There's No Magic

The process of making art is a lot of work. There's no magic in it. I'm not saying that imagaination or the source of inspiration isn't magical, I'm saying that the day-to-day, getting up and going into the studio, cleaning up your bench, putting in the hours, doing the research-- that's work. Even though it's work you love, your craft is not going to improve by posting on Facebook what you had for breakfast,or by spending hours on Pinterest. Nope.

When people take a class from me that they will be learning from someone who has put in considerable time in the discipline of polymer clay, someone who knows a lot about what techniques are out there and what resources are available. For example, after last year's ArtBliss retreat, I put together a very comprehensive color resources chart for my students, listing all the media we used in class, and appropriate uses for each. I don't simply teach a way to use a technique-- I teach a way of thinking about that technique, a method that-- hopefully-- will lead you to your own artistic way of using it, of expanding your skill-set as well as your imagination.

The person that's copying my workshop (see previous posts this past week) has no idea of the thought process behind the technique. She merely sees the results and likes them-- likes them enough that she wants to teach them too. She wants to use my work to enhance her teaching reputation. But she's an impostor-- I originated the content and I know the thought-process behind the technique. I put in the hours and days and weeks of work it took to create the technique that she will now go and blithely take perhaps 10 minutes to throw at her students. After all, she's only got a few hours to teach what it takes me twice as much time to do in my class. Because I know why the technique exists, what it's really meant to do (besides color polymer), the philosophy behind it, the reasons why it will enhance your work, the best ways to use it, all the stuff that's listed on the chart that my students get at the end of the class.

So workshop imposters aren't offering any magic, no matter how the class description reads. What you're getting is diluted content, the husk of the technique. The person that originated the concept, that tapped into the magic of their imagaination to create it, the person that can tell you why you're using it and how, that's the person you should seek out. And that would be me.

(Christine is teaching two new classes at ArtBliss this September-- stay tuned to AB's website for the announcment in early March)

Imitation-- Not the Sincerest Form of Flattery

You may have heard the phrase “Imitation is the sincerest form of flattery”. It's not. It's unethical and usually illegal. I'm not talking about an individual who sees something in a tutorial or on a website and tries a technique or copies a colorway. That's how we learn, as we grope our way to our own authentic voice.

I'm talking about an individual who deliberately took original content she learned in my workshop and then shoehorned into a mixed-media class that she then shopped to a major jewelry venue, with nary a change in that content (right down to using the same phrases used in my class description!) and most certainly not the significant amount that the US Patent Office would deem necessary to claim that a true innovation had been made.

And the thing that's most appalling is that the way many people choose to deal with this is to let the imposter get away with it. We are so averse to confrontation in our society these days that we would just let people steal our ideas, ideas which were so hard-won, that we birthed from our creative souls and nurtured so they could grow to eventually inspire others.

Things people have said to make me feel better: “Artists XYZ used to send “Cease and Desist” letters-- now they just laugh” (really? What's funny about being ripped off?) “Ms. Artist-Well-Known said people copy her all the time so she's just decided to 'let it go'--the implication being “better artists than you just 'let it go'-- why are you persisting?

Because it has to stop. And it won't by itself. It will stop because we, as a culture of artists, demand that original content cannot be used without permission. If I teach you a technique, you can use that technique for your own work but you may NOT teach that content, under any circumstances—not to your guild or to your niece or to your neighbor and definitely not to workshop participants at a national jewelry venue. I love that you were inspired by my class but what are you adding to the content to make it really yours?

As Harriete Estel Berman cautions:

“If you haven't made a significant leap, not a stepping stone but a leap onto a new path, then you're teaching derivative content and run the risk of being a “workshop imposter”. And if you don't really surpass the “workshop master” into new territory, everyone will see you as a “workshop imposter".

Here's an article from the American Crafts Council called "Ali Baba and the Copycat Thieves"http://craftcouncil.org/post/alibaba-and-copycat-thieves.

Lots of food for thought here.

Copycats: It's not a Good Thing

If you happened to see my post on Facebook yesterday, you know that I'm having an issue with  a former student who is teaching a technique of mine in a workshop at a large jewelry venue.

