All Entries in the "Polymer Clay" Category
nancy calef’s peoplescapes
Multi-media artist Nancy Calef takes two dimensional art to the third dimension by slashing the plane of painted canvas and adding sculpture and applied objects.
Out To Lunch, oil, sculpture, fabric, paper, found objects on canvas, 30″ x 40″
Sculpting high relief faces and other details on her Peoplescapes allows Calef to literally add depth to the characters she paints as she addresses cultural, political and spiritual issues facing society today. The last image on this post gives you an idea of scale – I wonder if she is using polymer clay or an air dry clay for the sculpts?
Check, Please, oil, sculpture, fabric, found objects, jewelry on canvas 36″ x 36″
“By juxtaposing people in recognizable places and situations, each painting weaves together a story about contemporary life, filled with layers of detail, symbolism and humor.” Nancy Calef
Live Show, oil, sculpture, fabric, found objects, leather on canvas 24″ x 36″
Read an interview with the artist on The Art List
synergy 2, part 1: in pursuit of excellence – the evolution of a medium
I know you come to Daily Art Muse to be inspired by interesting, beautiful fine craft – my survey of handcrafted excellence – but indulge me as I reflect on some of what I absorbed at last week’s conference. I offer my thoughts as inspiration of a different sort. This essay is a call to action, not only to those working with polymer, but to all on a creative path.
The Conference
Synergy2 offered many things including a rich learning environment; a feast of vivid, well-executed art; an exciting, sophisticated conversation between passionate, intelligent, experienced master level artists and a variety of other equally passionate interested parties. At the end of this post you will find links to images of the work that was on display and further commentary from others about what resonated with them. Today I want to focus on one area of discussion that speakers touched on during the conference and that I believe is critical at this point in the history of the medium: The pursuit of excellence.
Jeff Dever, Nestled Repose, polymer clay, 2010 Niche Award Winner
The Commitment
Bruce Pepich joined the crowd of more than 250 people as both a guest speaker and a panel participant. As Executive Director and Curator of Collections for the Racine Art Museum (RAM), Pepich has assembled one of the most significant contemporary craft collections in the nation. Elise Winters, who has persevered in her efforts to elevate polymer as a credible art medium, describes the relationship with RAM, explaining that “Bruce is currently planning a major museum exhibition complete with hardcover catalog to accompany the establishment of a permanent collection of polymer art at RAM. When his vision is realized, RAM will become the national center for the elevation, exhibition, and academic study of our chosen artistic medium.”
Elise Winters, Red Cascade RUFFLE Neckpiece, polymer clay
Winters and Pepich make a formidable team and we should be deeply grateful for this level of commitment from Winters, the Racine Art Museum and several other museums who have followed Pepich’s lead, acquiring smaller collections of polymer art for their permanent collections. It is indicative of just how far the medium has come in a relatively short period of time, but read on – we have an obligation to ourselves, to RAM, to the medium – we still have work to do.
Bruce Pepich, Rachel Carren, Kathleen Dustin
The Lesson
Pepich compared polymer’s journey with another medium that shared a similar journey as it sought its rightful place in the world of fine craft. The glass art movement was, at one point in its history, where we are today. Pepich talked about the undeniable fact that the glass art movement’s successful evolution has culminated in an important body of “competent, respected work that has broken boundaries” in the fine craft world. He went on to say that it is time for us to “think much broader than the medium”; time to “pull as many resources and references as possible outside of the techniques.” What I heard is that if we want to be taken seriously, we must first take ourselves seriously and rise to the challenges that lie ahead.
The Challenge (maybe two…)
Pepich boldly challenged us, saying “Don’t be afraid of excellence.” A glorious challenge, perhaps matched only by Kathleen Dustin’s when she asked the polymer artists present to consider making a museum quality piece as a way of elevating their own work and assisting the medium on its journey. Dustin was ultimately encouraging artists who are using this medium to think differently about their work; to think bigger than the medium; to think on a higher level – reminding us that it’s not just about selling.
A valuable conversation, but these challenges raise some questions: How do we begin the process of thinking bigger than the medium? How does one go about making work that is museum quality? And heck, isn’t the pursuit of excellence SCARY?
Kathleen Dustin, Nature Fix, polymer clay
3’h x 3’w x 9”d [yes, you read that right, each pod is 3 FEET high]
The Example
This brings me back to Pepich’s reference to glass art. As I listened to him speak I was reminded of an artist who was part of that important journey many years ago. Paul Stankard is one of the world’s master glass artists and “a member of the pioneering generation of glass artists in America.” He was both witness to, and a participant in, the history of the studio glass movement. In his book, No Green Berries or Leaves, he writes about the importance of seeing and experiencing great works of art if one hopes to make good art. A champion of commitment, exposure to great art, practice and perseverance, Paul is passionate about the necessity of growing in artistic maturity and his views on the long-term value of a focused education and how one achieves excellence in art making are compelling and worth noting – regardless of your chosen medium.
