A Bit of a Faux Mix
September 21, 2015
Inspirational Art
I’ve had mixed media on my mind a lot lately, so my more recent perusals online and within my collection of links have included quite a bit of polymer work integrating other mediums. Using other mediums with polymer or integrating polymer into work primarily of other mediums rather helps the work transcend its narrow category based on the material used, and it helps us as artists stretch our skill and creativity.
If you haven’t done a lot of exploring in mixed media but would like to ‘dip a toe it’, one of the easiest ways is to create connections and jewelry hanging elements with wire, metal or fiber. I have been admiring Sonya Girodon’s interesting polymer and metal pieces the last several months as she has rolled out her new work. This is really only metal and polymer. That wood you see is faux, and some gorgeously done faux wood at that! She uses ball headed rivets to hold it together (see our article in the Summer 2015 issue on how to created riveted polymer jewelry pieces), and then repeats that subtle accent with ball ended wire that comes bounding out of the polymer constructions. The ball motif is echoed in the repeated circles in the textured polymer. It’s quite a beautiful mix of materials, or what looks like a mix of several materials with a joyous little bounce from all the repeated round accents.
The metal work done here is not so very difficult and would require just a few tools you likely already have. Books on simple metal construction jewelry, mixed media and local classes on metalsmithing jewelry can get you a start down that road if you find yourself intrigued.
You can see more of Sonya’s fabulous faux wood and mixed media pieces on her Flickr photostream.
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Expanding on the New Fall Issue
August 31, 2015
Inspirational Art
Okay … the Fall 2015 – Elements issue of The Polymer Arts had a successful release this weekend (well, with a couple tiny bumps along the way). Thank you for all the great comments already coming in. It is a pretty awesome issue … so many great contributors and ideas!
So, if you are expecting a copy, DIGITAL issues should be in your emailbox. Check junk mail folders or other email addresses if you’re sure you should have one and don’t see it. If it can’t be found, write us at connect@thepolymerarts.com and we will look it up, see what is going on and get it to you as needed. PRINT copies went to the post office at the end of the week, so they are all on the way now as well. If you need to buy a copy or get a subscription, you can do so here: http://www.thepolymerarts.com/Subscribe.html
Now onto the pretty stuff …
As always, we had more material than we could fit into the issue. And then there are simply the articles I wish we could have expanded on more. One such was Laurie MacIsaac’s interview of Celine Charuau titled “Strange Beauty”. I am personally so enamored by Celine’s work and, I do admit, the article was a request of mine that I hope you all will agree, is an enthralling look into an artist’s process and view of the world. Celine’s work is just so wholly unusual, and although it’s obvious that she pulls from nature, I didn’t realize how connected she was to plants, but after reading the article, you can really see just how much her passion for them comes out in her work. You’ll see what I mean if you read the interview. I wish we could have had room for a few more of her direct garden interpretations such as this succulent inspired necklace.
Like so much of her work, there is quiet and harmony in the sparseness of this piece. She creates a lot of these bunching kind of compositions which echo the way plants often grow. She also chooses just very particular parts of the plant, so that you aren’t sure what you might be looking at to start with. I also very much admire that she does not restrict her use of space, and has her creations come out quite dramatically from the surface of the pieces, sometimes dangerously so. But that dimensionality gives her work a boldness that might otherwise be nearly impossible with the unassuming minimalism she tends towards.
Celine is definitely one of those artists whose work is best seen in a collection in order to really appreciate the genius of her design choices. I would suggest reading the article if you have the issue in hand already, then go over to her Flickr photostream or her DaWanda shop and spend a little time looking over her varied pieces. Having a little background on an artist can really open up how you see their work and can bring such a rich understanding and enjoyment of it.
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Clusters of Curiosity
August 17, 2015
Inspirational Art
Monochrome pieces can be difficult to create energy in, simply because one of our easiest and most common elements of visual energy is color and contrast or change in color that creates truly, lively energy. The next most effective element is line. But, here is a piece by Jan Geisen that has a quiet but persistent energy without either of those elements.