I'm going to direct you to a website that I have found truly eye-opening and informative about copyright infringement and theft of intellectual property. I became aware of Harriete Estel Berman's website "Ask Harriete" after her keynote speech--"The Good, the Bad and the Ugly in the Age of the Internet"-- for the International Polymer Clay Association's 2013 Annual Meeting, where it raised quite a bit of controversy. Check out the video of her presentation and you'll see why: http://www.slideshare.net/Harriete/the-good-the-bad-and-the-ugly-in-the-age-of-the-internet

This link will take you to her post: "The Color Blind Paint Salesman and the Workshop Imposter" for a dose of reality: http://askharriete.typepad.com/ask_harriete/2013/04/workshop-copying-gets-ugly.html

After her presentation, Ms. Berman says that people just came out of the woodwork and shared their stories with her. Copying and teaching what's not your own orginal content is more widespread than you know and you may think "so what"? -- until it happens to you.

In the next post I'll share my personal experience with this and the impact it's had on my life in the last few weeks.

Snow

Snow-- if you live in the Northeastern United States, it's a fact of life. People actually live here who hate snow and all that winter brings-- why do they stay? To me it's beautiful stuff, cleansing, pure, elemental. It creates quiet and a space for contemplation. I get my best art done in the winter, away from the hurley-burley of the warm season (as short as it is!) that demands all our time and busy effort for its brief shot at life and growth.

 Raku-effect beads-- "Oil Slick" -- part of a

new Etsy collection

 Sometimes people feel stuck in a physical or emotional place, a personal or working situation, stuck in a way of making their art. It happens to all of us at one time or another but you don't have to stay stuck, you have a choice. Unlike our inability to change the weather, we do have the power to change what's not working for us. It takes commitment and a willingness to give up what's comfortable, known, predictable. It's only when we choose to venture out on the "skinny branches" do we find fulfillment, joy and freedom.

"Cartouche"

"Gray as the Sea in Winter"

 

 "Frosted"

All I put on my wish list for Christmas this year were books and teaching videos. What could be a better gift than one of exploration, of new ideas, of inspirations, of ways to break out of a stuck situation and fly?

Here are a few examples of what ended up under my tree. They point to directions that I plan to take in 2014.

Your Personal Paleo Code: The 3- Step Plan to Lose Weight, Reverse Disease, and Stay Fit and Healthy for Life by Chris Kresser

A Field Guide to Fabric Design: Design, Print and Sell Your Own Fabric by Kim Kight

 

Simple Soldering: A Beginner's Guide to Jewelry Making - Kate Richbourg

 

So I wish you every happiness in the New Year but most of all, the courage to swing out and make changes, seize opportunities and be bold in your choices.

 

 

In Living Color - Reflections on ArtBliss 2013

“Life is never black and white when you dream in living color”-- Terah Cox

Student work - ArtBliss 2013

Stacie Florer gifted me a greeting card with this message along with a pair of her sinuously modern earrings at this year's ArtBliss. Although Stacie and I don't live anywhere near each other, when we re-connect each year at this retreat, it's as though we were sisters who koffee-klatched every day, sharing artsy gossip and new creative discoveries. That's the feeling throughout this vibrant  mixed media/jewelry/metals retreat that Cindy Wimmer and Jeanette Blix have created on the outskirts of Washington, DC.

Stacie Florer earrings

 

I know that Stacie and I will collaborate on some pieces in the near future-- her designs always get my creative wheels in motion. And that's what an art retreat is all about-- jumpstarting the dusty ideas that have been rattling around your creative attic, languishing because you don't have the time/money/energy/confidence or whatever to bring them alive in full, living color.

I'm an admitted tv junkie and love my sci-fi and action/adventure shows. Even now I'm watching reruns of “Game of Thrones”, in anticipation of next March's season debut. But real excitement is hard to come by these days and too often we zone out in fantasy worlds that do nothing to nurture our creative and spiritual selves.

An art retreat is about creativity and community. It's not a hermit's cell of intense work and reflection, rather a joyful getting-together of like minds and creative interests. It's a place to try new, sometimes scary, methods with the reward of seeing your skills grow and having a classroom of like-minded explorers to root you on when you think you can't do it or will never make that pesky project come together in a coherent and pleasing piece.