Paul Stankard, Mountain Laurel Bouquet Orb,
flameworked elements encapsulated in clear glass
“Excellence transcends categories and whether a piece is glass sculpture in the fine arts tradition, a murrini, a marble, a goblet, a paperweight or a bead, if one’s work is personal and is made well, it will be respected by informed art enthusiasts and other artists.” Paul Stankard
The Formula
Bruce Pepich challenged us, asking us to put aside our fear of excellence and I think Paul Stankard, who has been in pursuit of excellence in glass art for almost 50 years, has a valid formula that can assist us as we move forward. The pursuit of excellence requires a commitment of time, effort and resources. Many people think the artists who rise to the top do so because they have talent, and I agree with Jeff Dever’s theory that “90% of talent is seat time and sweat equity.” However, I maintain that first you must move away from the familiarity and comfort of your ’seat’ and educate yourself about Art with a capital A and Craft with a capital C.
You are reading Daily Art Muse, which has become a rich, global resource for examples of handcrafted excellence accessed by art students, makers and collectors, so you have some understanding of what I mean. Paul Stankard helps his students (and anyone who is serious about making good art) mature as artists by encouraging them to develop an informed artistic vocabulary. His message is clear: Study art in museums, galleries, art history classes, lectures. Become a student of nature, one of the most powerful sources of inspiration for artists. Consider pursuing graduate level education in art. Maintain a steady, consistent reaching and stretching outside of your artistic comfort zone. Continue regular practice and experimentation with your medium. Marry all of this to your voice, your message, your expression and you will be well on your way to creating art that is authentic and substantive. If you follow this formula, you benefit, your work benefits, your medium benefits and the larger community benefits. And perhaps, somewhere along the way, you might even make that museum quality piece.
Synergy Sound Bytes
“Talent is 90% seat time and sweat equity” Jeff Dever
“We have matured to the point that we know we need master level work, we need to promote master level work.” Kathleen Dustin, artist
“A master is somebody who is using the medium as a form of self expression and not only has great skill, but also has something to say.” Rachel Carren, Art Historian, Ph.D. (Art History)
“This is a golden moment in the history of polymer clay and NOW is the time.” Jeff Dever, artist
“Researching and documenting the history of polymer clay creates validation and credibility.” Bruce Pepich, Executive Director and Curator, Racine Art Museum
“Fine artists have a voice – the material is transparent.” Jeff Dever
More
For more about Bruce Pepich, read Woody Rudin’s article about the man, the curator, the Superhero.
Read my review of Paul Stankard’s book for more sage advice from a master.
It’s not too late to make a donation to the RAM collection. Here’s the link.
Cynthia Tinapple shares thoughts and many images from Synergy2 – here is a collection of posts – click on each one to see the images and to discover links to thoughts from other attendees.
Next week: Synergy2, Part 2 from DaMuse.
synergy 2, part 1: in pursuit of excellence – the evolution of a medium
I know you come to Daily Art Muse to be inspired by interesting, beautiful fine craft – my survey of handcrafted excellence – but indulge me as I reflect on some of what I absorbed at last week’s conference. I offer my thoughts as inspiration of a different sort. This essay is a call to action, not only to those working with polymer, but to all on a creative path.
The Conference
Synergy2 offered many things including a rich learning environment; a feast of vivid, well-executed art; an exciting, sophisticated conversation between passionate, intelligent, experienced master level artists and a variety of other equally passionate interested parties. At the end of this post you will find links to images of the work that was on display and further commentary from others about what resonated with them. Today I want to focus on one area of discussion that speakers touched on during the conference and that I believe is critical at this point in the history of the medium: The pursuit of excellence.
Jeff Dever, Nestled Repose, polymer clay, 2010 Niche Award Winner
The Commitment
Bruce Pepich joined the crowd of more than 250 people as both a guest speaker and a panel participant. As Executive Director and Curator of Collections for the Racine Art Museum (RAM), Pepich has assembled one of the most significant contemporary craft collections in the nation. Elise Winters, who has persevered in her efforts to elevate polymer as a credible art medium, describes the relationship with RAM, explaining that “Bruce is currently planning a major museum exhibition complete with hardcover catalog to accompany the establishment of a permanent collection of polymer art at RAM. When his vision is realized, RAM will become the national center for the elevation, exhibition, and academic study of our chosen artistic medium.”
Elise Winters, Red Cascade RUFFLE Neckpiece, polymer clay
Winters and Pepich make a formidable team and we should be deeply grateful for this level of commitment from Winters, the Racine Art Museum and several other museums who have followed Pepich’s lead, acquiring smaller collections of polymer art for their permanent collections. It is indicative of just how far the medium has come in a relatively short period of time, but read on – we have an obligation to ourselves, to RAM, to the medium – we still have work to do.
