Snip, Snip
November 28, 2013
Inspirational Art
There is more than one way to cut into polymer! Yesterday we looked at cutting in to reveal many layers in extruded beads, but here we have a simple yet brilliant technique that requires cutting in with scissors, but not actually cutting away and removing clay as the other examples this week have shown. Here is the snipping portion of this technique by Kazakhstan’s Budanceva Marina (also known as Aquamalinka).
And here is an example of one of her finished pieces using the elements it creates. Wonderfully realistic clover flowers, aren’t they?
Although this technique is specific to creating these flowers, there is no reason why taking scissors to polymer in this manner must stop here. It’s a great texture that can be added as half dome accents, and if you snipped a little longer across the surface you could have small lengths of clay curling back on itself. I wish I had time to do some exploration and show you some possible ideas, but this week, I leave that to those of you who are inspired by this idea.
Go explore more of Budanceva’s predominantly floral work on her Livemaster shop page.
Happy Thanksgiving to all my US readers. I personally am very thankful for having such kind and enthusiastic readers who have allowed me to make publishing and polymer a focus in my life. Now, off to enjoy family while trying not to do myself in with too much turkey and pie.
Folded Pods
October 16, 2013
Inspirational Art
Barbara Fajardo spent some time back in 2008 playing with the pod shape. She placed canes or mokume slices over scrap clay and hand formed these lovely beads. She played with how they hung, both dangling downwards and being strung lengthwise, and with how the canes were laid. I thought these gave a nice sampling of her color work inspired by the New Mexico desert, a place of many odd pods, let me tell you.
It was hard picking an image from her collection of work on Flickr, so please do pop over to the page and get a glimpse of the necklaces she also makes, playing off the mirror effect of the folded layer look along with some other lovely cane covered pods.
Stretching the Pod Form
October 15, 2013
Inspirational Art
Yesterday’s pods were primarily of the plumper variety, so today I thought we’d look at a beautiful example of a thinner, longer version.
I find these caned and charred looking beads by Keryn Wells to have a rich, almost tribal feel to them. I enjoy how the patterning is worked fluidly into the black spaces, aided by the way the shapes in the cane mimic the form of the elongated pods themselves.
Although I get more of a sense of wood from the coloring and treatment, it is one good example of a fairly familiar pod shape, at least here in the US–that of the string bean. I don’t think many of us think of beans as pods but, of course, that is exactly what they are. And they can have such a lovely, graceful shape and line to them. Yes, I have been quite often inspired by my dinner plate. Sometimes I get lost in my Brussels sprouts or become almost too enamored of my kiwi slices to eat them. (I said almost!) Food is certainly great inspiration.
Into the Woods in Germany
September 11, 2013
Inspirational Art
Much of the lore surrounding the mythical beings of the forest that we are familiar with today, such as faeries and elves, comes to us from Western Europe. The German lore is particularly colorful, influencing many accomplished artists and writers in Europe through the ages and certainly today. You may not presently believe in faeries and elves; but perhaps after peeking in on the work of Germany’s Tatjana Raum, you will wonder if she didn’t find inspiration and models for her pieces in some secret part of a deep Germanic forest. The amazing detail and wonderful expressions on these two creatures made me halt when I saw it. These are so realistic-looking for beings that are not supposed to exist.
Expressive faces are Tatjana’s specialty. Besides her figures and art dolls, she has these amazing pieces where she blends a face into a piece of old wood, as if she magically coaxed the spirit of the wood to emerge and reveal itself. Although this piece is less about the expression than the connection the artist is making between the wood and the personification of its spirit, it’s still quite emotive and definitely inspires wonder.
Take yourself off into another realm with a little visit to Tatjana’s gallery pages.
A True Sense of Order
August 11, 2013
Ponderings
Why do we, with all our yearning for the latest technology, for the clean and controlled, for the precise and permanent, find ourselves drawn to nature? I think John Burroughs has it right. For all the time we spend trying to control our world, I think we find true order and peace only in the random, cycling, uncontrollable but dependable elements in nature. Nature is where we are all from, and where we will return; and unlike anything we humans think up, is the one thing that always makes sense.