It primarily comes from the texture and the use of light in the shimmery clusters that pop out of the rough and crackle surface. And the brilliance of that blue doesn’t hurt at all. I think there is also something to the fact that nothing is well outlined; that you keep wanting to look to see it clearer. The clusters of sparkle suggest something like buried nuggets of precious metal rather than recreating something solid to look at. Normally that lack of definition could too readily detract from the beauty of a piece, but here, it adds a little mystery and piques our curiosity, does it not? Or maybe it’s just me.
If you like this kind of texture, you have to take a look at what Jan has been up to lately. You can find her most recent work on her Flickr photostream and even get yourself a piece from her available collection on Etsy.
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Bright Organic
August 5, 2015
Inspirational Art, The Polymer Arts magazine news
Thank you to everyone who took part in the Reader’s Wish List Survey. We had 389 people respond, so it’s been taking me some time to get through all your ideas and questions and then compile them, but we’re working on it! I will directly answer some questions and note some of the comments in our next newsletter, so if you don’t get it already, hop on over to the website and fill in the two line form to get that email of news, cool polymer tips and community information sent to you twice a month. www.thepolymerarts.com.
The winners were chosen by a random number generator (your number coming from where you landed on the spreadsheet that your survey responses go to.) The lucky ducks who will be receiving Goodie Boxes this time around are Lorna Slack and Beth Schwartz! Congratulations!
In the meantime, we have fielded so many complements on the Fall cover. Ronna’s necklace is stunning, and that whole organic disks and seed pod theme seems to always turn heads. I thought I’d look for more pieces like that, but something a bit different. I think I found it!
The organic forms are so often created in nature’s muted or darker tones, but I have to say, this shot in the arm of brilliant color works wonderfully with them too. The saturated color and stylized shapes create a fun and joyful version of this kind of necklace. Jenna Wright uses tools she bought from Celie Fago to carve the marks into cured clay. She calls this “Inked Necklace ii” from her Electric series. I am trying to figure out the inked thing—dyeing the carved out spots perhaps? Regardless, it’s a beautiful piece of warm brights and brilliant white that brings organic up to a very cheery level.
If you want more brilliant color and fun ways with organic shapes, jump on over to Jenna’s Flickr page, Boxes of Groxes (what a fun name!) for a bright and cheery break in your day.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
A Sense of Ocean
July 27, 2015
Inspirational Art
This past weekend I had to take a train trip to San Diego. The skies were clear and the beautiful landscape was filled with brilliant teals and page greens. As I struggled to get some work done rather than stare out the window the whole time, I asked my traveling companions what I should write about on my blogs this week. As they contentedly stared out the windows, they said in unison “Oceans”. So, I feel obliged this week to search out pieces that bring the feel and colors of the ocean inland to us in polymer land.
Although motifs like shells and waves would make for an obvious ocean theme, I prefer the pieces that are not so obviously defined. Subtle moods derived from patterns and soft-edged colors can give one the sense of a bright day by the ocean just like you are certain to see in this pendant by Susy Paredes. A handful of organic forms to accent the watery edges doesn’t hurt either. This unassuming piece may have been inspired by a stream or a lake, really, but we all bring our own experience to a piece, and today, I bring the ocean.
Susy’s work is largely simple and quiet without a lot of detail, certainly nothing extraneous. I do enjoy her pieces with the little organic accents the most. You’ll find quite a few on the second page of her Flickr photostream, as well as on her Etsy site.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
A Merging of Felt and Polymer
July 3, 2015
Inspirational Art
Today’s piece is both an outside inspiration and a polymer piece. It’s a little different take on the aged look in that it isn’t so much about that look of disintegration as it is about the way materials meld together over time that have been left out in natural surroundings.
I can’t say what Russia’s Svetlana was thinking of when she created this felted scarf, but this makes me think of the way rocks become embedded in sandstone or maybe how they are exposed by the low tide on a beach. The combined textures of fuzzy felt and smooth polymer along with the little bead accents create a rich landscape that I think must be reminiscent of some place that she has been. It seems an unusual choice for a scarf, but that just adds to the mysterious atmosphere of what she’s done here.