 

 

So at the end of each day, when I look out over a classroom of workstations covered in chalk dust, spilled paint, used brushes and applicators and polymer clay scraps-- to see happy students who have spent a day discovering new techniques and pushing the boundaries of their imaginations, I know my work is done.

Cindy and Jeanette have already selected a stellar line-up of instructors for next year-- their 5^th anniversary event-- including Stacie Florer, Mary Hettsmansperger, and Stephanie Lee. I have been generously included, for which I am very grateful. It's a long trek down to DC but how many opportunities do you get to spend a weekend in living color?

 

Go to www.artblissworkshops.com to get on the mailing list and be the first to register for next fall's classes. Put the dates on your calendar right now-- September 26-28, 2014.

 

Dracula's Graffiti

Every year about this time, I do a special piece for Hallowe'en. I've blogged about this in previous years, with various themes about color, scary talismans, and the Celtic celebration of Samhain.
 
This year I'm fascinated with tattoos as art. In looking for inspiration for a new line of polymer jewelry elements, I bought a magazine last weekend featuring tattoo sleeve and wrist designs. The best work seems to be from coming from Europe-- lots of new techniques there, including watercolor styles and graffiti looks.

While my class was working on their pieces at the recent 3-day Intensive at my home, I had a chance to try out some new textures on elements that I had made to demo techniques for them. I finally got them out to finish this week and I was struck by the graphic quality of the designs. I played around with different acrylic paints on them and got out some gray pastels, which I've been using a lot lately. Gray is a very unappreciated color but it really says “autumn” to me--gray skies, rainy clouds, deep sunsets.

After adding some red for accent, I had the perfect urban/tribal piece, with colors that Count Dracula would love. A bit different from previous years but I like it and it will be very wearable with my winter wardrobe.

Thanks to my new friend Diana Ptaszynski, who kindly added me to her Hallowe'en/Day of the Dead Blog Tour at the last minute. Be sure to visit all the other talented participants. This wonderful, spooky holiday only comes once a year!

"Dracula's Graffiti" - polymer clay

Staci Louise Smith http://www.stacilouiseoriginals.com

Kathleen Breeding http://99bobotw.blogspot.com

Sue Kennedy http://www.suebeads.blogspot.com
Diana Ptaszynski http://www.suburbangirlstudio.com
Dianne Miller http://www.artbydianne.blogspot.com
Lisa Liddy http://www.lisaliddy.wordpress.com
Toltec Jewels http://www.JewelSchoolFriends.com
Linda Landig http://www.LindasBeadBlog.com
Laura Medeiros http://Www.zoeowyn.blogspot.com
Veralynne Malone http://www.veradesigns.blogspot.com
Lynn Jobber http://thecreativeklutz.blogspot.co.uk
MichelleMcCarthyhttp://www.fireflydesignstudio.blogspot.com

Karen Totten http://www.starryroadstudio.blogspot.com

Jayne Cappshttps://mamasgottodoodle.blogspot.com
Jenny Davies-Reazor http://jdaviesreazor.com/blog
Joan Miller http://metalmudandsand.blogspot.com/
Melissa Meman http://melissameman.blogspot.com
Melissa Trudinger http://www.beadrecipes.wordpress.com
Kari Asbury http://hippiechickdesign.blogspot.com
Inge von Roos http://www.ingetraud.wordpress.com

Andrea Glick http://zenithjade.blogspot.com

Stephanie LaRosa http://Www.stringaholic.blogspot.com
Lola Surwillo http://www.beadlolabead.com
Jennifer Cameron http://glassaddictions.com/blog
Diane Hawkey http://dianehawkey.blogspot.com

Kristi Harrison http://kristibasket-itsanewday.blogspot.com

Nicole Valentine Rimmer http://www.nvalentine.blogspot.com
Tanya Goodwin http://www.Pixiloo.blogspot.com

Shai Williams http://shaihasramblings.blogspot.com/

Sandra McGriff http://skyescreativechaos.blogspot.com
Sarajo Wentling http://www.sjdesignsjewelry.blogspot.com
Marie Covert http://thistledown-and-swaddlings.blogspot.com
Lisa Stukel http://www.carefreejewelrybylisa.blogspot.com
Laurie Vyselaar http://www.Lefthandjewelry.wordpress.com