Fun with Nature and Molds
August 10, 2013
Technique tutorials, Tips and Tricks
I’m a very busy beaver today, wrapping up some final items for the upcoming release of the Fall issue of The Polymer Arts. I really wish I was goofing off in the studio though. But since I can’t quite do that yet, maybe you can do so for me?
One of my favorite articles in the next issue includes making molds and texture sheets from natural finds. (The article, Plein Air, is all about taking your art outdoors and bringing the outdoors into your studio … such fun!) Lynn Lunger‘s “ugly molds,” as she deprecatingly calls them, are a slightly different approach to some of what Kate Clawson will show you in the upcoming issue. So while you anxiously await the Fall issue to arrive, you can play with bringing a little nature into your studio right now.
Lynn’s tutorial blog post has tips on pulling texture from natural elements as well as down and dirty mold making for a fun day in the studio. So go enjoy a (hopefully) sunny day out in the yard or on a hike gathering from nature itself; then get back and play in the studio for me!
Hot Stuff: The Polymer Arts 2013 “Organics” Cover
July 19, 2013
The Polymer Arts magazine news
Today’s usual Outside Inspiration is being displaced by a truly hot polymer item … the latest cover for The Polymer Arts, featuring the amazing work of Kathrin Neumaier … her Pepper Necklace! Now that is hot stuff! This issue is due out August 19th and is quickly turning into my favorite issue to date!
Kathrin Neumaier has been on my personal favorites list since I first saw her faux glass work a few years back so I was thrilled at the opportunity to highlight her work on the cover of the Fall 2013 “Organics” issue due out August 19th. Isn’t this necklace just gorgeous!! SHARE it if you like it!
So what will be inside? We have beautiful organic and nature inspired artwork as well as some truly inspiring ideas for creating outdoors and translating the work that inspires you through your own artistic voice. You may find yourself seriously motivated by the ideas we have for you for creating a polymer exhibition or art show and running your own first class workshops. There are also reviews on the latest books, color tips from Laurie Mika, the lowdown on the best stringing materials in the new Polymer Jeweler’s Workbench section and the inside scoop on a great artist’s online photo course.
Subscibe or Renew to be sure your print issue goes out with the first batch off the press! (Single issue pre-orders will be available no later than Aug. 1st.) www.thepolymerarts.com/Subscription_ordering.html
Naturally Formed Color Palettes
May 8, 2013
Inspirational Art
I have always found that one of the most fascinating and astonishing places to study color and find inspiration for combinations is in natural elements. Not just in the outdoors, mind you, but all things naturally formed. This may not seem like news but have you ever stopped and studied the actual combinations of color not just inherent in any single thing but even the combinations that occur naturally. Have you ever seen a rock including the tag-a-long bits like lichen, moss, rust, etc. that had clashing colors? Did you ever look at the shade of green in the leaves surrounding a colorful flower and think “That color green so doesn’t go with those flowers”?
Maybe I’m just a little odd but for years I would go on hikes or to zoos and actually try to find poor natural color combinations. I have seen a few that weren’t to my taste but by all I know of color theory, they always work. How does Mother Nature do that?
Drawing inspiration from natural color combinations is just another way to bring fresh ideas into your studio but that is also the trick … keeping it fresh. The thing is, you don’t have to be literal. You may love the autumn colors of the changing trees but that doesn’t mean you can only use those colors with leaf and tree motifs. Take the colors where they’ve never been before.
Peacock colors are extremely popular but so many of the applications are replicating the feathers as well. No need for that. Do something completely feather free. Here Chris Kapono goes wild with the peacock colors but with a very unfeathery pebble-like appearance in her Little Peacock Book Box.
Take nature’s challenge and find some natural color combinations that strike you and see what you come up with in your studio. Keep your camera at the ready … you never know when nature will bring you the perfect palette.
Outside Inspiration: Getting Buggy with Artistic Construction
April 19, 2013
Inspirational Art
I have been holding onto these little gems (pun intended) for a while now. I was fascinated but I wasn’t sure what you all would think of these tiny creative creatures, or even the artist that got these little creepy crawlies to collaborate with him. But nature’s unstoppable creativity is so well high-lighted by these very unusual pieces that I couldn’t help but hope there would be an appropriate occasion to share this. But here’s a warning … if you get buggy about bugs, you may want to avert your eyes. If, on the other hand, you are as fascinated by what Mother Nature’s creatures create as I am, I think you’ll find this utterly intriguing.
