Alluring Interpretation
September 13, 2017
Inspirational Art
Going sculptural in a jewelry direction, this piece really caught my eye back when and I never forgot it. There is something very alluring and even a bit Georgia O’Keefe about this piece. Here is the original post in which I was promoting the popular Summer 2012 – Recycle and Reuse issue:
With our focus on finishing the next issue (Recycle & Reuse theme with TONS of ideas for using scrap clay, canes, old pieces & parts, etc.) I’ve been attracted to work with this theme. This piece from the mysterious Joyce (JVL on Flickr) uses scrap from a prior class and a broken glass bead. It feels so alive, like a strange new anemone. Some things just come together, even better for not being planned.
As is turned out, the mysterious Joyce was Joyce Ramdan who created this piece during a class with Jana Roberts Benzon back then. Joyce seems to have wandered off into other crafts since then but has several examples of her reinterpretation of the technique, all of them quite beautiful, as you can see here on her Flickr. photostream.
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Fantastic Faces
September 11, 2017
Inspirational Art
While still off working out the last details of moving the business to California, we’ll continue looking at past posts in the days before the blog, when I was just sharing daily on our Facebook page.
This piece’s popularity surprised me a little. It is not sleek or colorful, might be slightly disturbing, and it’s not jewelry but the artist, Virginie Ropars, is a huge favorite of mine. Here is the post I put up on March 7th, 2012:
Art dolls are an incredible artistic form and this woman is one of my favorites because she goes way beyond just costuming a form … and the dolls are made with polymer clay! Take a look at the incredible detail of the castle that is the top of the head and the neck and chest decor. Stunning! Tons more to look at here: http://vropars.free.fr/
You can see more of her amazing and imaginative sculpture and dolls, (which have gotten a bit more disturbing as time goes on–just thought I ought to warn you!) on her newer website here but also on her Facebook page.
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A Talented Hobbyist
September 8, 2017
Inspirational Art
I’m so glad that this artist became easier to find and to read up on since the day I originally posted this. Cecilia Button does amazing work but still, she doesn’t sell it. Rather this is a hobby for her that she does in the very early hours of the day before running off to attend to her busy textile career.
Here is the post from January 31st, 2012:
“The ‘Pretty of the Day’ … off another non-English blog (Google so needs to pay me for sending people to their translator all the time!) She’s French, lives in Asia, only lists ‘Cecilia’ for her name and doesn’t sell her work, just gifts it. Lucky friends she has! http://mabcrea.space-blogs.com/”
These days you can find more of her work on her her Flickr pages as her blog site has not been active since 2013, but is still rather revealing.
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Back When We Were Young
September 4, 2017
Inspirational Art
Okay, maybe we weren’t so very young still just five years ago but man, it sure feels like a very long time ago. What Angela has done between then, as wonderful as the work is, and now, is really incredible. Here is the post from May 15th, 2012:
Angela Garrod is an emerging artist from the UK. She’s featured in our galleries in the next issue (order yours at http://thepolymerarts.com/Subscribe.html). Her newest piece here is not in the issue but it’s just fantastic–cool, light, springtime polymer. Her new website just went up, too: http://clayninepolymerdesigns.co.uk/
You can, of course, jump over to Angela’s website as above to compare old and new but I like doing so on her Flickr photostream where a clear timeline is shown as you move through the pages.
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A Past Controversy
September 1, 2017
Inspirational Art
Here is a post with some food for thought as you go through your weekend. This post was one of my most active. The discussion in the comments revolved around whether to consider this polymer art because although it is mostly polymer, the focus and all the color is painted on. I found it very interesting to hear people’s thoughts on defining polymer art and the idea of polymer purity. You can return to the original post here. There was also a follow-up post a little later that revived the conversation a bit, which you can read here.
If you want to put in your two cents, just comment at the bottom of this post at the post’s page (click the header above to be sure you are on the page) or look for the most recent post on our Facebook page.
The original post was from February 17, 2012:
I fell for the colors when I saw this brooch, then I looked at the bezel. Then at her gallery and all her really creative bezels … and the pretty colors. Artist is Susan Waddington of Polydogz.