Felting was the one thing I never took to in my years of fiber art work, but then, I was taught mostly the classic thick felting techniques. The more textural and undulating applications and forms that are becoming popular these days feel more broadly appealing. If any of you have a penchant for felting (or are intrigued enough by this to want to try it), the page I found this on is actually a tutorial on how she created the piece. The textures you’ll see just from the in between steps are worth a gander, so hop on over to Svetlana’s Livemaster blog page and maybe drop by her shop as well.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
Aged Absence and Added Color
July 1, 2015
Inspirational Art
The absence of something can be just as intriguing, or even more so, than the addition of something to a piece of jewelry. In these beautiful headpins, we actually have a little of both.
If you find yourself inexplicably drawn to these but not really knowing why, you’re not alone here. There is something unusual about this faux deterioration, but it takes a minute to understand what it is. The corrosion these polymer beads emulate speaks to a passage of time and disuse, but in this case, it is also a reveal. How often are you likely to see a rusted out piece of iron or old steel eaten away only to show brilliant color underneath? Well, it’s quite unlikely you’d see a turquoise blue like this beneath a bit of unused metal, but somehow it feels right. The corroded look shows an eating away of the form, and the unusual blue, added by jewelry artist Alison Sachs, adds to it. So we are drawn by the subtraction of form, the addition of color and the unusual juxtaposition that looks like something mother nature might have created even though it isn’t common.
And these are only headpins. But hey, headpins got a bit of attention as well in the last issue of The Polymer Arts where you could learn to make your own quick and easy headpins. Take those lessons and add interesting polymer bead-like ends as Alison does in your favorite canes, textures or other clay treatments. The old and well-worn look can be seen throughout much of Alison’s work, which you can find on her Etsy page and more or less on her blog. The images were not coming up for me on the blog last time I checked in, but maybe they will soon.
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Almost Ancient
June 29, 2015
Inspirational Art
The obvious visual signs of age have been at the center of many conversations I’ve had this week. Many of us try very hard to cover up the signs of aging in ourselves because we don’t think they are considered beautiful. But I, for one, think the visual changes that come with age and being well-used can be quite beautiful. I do admit that I prefer to see these marks on inanimate objects rather than on myself, but even the soft wrinkles beneath the eyes and the laugh lines on the face have an inviting texture. They show we have lived and laughed; that we got out and lived our lives. That we have stories to tell.
I do believe that same feeling–that there are stories where we see age and change–is why we are drawn to old items and why we enjoy the aged faux looks we can achieve in polymer. This necklace here by Staci Louise is a kind of faux ceramic, but both the forms and the crackling affect make the set feel like something almost ancient. Doesn’t it make you want to hear the history of the civilization that bore these? And have a chance to ask about the significance of the beads, and where they got their color?
Luckily, the creator is not from some distant past, but is alive and well today. Staci even has a tutorial for her technique. Find it in her Etsy shop after you drop by her blog to see how she transforms white clay into these spectacular beads.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
Outside Inspiration: Ruffled Organics in Felt
June 26, 2015
Inspirational Art
When talking ruffles, most likely fabric comes to mind first as a source for outside inspiration, but do you think of felt as a particularly ruffled fiber? Instead of flouncy and fluffy, felted ruffles offer substance and a more solid and open canvas for dramatic textures and colors.
This scarf shows some of the potential of using felt to create undulating edges. Felt has been making a bit of a come back in the fashion world and felt crafters are coming out big and bold with it. I thought this work by Irena Rudman would intrigue polymer artists as the composition of the work looked immediately to me like wonderful inspiration for leaf-shaped beads or the facing ends of a curious cuff bracelet.
There is something kind of Melanie West about this scarf. I can also see a thin polymer component with a center of slices taken from stacked circular extrusion canes or mokume surrounded by ruffled Skinner blends or mica dusted polymer. It got my wheels turning. Is it intriguing you?
Irena is really big on the ruffles in her work, which you can see in her Etsy shop. If you are just dying of curiosity as to how she accomplished this or simply have a budding interest in felting (which can and has often been combined with polymer pieces), Irena has a number of tutorials for scarves and collars in her shop, as well.
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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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