These golden cocoons below were not some bizarre concept created by a mad jewelry artist and imposed upon some unsuspecting insects. These cocoons were actually created by the creatures crawling out of them. The caddis fly larvae, an insect closely related to the butterfly constructed these casings from available material. Talk about a different way of constructing art jewelry!
The caddis fly collaboration was conducted by and with an artist by the name of Hubert Duprat. My first sighting of these amazing pieces were in a back issue of Cabinet magazine, the publication of an arts and culture organization out of Brooklyn, New York. According to their website “Cabinet aims to foster curiosity about the world we have made and inhabit.” Yep, they got me curious. How did Hubert get these creatures to build their cocoons out of gold and gems?
Well, apparently these little guys spin cocoons out of silk but incorporate other materials from their environment. Since they are river dwelling bugs, sand, bits of shell, fish bones, and plant matter are common inclusions in their casings. Since gold and stones are common river material, Hubert thought he would see if the larvae would include precious natural materials in their cocoons if their more mundane alternatives were not present. And they did. But isn’t it amazing how they designed their casings? Striations of stone and aligned rods of gold wire decorating only the top and center portions of the sheaths. The casings are beautiful and well balanced. It seems almost impossible that these creatures would create something that wasn’t just a total mish-mash of materials until you stop and think … nature is the ultimate designer. Our own sense of design comes from what we have been seeing in the natural world around us for eons. These creatures may not be aware of their inherent design sense but they too would have assimilated the balance of the world around them into what they do.
Bottom line here … when looking for new ways to develop and construct your artwork, don’t forget to look to the work of the master and original architect you can find all around you.
There are videos on YouTube showing the caddis fly building these with Hubert explaining the process if you just can’t get enough: http://www.youtube.com/watch?v=jID1_GwxiE0
If there was a shape that could represent state of the world today, what would you say that is? Chances are, you’re thinking of something that works as an icon or symbol rather than something as simple as a circle or octagon. Abstract shapes are something I touched upon only briefly in the article about shape and form at the beginning of the month. They are most commonly created for things that we are already familiar with, many of which are considered universal. Some have been with us for ages such as stars, teardrops, and hearts, but simplified shapes will pop up whenever a quick method of communication that is not language dependent is needed or preferred.
For instance, right now, a square with half circles on the ends, often with a few horizontal lines in the square, represents a medical mask. Such an icon may have meant nothing to you at the start of this year but it’s hard not to recognize it for what it is now.
That is the power of abstract shapes. With minimal characteristics, these shapes represent an object if not an entire concept. For this reason, I suggest you to not use them too frivolously. If you pop a heart shape on something, it should be because your intention necessitates calling on the viewer’s emotions rather than just putting it on to be cute. Now, I’m not saying that using hearts to be cute is a bad thing but realize that people will see it as an emotional expression. And I say emotional, not love, because the heart represents a base positive emotion associated with love, caring, and happiness but if your heart shape has a hole in it, is cracked or torn, or is jet black, the viewer will start thinking of things like loneliness, sadness, or even animosity.
Not all abstract shapes have such a wide range of potential meaning but many can elicit a similar or even stronger reaction, such as the shape of a cross or particular types of star shapes, depending on the context in which it’s used.
If you want to use abstract shapes but do not want to be so obvious or bring up the more common associations, you might find it useful to combine abstract shapes or to use them in unexpected ways. This approach to the use of abstract shapes can make for a much more subtle or complex statement which means your viewer will probably react more viscerally even with a readily recognized shape since its associations won’t be so blunt.
Here are just a few examples of abstract shapes where the association with them has been toned down.
Here, Elsie Smith overlays the impression of leaf forms on heart shapes showing just how perfectly they fit together. Pairing these makes the heart a gentle emotional background to the focus on, and apparent love of, nature’s intricate leaf formations.