You can find more of her work on Flickr and Etsy.
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Fun and Colorful Memories
August 30, 2017
Inspirational Art
Here is another post that was very popular when I was posting art just on my Facebook page. It is from March 1st, 2012:
After a long day of car shopping (ended up with a ‘wasabi’ colored Subie–I’ve been calling car colors by their Premo equivalent! Such a polymer nerd!) I got on the ‘net looking for something light and fun–found it! The colors in this are fantastic and the shape of the necklace is inspired!
The piece is by Olimpia Corvino. Find more of her work on Facebook.
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Circling Back
August 28, 2017
Inspirational Art, The Polymer Arts magazine news
Over the next several weeks I will be all over the place–traveling, teaching, entertaining foreign (polymer) dignitaries, readying the family home for sale, and making the final move for the business at the end of it all, I needed to pull a few things off my plate during this period. Not doing the blog was an option but I didn’t want to leave you without your regular creative shot in the arm so I am, instead, scheduling out a series of posts that were originally on my Facebook page back before the blog was born. That is actually where the blog started but most of you will never have seen them so I thought this was a good opportunity to share some of the most popular posts from back then while I take care of things in my present day world.
But quickly, before we get to the piece of the day, I wanted to let you all know that all new issues of The Polymer Arts, the Fall 2017–Texture issue, have been emailed and snail mailed out to all the subscribers and pre-order purchasers who had orders in prior to yesterday. If you didn’t get your subscription renewed or want to order the copy of this issue, search Facebook or Instagram or other social media to see all the comments on how much great stuff is in this issue–you can do so on our website now. If you expected a digital copy but didn’t see it in your inbox, check your spam/junk mail folder and if it is still not there, write us at connect(at)thepolymerarts.com and we’ll help you get your copy. Print subscription copies may take up to another three weeks to get to you depending on where you live.
Okay, onto the pretties. Here was my post from February 28, 2012:
Sometimes you just want something simple … here is a black & white pendant from Veronica Jeong. Eliminating color forces the artist to focus on form and texture and can result in wonderful things. Find more of her work on Flickr.
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Memories for a Lifetime
August 25, 2017
Inspirational Art, Polymer community news
I know I showed you a bit of the sample “Into the Forest” installation last week, but I didn’t get in this mosaic created by Julie Eakes for the exhibition that will be installed in November. I think Julie gets the prize for the most intense and biggest piece to go into the installation. I uploaded a fairly large image of this so if you click on the photo, it should open up in a browser window and you can zoom in to see all the individual canes that make up the idyllic scene.
I wish you could zoom in on the screens you see here in the main assembly room as Ellen Prophater presented her talk on mokume gane. Oh, the secrets and the great tips and tricks she gave away during this talk! This kind of thing was happening all over and made the price of this event well worth it on that basis alone. The friendships and conversations, however, they make it priceless.
If you didn’t get to make Synergy and haven’t been to any major events lately or ever, keep them in mind. Save up your pennies and plan to get that time off from work for the next big event you can possibly work into your schedule. They are each an experience you’ll keep with you all life long.
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Rainbow Redux
August 4, 2017
Inspirational Art
This arresting little piece was created by Heather Moore. However, she was not designing but learning as she created this in a class by Claire Maunsell. I recognized the technique immediately but the application of it and the design was far more geometric than what Claire usually creates so I was intrigued. Color wise, she has a very successful piece here, but what about the rest of the design? Or can we even examine it based on design when it was part of a learning process?
Personally, I think design decisions should be part of everything you do when creating. This is not to say that we have to constantly pull ourselves out of the flow of creating to examine and critique the work but rather, we should make an effort to consider all the elements that go into the work.
Whenever we have a halting moment in the creative process, if we are stuck on something that doesn’t look right, or even when we get up to refill that coffee mug or water glass, we should check to see if we have intentionally considered and made specific choices in regards to design. Is this the right shape or shapes? Does the form convey the right feeling? What do the lines in the work do for it? Is there enough color or too much or do any of the colors not work together? Is there anything I can or should do with the texture to make the parts feel more integrated or finished looking?