Sherri Stokey http://www.knotjustmacrame.com

Pam Traub http://www.klassyjoolz.blogspot.com
Lori Dorrington http://lorisglassworks.blogspot.com
Kristen Stevens http://kristen-beadjourney.blogspot.com
Eleanor Burian-Mohr http://cornerstoregoddessjewelry.blogspot.com
Sally Russick http://thestudiosublime.com
Dawn M. Gallop http://www.flipflopsandpoptarts.com

Linked by Friendship and by Art

For the Blog Book Tour for Cindy Wimmer's first book - “The Missing Link” I decided to revert to what I do best, be it polymer or writing-- tell stories.

When Cindy accorded me the great honor of writing the Forward to her new book, I had the happy task of re-visiting our friendship and how we first became aware of each other's work. To celebrate the publishing of her book, I'm going to show you some photos of my favorite Cindy pieces.

Many of you may not know that I started my work in jewelry with bead stringing. I loved jewelry but had a pretty tight budget-- as a single woman with a mortgage--so I decided to make my own pieces. I found beads to string at the local Ben Franklin store and then started adding chain, wire and found objects. Eventually, I couldn't find the beads I wanted so I started making them with polymer clay.

About that time I decided that polymer beads could be greatly enhanced by more coherent design and wire skills so I was determined to learn more about what made a great necklace. Chain and wire seemed important to the final look so I started buying the “Step by Step Wire” and “Easy Wire” magazines to find more instruction and ideas.


I kept seeing the same contributor turn up in each issue-- “Cindy Wimmer”-- and noticed all the pages I tore out of my magazines to keep and study were her designs. Finally, one day I left a comment on her blog and won one of Cindy's pendants, “Joy”. At the time I was at a difficult place in my life and this little pendant kept me going with its hopeful message. I bought a pair of Cindy's earrings to go with it and they are still my go-to everyday earrings, just copper wire twisted into one of Cindy's simple, iconic designs.

"Joy" pendant and earrings by Cindy Wimmer

 

So we began corresponding about life, jewelry and everything else and in August 2009 we did our first collaboration for a contest called “Summer's Colors” on Susan Lenart Kazmer's blog. Cindy stamped the names of each of the colors onto a unique metal pendant and I did my polymer color thing with the focal bead. I still love this piece.

"Midnight in Mumbai" - Wimmer and Damm collaboration

When I first started making polymer beads, I started noticing that few well-known wire artists used them. One actually told me that people liked beads that were “more natural”, like gemstones or lampwork. Cindy had no hesitations at all about using my polymer beads in her projects that were featured in national magazines and popular books. In fact, she championed them with editors. I was thrilled that her wire could so enhance the beads I was making and show other jewelry stringers that polymer was a design force whose time had come.

Bead Trends collaboration

 

 

Cindy's tutorial in "Wire Style II" - "Fallen to Earth"

My version of Cindy's piece from "Wire Style II"

 

I kept seeing Cindy's work and design style evolve over the next couple of years and was not surprised at all when she told me her book proposal had been accepted by Interweave Press. Cindy's wirestyle always surprises me with its classic yet bold curvatures. I see tribal echoes in them, which I appreciate more than coy filigree and dainty curlicues. Yet it's adaptable to pearls and antique elements as well. I don't know how she does it but you will appreciate her thoughtful and thorough approach when you set your pliers to the wire and start to form her designs.

I chose the bold look of the Sliding Rings link to pair with my rugged polymer “Molten” beads. I could see some mid-century shapes complementing this link as well, something in the style of Matisse perhaps.

 "Molten" necklace - using Sliding Rings links

 

The thing is, Cindy's links make you think. Of new designs. Of pairings you never would have imagined. Of fabulous chains. Of possibilities. And for me, that's the best kind of book.

 

Leave a comment including your e-mail address on this post to be entered into a drawing to receive a copy of “The Missing Link”. Then go to Cindy's blog www.sweetbeadstudio.com for more chances to win giveaways and to find links to all the other posts about “The Missing Link” by the other contributors. I will randomly draw a number at the end of the day on the 20^th from the comments below and pass the winner along to Cindy. She'll announce the winners on October 21^st and the winners will receive their books shipped directly to you from the publisher.