This next one is a really good synergy of recognizable abstract shapes. Speaking in terms of the silhouette of the piece below as well as the focal point of the opening image, we could see a sunburst, a starburst, or a flower shape. Since Zuda Gay Pease was primarily creating flowers at the time she created this, we can assume her intention was for it to be a flower, but the energy of all those many pointed tips makes it come across as celestial. So, we get a combined association – the femininity and beauty of the floral shape with the energy and excitement of bursting light. It’s quite an impressive mix.
It’s interesting that practically all types of celestial bodies have a recognizable abstract shape (or variations of them.) There is probably nothing quite so common in abstract celestial shapes as a crescent moon. Our association with it can be fairly wide ranging from simply symbolizing the quiet and dark of night to embodying the ebb and flow of life.
In this example, I found it very curious that the lines on these crescents appear to be sun symbols with all their brilliant energy, and the bright blue ends of the crescent, visually truncating the shape, make us less likely to think crescent moon than simply an angular and curvy shape. The moon and its mysteries therefore become a quiet background to the louder energy of the colors and lines. I really like this contrast of concepts here as the sun and the blue color brings in a liveliness while the unconscious reaction to the moon shape is a quiet but divergent undertow. (Unfortunately, the Etsy shop from which this was saved is no longer available, so I am not sure who created it. If anyone knows, I would be ever so grateful if you would send me their name so I can update it.)
Is this making sense? I don’t think it’s hard to grasp the general idea of how iconic an abstract shape can be so I’m going to keep this short today. It’s also been a busy week getting all your accounts fixed up and so I should get off this computer. I challenge you to look around at the way abstract shapes are used in art work, be it your own or other people’s pieces.
Go Forth and Be Free… to be Inspired, For Free!
If you haven’t heard yet, starting in June (this next weekend) I will be posting the upcoming Virtual Art Box content previously planned for the VAB membership project on this blog so everyone can read it for free. I wanted readers, regardless of budget right now, to have access to these discussions, lessons, and exercises so we can all work on our art and increasing our skills and enjoyment together as well as give me the opportunity to take my work load down a notch or take breaks when necessary without being unfair to paid subscribers.
So, you can look forward to some in-depth article length discussions and ideas with a bit more juice to it than the blog usually has along with ideas on how to work with and apply the concepts if you so desire. Take it like a free class or just let the ideas sink in and enjoy the art. It’ll be here for you, starting next weekend.
Supporting Free Content
I am glad to have your support, in anyway you can provide it, to help me produce this content for free. Your supportive emails are always appreciated but if you want to help me keep the lights on, making purchases on the website is one of the best ways to do so since it gets you (or a lucky giftee) something to enjoy as well giving the contributing artists further exposure all while helping to keep me in busines.
If you have everything you want from the website at the moment, I have provided a donation option here for those who have asked and can afford to toss me a little something to help me, in particular, pay my tech guy and allow me much needed doses of dark chocolate!
So … until next weekend!
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As I’ve said many times, you can have all types of contrast as long as there is some commonality in some aspect that will create a relationship between the disparate parts. Olga Ledneva is quite adept at this as you’re certain to see in this piece here.
What Olga had done to bring all these disparate pieces together was create a variety of faux stone and other natural and inherently solid-looking faux materials, all finished with a smooth surface and in relatively geometric shapes. That tied most of the bead elements together. But then there’s this flower, a delicate object with an uneven shape and a rippling surface. It’s completely different from everything else but it works, doesn’t it? Why would that be?
For one, she’s made this flower element the focal point by making it so completely different. Just its hugely different look actually ties it to the rest with its high contrast. But she sneaks in one subtle characteristic that makes it work with the other beads— she makes it approximately the same size as all the center stone beads. Similarly sized objects will seem to belong together when they are surrounded by a variety of other sized objects. This can be a tricky thing to pull off well but I think Olga did it wonderfully here.
Olga’s work has grown in leaps and bounds since I last posted her work in early 2015, a post that caused little bit of a stir because she was combining elements, forms, and techniques learned in classes from master polymer artists, which I pointed out while noting the original, completely valid and successful way she applied them. Not everyone was comfortable with comments that might be perceived as anything less than glowingly positive but, as I replied in the comments then, I feel that I am a funnel for the community and our thoughts and concerns. So, I wanted to present the piece as a great example of taking what you learn and making it your own.