That may seem overly analytical and I know a lot of you just want to go in and have fun, but if you regularly stop to really consider what choices you are making, after awhile it won’t even be a conscious consideration. You’ll just know what needs to be changed and won’t necessarily know it’s about the line or texture or color choices. You’ll just stop and contemplate how to work it out better and do it. And you’ll be so much happier for it.
So why not use that analytical muscle and see what you find here? I thought it could be interesting, for those of you who are so inclined, to compare Heather’s use of color with Claire’s. Just click on the names here to get to photos of their work and see what you think.
Weekly Inspiration Challenge: Look through your work and determine what design element you seem most focused on when you create. Is it color? Form? Focal points? Do you possibly lean too heavily on one element to carry the design? Then with the next thing you create, try to focus on making unique or unusual choices for design elements that you don’t consider quite as often like form, shapes, surface texture or whatever seemed to be less considered in your past work.
Would you call yourself a selfish person? I doubt very many of us would think that way about ourselves. Yet, as artists, we often find ourselves “stealing” time away from others or other things to do what we love, reveling in it when we have it. Is that selfish? I mean, it is more about us than anyone else, isn’t it?
Yes, it is about us, and that is as it should be. In the requested comments for last week’s giveaway (scroll down to see the winner and this week’s giveaway), participants mentioned some version of the “me time” aspect of getting to sit down and create more than anything else. I mean, I know we create because it is something we enjoy, regardless of what anyone else thinks, but I just love that so many people acknowledged and celebrated it. We should!
I strongly believe that everyone should have something of their own, something they can turn to in order to express themselves or at least put something out into the world that would not have existed without their desire to create it. The art we create gives us purpose, exercises a uniquely human part of our brains, and helps us to love ourselves. Not to mention that we deserve the joy we get from it!
But, by definition, that is selfish—doing something because it’s what we want. I wish our society would get over the idea that doing something for ourselves is bad. I think not doing things for yourself is self-negligence. Why is that not a commonly understood thing?
This also highlights the bigger, contradictory world that we inhabit. We live in such strange societies where selflessness and humility are expected or requested, and yet we are also pushed to strive for excellence in what we do. How do we reach excellence without focusing on ourselves? And then there is this silliness where we are not supposed to acknowledge when the work we do is good or that we’re proud of it. If we do, others may think we’re being arrogant or grandiose.
So, do we strive to be great and then pretend that we’re mediocre? We talk about contrast being good in art, but this is so not the right kind of contrast!
I’ve long found the dichotomy of these contradictory but societally prescribed behaviors beyond aggravating as well as having the potential to be debilitating. I think that is why it made me so happy to see so many people acknowledging their creative hours as me-time, self-care, and a time of wonderfully selfish joy. Keep it up, I say!
Now, let’s talk about the good kind of contrast in art.
Design Refresh
Let’s look at the beautiful brooch by Lyne Tilt that opened this post. What do you notice first about this? There’s a lot going on in this little space, isn’t there? What are the three things that jump out at you as far as design elements?
I’m going to say color, shape, and texture. Did you come up with the same three? There is also a lot going on with marks and size. So, any combination of those would be spot on.
How about design principles? What do you think is the number one principal used in this design? Sure, we could refer to scale and proportion considering all the different sizes of the layers, or we could talk about focal point or even just key in on the centered composition. But the one thing this has in spades is contrast.
Obviously, there is color contrast in all the major color characteristics—she has a vibrant trio of warm colors contrasting the cool of the blue and cyan; color values range from the dark blue and deep red to the moderate orange to the light yellow and pale polished silver; and, if you check your CMY color wheels, you’ll see that the color of the bottom layer is a blue-cyan whose complementary AND split complementaries are the yellow, orange, and red that you see in the upper layers.
But doesn’t a color palette have to have at least one common characteristic between all the colors? Well, ideally, yes, and this does. Here it’s saturation. These are not muted colors. The orange may be slightly tinted (has some white in it) but not enough to feel it’s gone off base from the saturated characteristic that ties them all together.
Now, look at the contrast in the textures. The top and bottom layers might have the same texture, but the rest are vastly different. There are even different materials—metal and clay. But they work together pretty well, don’t they? Why?
