Friday, November 6, 2015
Thursday, June 4, 2015
Cathy's bead - Polymer, Pan Pastels, crayon
Jan's element - Polymer, Pan Pastels, acrylic, crayon
I’m really looking forward to our second session, being held for 4 days, from June 17-20, 2015. If you’re interested in joining us, there’s one seat left. E-mail me at email@example.com for information.
Mary's beads - Polymer, Pan Pastels, acrylic, crayon
Wednesday, April 29, 2015
'Molten' - polymer clay, acrylics, Kroma Crackle, tektite stone chips, steel wire
Since my body of work consists mostly of experiments that help me develop my teaching methods, I don’t have a huge resume of past exhibitions for my polymer clay work or wins in other competitions. I’ve mostly chosen to showcase my work in others’ books or in jewelry magazines. I have been, however, included in a few shows and events in past years that will always make me feel like I was a successful artist, from the days when I was doing textiles and pottery. For me, to have the award have any meaning, I have to first respect the work and expertise of the person or organization doing the judging or making the choice to include me.
One thing I’ve learned—it’s a big world out there and if you stay true to yourself and your vision, not everybody will understand or validate it. Primarily, it’s your own self that you have to please. Ask yourself --does this reflect my aesthetic, my ideas, my original thought and concept? If the answer is ‘yes’, then you are a winner, despite what the world says.
Although I was pleased enough with my piece to pay the fee and submit it, I wasn’t chosen for final judging. I wasn’t too surprised—I’m not trendy, my work is complex technically and intellectually and the stories I tell do not resonate with everyone. If I had to exist off the sales of my work, I would probably starve!
But I made the decision many, many years ago to do only one-of-a-kind and that has kept my work fresh and growing. I don’t want to be picked up by a major retailer or make a million of the same piece. I show my esteemed customers respect by making them a singular piece of work each time.
So if you want to compete, just know that acceptance or rejection by others—a competition, a gallery, a website, an exhibition—doesn’t mean anything in the total scheme of the lifetime of your art. It’s art, not sports. The ‘best’ work doesn’t win because there’s no agreed-upon criteria for art that’s as cut-and-dried as who jumps the highest or gets over the finish line first. It’s somewhat subjective when it comes to craftsmanship but very subjective when it comes to choosing ‘best’ over ‘also ran’. The question becomes “what is ‘best’ anyway”?
Enjoy the process, dig deep to express yourself and don’t try to please others—be authentic. Don’t cater to what you think others will like. At the end of the day you will be happier and more self-fulfilled than if you try to please a panel of strangers.
Wednesday, March 18, 2015
I’m wary of the practice of posting instructions for a new technique to the general art community without providing a structure to demonstrate its potential use. For instance, “here’s a cool idea for a polymer clay veneer”. I’ve seen entire books on this topic with very few real examples of what to do with your cool veneer once you have it. The default seems to be to cut it out with some commercial cutters, poke a hole in it and string it. I’m not trying to be insulting here, I’m trying to inspire a sense of play and exploration before you move on to the next new thing. I’m trying to get you to ask ‘what if’. I’m inviting you to think outside the box and then actually start to work out there. I’m implying that a whole whopping-load of potential is being short-changed if you just move on to the next freebie without working into the possibilities and innovations that are before you.
"Colors of the Canyon" - polymer clay, acrylic paint, handmade
texture plates, annealed steel earwires
Study in building complexity and color
Will you walk away with a finished piece of jewelry? Maybe, maybe not. That’s not the goal. I think it’s more important to walk away with a new skill in your toolbox—perhaps the most important tool—the skill of how to think about your style and your artistic direction and how to steer your work in that direction by being able to move confidently, step-by-step, along that path even when you get home to your own studio without an instructor to look over your shoulder.
"Twilight" necklace - polymer clay, crayons, handmade textures and forms, hand-knit wool cord, Woolywire embellishment
Monday, March 9, 2015
Students working in the studio, Fall 2014
Saturday, January 31, 2015
As I’ve mentioned in this blog before, your piece will become truly unique only if you address every single aspect of its design and source or design it yourself. That means devising your own shapes and forms whenever possible. The ‘quick sketching’ method works for this—for instance, choosing a heart shape—and spending a minute or two sketching that shape very quickly in your notebook. Don’t worry about size, just let your brain and all its accumulated input stream out through your pencil. Don’t edit. Your can use your copier to alter size later to suit your purpose for the element. One exercise that’s fun is to choose a few sketched shapes, make larger and smaller sizes of each using the copier and then combine them into one piece, say—a necklace, keeping the same colorway for all the elements.
Now that my work is finally in a gallery—the Art of Vermont Artisans Gallery in downtown Randolph, Vermont-- I’ve been working to change out my inventory to reflect the seasons and jewelry-gifting holidays. Valentine’s Day garners an enormous response from shoppers in search of the perfect gift so it’s a great excuse to obsess a bit with the ubiquitous ‘heart’ shape. Every year I do a sketchbook page full of heart shapes and this year my page looked like this.
I find there’s something compelling about the traditional heart shape—it can morph and mold into so many variations. The basic shape, I think, is so well-balanced in its simplicity that it lends itself to abstraction and innovation. It’s got semiotic overtones as well--semiotics being “the study of meaning-making, the philosophical theory of signs and symbols” according to Wikipedia—so the shape itself means something to us culturally and anthropologically on a subconscious level. This is a good thing for the jewelry designer because it means that the heart shape is appropriate in any season for adornment, not just for a sweetheart-themed holiday in February, unlike a snowman pin, for instance. It’s also a very universal symbol.
Wednesday, January 7, 2015
'Attitash' -- polymer clay, acrylic, crayon, African copper beads, vintage copper chain, carnelian chips