Some people were actually mad about what I wrote but Olga, to her credit, saw this as supportive and positive. That kind of openness to constructive commentary on one’s work is an important element in an artist’s growth. It shows a sincere desire to better one’s skills and designs and I think we really see that in Olga’s work.
You can watch her growth over time and see more of her beautiful work by looking through her photos on her Facebook page and Flickr photostream.
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I know I usually only do one week of a theme but we’re going to kind of continue with flowers and transition into other organic beauty this week. I’m just letting serendipity choose for us. And serendipity chose that we look at a few more unique floral items.
This wall sconce was created by Judith Ligon. This is one of her signature forms and, in my opinion, what she does best. She calls this heart-shaped wall vase a Posey pocket. The decoration on these works like a continuation of the vase’s content. The floral elements come down the front from the vase’s upper edge with lines and vine impressions creating an echoing backdrop to the stems and leaves that might be here. The placement of these decorative elements causes them to blend with the flowers and other natural contributions set in it. This way the vase and the flowers become one cohesive decorative object.
Judith sells her work through her website and shows off her latest pieces on Instagram.
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The thing about many items being packed into a limited space is that you stop seeing those individual items and see them as one thing with a texture, and energy that does not exist in the separate parts. You see it in the crowded stands at a game, a bowl of snacks or even in your drawers full of clay. It is a kind of gestalt effect. You can use this crowding of objects to create wonderfully energetic and highly textured pieces.
This is a piece I found last week that got me thinking about this as an artistic approach. The necklace is by Hee-ang Kim, a Korean graduate student Kookmin University in Korea at the time of its creation in 2014. It is part of an aptly named series called Proliferation, this being Proliferation XI. The super thin polymer petals are stitched together to create these feather-like beads, which collectively flutter and wave in a very touchable looking texture.
Hee-ang works in a variety of materials including other types of plastics, metal and, it seems, just about anything at hand. Regardless of material, collecting multiples of objects into energetic, intriguing and often strange never-before-seen organic forms dominate Hee-ang’s collections. You can take a look at the many ways this effect can be used with thin bits of polymer on Hee-ang’s Instagram and website.
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When I saw this delicately shaped aspen forest on such a pale and yet luminescent bowl, I just kind of sighed. Such a balance of light colors and strong forms takes a very intentional and intuitively passionate hand.
I saw this on the Colossal newsletter, which is a little collection of interesting art and artists dropped into my mailbox weekly. At first, I thought this was a shallow shell shape but a closer look shows it to be a bowl and not all that shallow, with the aspen trees growing up from the inside of it. Ceramic artist Heesoo Lee actually creates this complex and delicate look by creating separate leaves and placing them carefully by hand, building a very dimensional and shimmering look for these trees which, in real life, shimmer with the constant flutter of their leaves in even the slightest breeze. It made me a little homesick for Colorado actually. The aspens will be a brilliant gold turning to russet red about now.
Well, i can’t get out to the Rockies right now but we can all enjoy these Rocky Mountain forest-inspired creations by visiting the Montana-based artist’s work online both on Instagram and Etsy. Here is the link to the Colossal article on her as well.
And don’t forget to work out time to come see the Into the Forest installation in Pittsburgh in November. Here is the link again so you can work on those plans to join fellow polymer artists that weekend.
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I love the integration of the real world with artistic imagination. Finding this garden dragon hit all my buttons as I have also always been a bit of a dragon-loving nerd. The creator, Emily Coleman, creates all kinds of fantastic creatures made to blend in with natural settings.
Her inspiration for this comes from nature itself, of course, but it is driven by, in her words, “… a very strong passion for the environment and the protection of the world’s forests. As I began showing my tree dragons, I realized they could help me spread this passion.”
I have to agree. Anything that draws people to nature, takes them outdoors, and encourages them to plant in a garden or a pot, helps keep us close to nature and the earth which engenders an appreciation for them and, usually, some level of drive to do right by these things we find ourselves communing with. Putting a little something fantastical in among the plants is a fun and relatively novel way of displaying and celebrating creativity and the substance of human imagination.
Read a bit more about Emily and her inspirations on this Bored Panda article and see her other creations on her Instagram account and her website.