The textures work together in part because they are all drastically different—the wide variety is part of the charm of this piece. But, like color, they need something to tie them together.
Did you notice that the textures are applied to the entire layer from one edge to another? Thier differences are connected because the application on each layer is the same. That does seem to be enough to allow them to exist in the same piece and not have it feel completely chaotic.
The shapes, on the other hand, are not completely different but they are not the same either, right? They are all some version of a hand cut circle, but some of them are definitely more oval. I think pulling back on the amount of contrast between the shapes also helps to rein in the potential chaos all this dramatic contrast and color and texture could fall into. The centered composition also adds a bit of calm to the piece.
Let’s take this week to consider the design principle of contrast. Would your pieces benefit from more contrast, or do you need to rein some of that in? Remember, it all depends on your intention. There are no wrong levels of contrast, at least not in art.
Last Week’s Giveaway
Drum roll please…
This last week’s randomly chosen winner is Eloise B! I’ve spoken to her and her clay is already on the way. Congrats Eloise!
This Week’s Giveaway
Thank you to everyone who participated in last week’s giveaway through comments on the post. As mentioned above, it really made me happy to see all the fantastic, positive and self-caring observations. I also hope it gave you a moment to focus on and appreciate what you love so much about creating.
So, let’s do this again.
The Goodies:
- This week I have a selection of Sculpey clays in 2 new Soufflé colors, 3 new Premo colors, and 2 big 8 oz. blocks of clay stash basics—Sculpey III in Pearl and Silver. That’s 26 ounces of fresh clay along with a three-piece set of Sculpey silkscreens.
- Or if outside the US, I have a $25 Tenth Muse certificate, since it would be such a gamble to ship clay outside the US.
How to Win:
- Put a comment in the blog comments* (below), telling me what type of contrast you enjoy creating most in your own work, or the type of contrast you wish you used more of. And, yes, if you want to share pictures, you can do so by including a link. Just don’t put more than one link in or it may spam filter the comment.
- Note: It can take some time for the comment to appear if you’ve not commented before since, due to annoying spamming, I have to approve it .
- Giveaway winners will be chosen by random—it will NOT be based on your answers. I do hope you’ll give it some thought anyway. The answers could be helpful to you as well as interesting for the rest of us.
- And let’s say you can only win once this month so we can spread the love around.
- Get your comments posted by Wednesday March 17th at midnight Pacific time to get in for the raffle.
- I’ll announce the winner here on the blog next weekend!
I’ll put together yet another pack of goodies for a giveaway in next weekend’s post, so stay tuned here!
You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like…
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We are going to be dropping in on some big names this week and next to see what they are up to and what they have to inspire us with.
First up: Bonnie Bishoff. Her focus on jewelry these last couple years has been a journey through a variety of styles as she moves from working primarily in veneers on furniture with her partner J.M. Syron to smaller and more intimate work. But regardless of the style, her quietly strong and confident sense of color and pattern mark each piece like a signature. These lovely earrings are paired almost solely by color scheme although they do work within a limited set of variations in composition, visual texture and shapes. Each variation relays a slightly different mood, adjusted through the level of contrast in value and hue. The subtlety of this communication is what really brings home how masterful her color work is.
You can see what I mean by looking at the body of her work. You can do so by jumping onto her Instagram page and the website she shares with J.M. Syron.
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Happy Monday, fellow polymer enthusiasts. I’m not sure how this week is going to turn out as I have not had time to put together a full-fledged theme so we’re gonna go with “things that caught my eye” for now.
I’m sure you can understand why this piece by Marion Le Coq aka Fancy Puppet, might have caught my eye. They are fun and refreshing pieces, wonderfully finished and composed. She connects all her elements with repetition of motifs, colors, or other things. For example, the leaf off the apple is reflected in the leaf addition on the back and hanging leaves. The carrot’s colors are reflected in its layered pieces behind it, and its crisscross of lines reflect the crisscross of the plaid.
I’m guessing the plaids and dots are silkscreen but the secret is probably available on her YouTube page where she has dozens of tutorials and review items. She’s also quite busy elsewhere online. You can find her on Instagram, Facebook, Canal blog, and Etsy.
