose this image so you could see the work but it is best displayed in a darker setting when the side-sitting vessel and the necklace both are lit up by hidden LED lights.
Beth did not win the contest which was a disappointment for her but if originality and hard work had been what they were primarily grading on, it would have been an easy winner I think. But as she says in her post, it is easier to have your work appreciated by fellow artisans and this, unfortunately, was not really an art contest. But I thought we all could sure show our appreciation for the beautifully applied and finished work as well as the ingenuity of the design, especially in regards to its function as an eye-catching table centerpiece.
I won’t go on too long about this as Beth has written at length about the event and the piece. I do hope it gets a few creative wheels turning with some pondering on larger polymer pieces and maybe a few of you will now want to keep an eye out for more unique shapes for polymer-covered decor. Do jump over to her blog to see the lit up images and to read about how she created these beauties.
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Last week I had the very fortunate opportunity to spend a couple days chatting and exploring Los Angeles with Christi Friesen and one of my oldest polymer pals, Debbie Crothers. We definitely did more talking than anything else and one of the subjects that kept coming up was exploration. Exploration of a technique or of a design element in your work can reveal much about what you personally prefer to do in your work not just what the technique or element offers.
One great way to explore is to make a lot of elements using the same technique or the same design element. In this bold neckpiece by Hélène JeanClaude there are several variations on the dot. The dot as a colored accent, as repetition defining the structure of a visual pattern, and as negative space are joined together, linked by that same color of blue and the coppery brown. The curve of the shapes, as well as the colors and the dots themselves, create a cohesive whole of these three very different explorations of the way a dot can be used.
Hélène’s work often appears to be an exploration of a particular design element or perhaps she is simply not satisfied with an element being presented in just one way. Regardless, it presents a high level of sophistication and energy to her tribal-leaning aesthetic. You can explore the fruits of her explorations on her Flickr photostream and here on her blog.
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