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Read MoreI am heading Into the Forest in November! The huge installation project put together by Laura Tabakman, Julie Eakes and Emily Squires Levine will be a monumental event for the polymer art community and I, for one, can’t imagine missing this. It is being installed into a gallery in Pittsburg, Pennsylvania with a gallery opening and party on November 10th followed by a Saturday forum on related topics. Coming down off the high I got being around so many amazing folks at Synergy in August, I am looking forward to a little creative recharge in November along with getting to see the work of 300+ polymer artists, all in one huge piece of global art.
So first … if you are interested in attending as well, you can jump over to the website and get all the details right here. I would love to see you and meet you there!
The anticipation of this event has put me in the mood for forest-inspired work. Of course. So I rooted around the internet and found some amazing stuff to share with you this week. Here you see a very curious and delicately beautiful pendant inspired by both the flora and the fauna of the forest. The artist, Alina Sanina, started working in clay eight years ago as a curious teen but now, with a degree in art education behind her, she continues to sculpt and create a wide range of fantastical but rather realistic pieces.
I found this piece to be an eye-catcher at first glance because of its contrast between a skull, representing death, and the green and floral details of Spring foliage that top it off. But if you examine it for a minute, you’ll notice that the skull is not all a skull. The deer has live-looking eyes and fully fleshed-out ears. The contrast of life and death is within the deer head, not just the skull and vegetation here. It looks to me like a little representation of the cycle of life in a forest setting.
I have long been interested in societal views of life and death and how different cultures and even individuals work out how to handle the fact that these complete opposite states co-exist and are an understood, if not readily accepted, part of the cycle of life. I don’t know if that is what Alina had in mind when creating this but there are definitely metaphors on those subjects that one can discuss in regards to this little piece.
Whether you turn away or are intrigued by such difficult subject matter, I think you will want to see more of the beautiful work Alina creates. You can do so in her Etsy shop and on Instagram.
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Along with hitting up a number of museums, I got to chat with a lot of artist friends, including my crazy circle in Colorado who seek out, as well as create, really wild and fantastical work. And whenever they find polymer related work, they bring it to me.
My old roommate and the instigator of my own polymer journey, Kyle Kelley, introduced me to this unusual artist, Anastasiya Khramina of NooboSlowpokoPanda. The polymer flowers you see here may have beautifully painted petals and lots of natural detail but take just a little closer look and you’ll see they also have teeth! And some crazy but realistically textured tongues. There is even one embellished with a cat’s snout, complete with bared teeth.
These beautifully creepy, ready-for-Halloween creations are made into brooches, pendants and hair clips, per the customer’s request. She actually makes other things besides flowers but they all have teeth and tongues. If you’re getting into the Halloween mood or are looking for some creepy inspiration, jump over to Anastasiya’s NooboSlowpokoPanda Facebook page for short videos on her pieces and process and her Etsy shop for a look at her present offerings.
And don’t forget … tomorrow is the last day to get half off all available print editions of The Polymer Arts and Polymer Journeys. Head to our Etsy shop to pick up any publications you don’t have yet!
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Easily the all-time favorite cover and one of the best-selling issues since 2012 was the Fall 2013 – Organics issue. I think this was, in large part, due to this fabulous cover art by Kathrin Neumaier. Kathrin was the most prolific and arguably most interesting artist working in translucent polymer clay. She created hollow forms in both the solid and the liquid forms of polymer with stunning results.
I remember getting this image from her and I knew it had to be the cover art for the issue. I didn’t even make any other covers or put it to a vote with the staff as I usually did. I laid this out while on “vacation” with my family on the Oregon coast and while they were off playing on the beach, I got to play with making this piece shine. I remember finishing it and just stepping across the room to look at it from a distance and it was just gorgeous, no matter how you looked at it.
I dug around to see what Kathrin has been up to but there haven’t been any postings since the end of 2016 so it’s not the most up-to-date news on her. I do hope she resurfaces, but in the meantime, enjoy the inspiring collection of work she has created and shared with us on Flickr.
If you don’t have a copy of this beautiful issue, I have only about a dozen copies left in print although they will always be available in digital. Grab your copy of this memorable issue on our website here.
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