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I recently realized that I don’t think I’ve ever talked about the lowly squiggle. But who doesn’t like a well-done squiggle? I guess it’s hard to take it seriously with such a silly-sounding name but the sound of the word itself describes it so well.
I myself am very fond of squiggles and apply them throughout my work, primarily as accents, but some people take the squiggle to wonderfully elevated levels as the central theme of their piece.
This pin by Petra Nemravová is an excellent example of the squiggle stealing the show. The organization of these wonderfully unruly squiggles brings a regular rhythm to their organic movement. It reins in the rambling energy that this kind of squiggle contains. The bright array of colors, which could also get out of hand, is held in check by a regular graduation from one color to the next, helping to create an energetic but contained feeling.
Petra is such an advocate of bright colors and cheerful compositions. Enjoy a stroll through her colorful world on her Flickr photostream. She is also the genius mind behind the wonderful selections found in the online polymer shop Nemravka, serving the European polymer and craft communities and beyond.
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I decided this week I would like to talk about work that speaks to me. Well, I don’t mean that I want to talk about me so much as use pieces that do speak to me as examples of what it means when a piece of artwork elicits a response from the viewer.
For various reasons, I ended up thinking and talking a lot about how we define art this past week. I have long felt that art should be defined as work that is made with expression and intention, with a goal of eliciting an intellectual or emotional response. Yes, I know a lot of people will say that it is the individual who should determine what art is to them but I would like to suggest that such a statement is not quite the right phrase. Each of us can determine what is good art or what is bad art—to that I absolutely agree. But shouldn’t a label such as “art” have a more specific definition than just whatever someone thinks is art, or just something that is made by hand, as the definition would seem to be nowadays?
I am guilty of this broad use as well so I’m not pointing fingers, I’m just a big proponent of using language to effectively communicate and I think it would be great if the English language had a well-defined use of the word “art” that allowed us to talk about work born of self-expression versus craftwork or artisan work created from skilled hands.
My definition also brings up the question of what does it mean to elicit a response? It is not as confined a concept as it might sound like so I thought I’d try to define that a little this week.
For a piece of work to elicit a response all it has to do is make the viewer stop and feel something, or stop and think. It could be something as simple as making them smile or as complex as questioning societal norms. It can be positive such as emitting a sense of peacefulness or negative such as work with a high shock value geared to make you appalled or angry. If the piece is made with intention, part of that intention will, consciously or unconsciously, be to communicate with the viewer, and if the artist is communicating then they are attempting to elicit a response. Good art accomplishes this. Bad art is too distracting in its failings to communicate or illicit anything of value.
This piece here feels like a very personal piece for Shannon Tabor who commented on her Instagram post of this that “I’m back to my roots in design with ‘Compass’. My Back To Basics study is over and I’m anxious to get all these design ideas out of my head and onto my clay!”
I can feel her excitement for this new work in the composition and surface treatment of this necklace. There is a buzzing kind of energy from the scratches and the asymmetrical placement of elements but there’s also a reservedness in the basic geometric shapes and the subdued and shaded palette. I found that I was drawn to the contrast between that reserved feeling and that feeling of excitement. It reminds me of that point in time right before things really take off in some exciting new venture, which I love, and so that must be what made me stop and spend time with this piece.
So, you see, Shannon may have been working on something specific to what she wanted to explore but the intention in her skilled design choices allowed me to connect with her emotion, or at least my sense of what her emotion must’ve been. That’s eliciting a response. And to me, that’s what makes it art.
See what else Shannon is up to by following her on Instagram or hopping over to her website.
Read MoreHappy Monday to you all. Business first… preorders for the fall issue of The Polymer Arts is available online now. We don’t have a precise publication date but looks like mid-September. I’ll let you know here on the blog, in our newsletter, and on the website when we know. Again, thank you for your patience with me while I work on healing my overworked joints.
Okay, one more piece of wall art, this time by the inventive Angela Barenholtz. I know it seems like we’ve been talking about wall art for a couple weeks but this will probably be the last for a bit. I picked this one for a couple reasons having little to do with wall art.
