When Something is Nothing

The phrase ‘you can’t get something for nothing’ refers to the idea that it’s unlikely you can reap a reward or achieve some sort of value from something that's offered with no investment of effort on your own part. In artistic terms, you could compare this to discovering a new ‘free’ technique or method and then using it without devoting any time to develop an idea for its unique use in your own work or customizing it with your own tweak or spin.

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

You may have guessed that this is not how I teach at my Art on the Farm workshops. Yes, I have a lot of innovative techniques for surface coloration, texture and structure to teach students. But first we work on building a foundation for the techniques that are introduced afterwards, starting with form, layering and texture—the actual sculpture that lies under the surface techniques.

Study in building complexity and color

You’re going to go home with the foundations of a system for your own personal explorations, not just a technique or series of them. I need each day of this 3-day-long workshop to do this. I won’t short-change your artistic soul by teaching a technique that will produce one result only. This workshop will build your confidence in telling your own unique story in your work--to tap into your own experience to produce art that is meaningful, powerful and expressive.
 

"How shall my heart be unsealed unless it be broken?" - quote from Kahlil Gibran - polymer clay, copper wire, acrylic paint

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

If this post has made you excited about the possibilities for your own work, here’s the link to the Workshop and Teaching pages on my website: www.storiestheytell.com.

Art on the Farm - May 27-29, 2015 - June 18-20, 2015 - Updated with a 2nd session!

"Art on the Farm -- New Ways with Construction, Texture and Color" is the foundation 3-day polymer clay retreat I hold at my workshop in Vermont. Here’s the link to my website with more information on the teaching method itself, with the details and costs of the workshop on this page.

Why this workshop is for you:

·       You’re excited by the idea of texture and surface color on polymer but don’t know where to begin

·       You need help developing your own unique style in polymer clay

·       You’re currently working in polymer clay but are stuck in a rut

·       You’re attracted to the medium of polymer clay but are overwhelmed by the myriad of techniques and styles

·       You work in another medium and want to add polymer to your toolbox of techniques

·       You’re left unsatisfied with expensive online tutorials that teach just one technique without any guidance in 'making it your own'

Students working in the studio, Fall 2014

 

What I offer at Art on the Farm:

·       Small class size (capped at 8) and unlimited individual attention

·       A unique method of surface coloring and texturing for polymer clay developed by me and not taught anywhere else

·       Access to an extensive collection of coloring materials, including Pan Pastels, oil paints, crayons, pencils, acrylics and inks

·       Intensively-researched support materials on coloring agents, surfaces and finishes

·       No expensive kits to buy or added-on costs

·      ‘Lifetime Learning’— the opportunity to revisit the foundation workshop for any session in the future at no charge (*pending space available)

·       A local support group for Northeast-based students

 

 

If any of this sounds like something you’d like to pursue further, please contact me via my website—www.storiestheytell.com – and I’d be glad to answer any questions you have about the course.

And need I add? Vermont is just a green paradise in the Spring so be sure to leave yourself some time to hike, bike, sightsee, antique or kayak in some of the most pristine waters you’ve ever seen. Hope to see you here!