For one, it’s a really fun piece with its variety in color, visual texture, and even the long shapes that make up this “polymer quilt.” Creating with a large variety of primary elements makes for energy-infused and eye-catching work. But, the trick is that everything still needs to work together and have some kind of relationship. In this case, the relationship is in the consistency of the type of pieces inserted into this quilt—long and evenly cut strips of visual texture arranged in a square composition. With this much consistency, you can go nuts with the variety of color, texture, and pattern.
Each one of these could actually sit on its own—like it could be a pendant or brooch if small enough, or even a pair of earrings. Giving yourself a canvas of a certain size and shape releases you from having to be overly concerned about the bounds of individual elements and construction of the work, particularly if you’re creating jewelry, and you get to play with what you place on that canvas. I imagine a lot of you might find that attractive, being we are so in love with our surface treatments, canes, and textures. How many times have you fallen in love with just the sheet of clay you were working on before it became anything? Creating a simple surface to work with can allow you to present those fantastic results in a fun and easy manner.
Angela is all about surface design and variety. You can see that by looking at her Flickr photostream. She also generously shares her techniques in her published tutorials which you can find on Etsy.
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Guest Blog Post by Teresa Pandora Salgado
Van Gogh admitted to the world, “I am always doing what I cannot do yet, in order to learn how to do it.” Me too, Vincent.
One of the most infuriatingly fabulous things I cannot do is make cane like Jon Stuart Anderson. Jon creates canes in a cunning palette that leans in close and whispers, “Go ahead…take your time…look at me.” And I surely do. And the world does too.
I love the way Jon cruises nimbly past the pedestrian cane crossing. He jaywalks that trodden path without ever touching the ground. Obvious contrast? He doesn’t need it, no matter how much the cane is reduced. Nor does he require new colors. Jon keeps it fresh with precision, composition, and balance. Neat trick.
Jon Anderson is known for his millefiori animals: elephants, turtles, bulls, and birds. You’ll notice the creatures have a flesh and blood sense about them, a beating heart beneath their rich robes. So you look and you look and then, just when you think you know him, Jon takes you to another fork in the road. To the left, skulls, vessels, lights. And to the right, guitars. Ohhh, the guitars.
So, go ahead. Look. Be inspired. Aspire.
See Jon’s work at his website here.
Teresa Pandora Salgado is a polymer clay artist, designer & instructor from Los Angeles, California. She has made 87 YouTube tutorials which have garnered over 2 million hits from viewers in 151 countries. In addition to teaching live workshops on millefiori complex caning across the U.S., Teresa helms the online store, Tiny Pandora Crafting Boutique, which featuresMilll her specialized tools and kits.
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In perusing #the100dayproject on Instagram these past couple weeks, I’ve noticed that veneers are quite the thing to be experimenting with right now. Whether you call polymer sheets you work with surface design, surface treatments, or polymer veneers, it does feel like the clay surface is having a renaissance of exploration.
One of the first of these explorations that I’ve noticed in recent weeks was this piece by Lindly Haunani, which she posted on Facebook. Of course, the queen of color is going to have a showstopper based on her color choices alone, but the subtle texture and the composition of the layout of the veneers, for all the energy of the color and lines, has such a satisfying sense of calm and rightness. There is that obvious sense of intention and deftness of skill that brings refinement to such unquestionably masterful work, even in a piece the artist claims is exploration.
Explore more of Lindly’s work on her website and Facebook page.
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Another great contribution to the Spring issue was in our artists’ gallery. All of our artists are unique in their approach but it is Isabelle, known online as Bellou, whose designs are really standing out.
Isabelle creates bold, contemporary adornments that are polished to a glass-like shine. Her work often has a centered focal point but the balance of the components are set in asymmetric arrangements or are all shaped differently with different treatments. However, in all the disparity there is a common element that brings it together.
This is one of the pieces she sent us that we couldn’t work into the gallery pages. On the one side, there are wide, solid pieces, dense with texture, but on the other side, the space is opened with a series of cut-out shapes that have the same mica shift texture as the other side. The rest of the center piece brings in a grounding energy to the movement of lines and shapes that play across the necklace.
To see more of Bellou’s work, take a look at her shop pages here.
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