Bruce Pepich, Rachel Carren, Kathleen Dustin
The Lesson
Pepich compared polymer’s journey with another medium that shared a similar journey as it sought its rightful place in the world of fine craft. The glass art movement was, at one point in its history, where we are today. Pepich talked about the undeniable fact that the glass art movement’s successful evolution has culminated in an important body of “competent, respected work that has broken boundaries” in the fine craft world. He went on to say that it is time for us to “think much broader than the medium”; time to “pull as many resources and references as possible outside of the techniques.” What I heard is that if we want to be taken seriously, we must first take ourselves seriously and rise to the challenges that lie ahead.
The Challenge (maybe two…)
Pepich boldly challenged us, saying “Don’t be afraid of excellence.” A glorious challenge, perhaps matched only by Kathleen Dustin’s when she asked the polymer artists present to consider making a museum quality piece as a way of elevating their own work and assisting the medium on its journey. Dustin was ultimately encouraging artists who are using this medium to think differently about their work; to think bigger than the medium; to think on a higher level – reminding us that it’s not just about selling.
A valuable conversation, but these challenges raise some questions: How do we begin the process of thinking bigger than the medium? How does one go about making work that is museum quality? And heck, isn’t the pursuit of excellence SCARY?
Kathleen Dustin, Nature Fix, polymer clay
3’h x 3’w x 9”d [yes, you read that right, each pod is 3 FEET high]
The Example
This brings me back to Pepich’s reference to glass art. As I listened to him speak I was reminded of an artist who was part of that important journey many years ago. Paul Stankard is one of the world’s master glass artists and “a member of the pioneering generation of glass artists in America.” He was both witness to, and a participant in, the history of the studio glass movement. In his book, No Green Berries or Leaves, he writes about the importance of seeing and experiencing great works of art if one hopes to make good art. A champion of commitment, exposure to great art, practice and perseverance, Paul is passionate about the necessity of growing in artistic maturity and his views on the long-term value of a focused education and how one achieves excellence in art making are compelling and worth noting – regardless of your chosen medium.
Paul Stankard, Mountain Laurel Bouquet Orb,
flameworked elements encapsulated in clear glass
“Excellence transcends categories and whether a piece is glass sculpture in the fine arts tradition, a murrini, a marble, a goblet, a paperweight or a bead, if one’s work is personal and is made well, it will be respected by informed art enthusiasts and other artists.” Paul Stankard
The Formula
Bruce Pepich challenged us, asking us to put aside our fear of excellence and I think Paul Stankard, who has been in pursuit of excellence in glass art for almost 50 years, has a valid formula that can assist us as we move forward. The pursuit of excellence requires a commitment of time, effort and resources. Many people think the artists who rise to the top do so because they have talent, and I agree with Jeff Dever’s theory that “90% of talent is seat time and sweat equity.” However, I maintain that first you must move away from the familiarity and comfort of your ’seat’ and educate yourself about Art with a capital A and Craft with a capital C.
You are reading Daily Art Muse, which has become a rich, global resource for examples of handcrafted excellence accessed by art students, makers and collectors, so you have some understanding of what I mean. Paul Stankard helps his students (and anyone who is serious about making good art) mature as artists by encouraging them to develop an informed artistic vocabulary. His message is clear: Study art in museums, galleries, art history classes, lectures. Become a student of nature, one of the most powerful sources of inspiration for artists. Consider pursuing graduate level education in art. Maintain a steady, consistent reaching and stretching outside of your artistic comfort zone. Continue regular practice and experimentation with your medium. Marry all of this to your voice, your message, your expression and you will be well on your way to creating art that is authentic and substantive. If you follow this formula, you benefit, your work benefits, your medium benefits and the larger community benefits. And perhaps, somewhere along the way, you might even make that museum quality piece.
Synergy Sound Bytes
“Talent is 90% seat time and sweat equity” Jeff Dever
“We have matured to the point that we know we need master level work, we need to promote master level work.” Kathleen Dustin, artist
“A master is somebody who is using the medium as a form of self expression and not only has great skill, but also has something to say.” Rachel Carren, Art Historian, Ph.D. (Art History)
“This is a golden moment in the history of polymer clay and NOW is the time.” Jeff Dever, artist
“Researching and documenting the history of polymer clay creates validation and credibility.” Bruce Pepich, Executive Director and Curator, Racine Art Museum
“Fine artists have a voice – the material is transparent.” Jeff Dever
More
For more about Bruce Pepich, read Woody Rudin’s article about the man, the curator, the Superhero.
Read my review of Paul Stankard’s book for more sage advice from a master.
It’s not too late to make a donation to the RAM collection. Here’s the link.
Cynthia Tinapple shares thoughts and many images from Synergy2 – here is a collection of posts – click on each one to see the images and to discover links to thoughts from other attendees.
Next week: Synergy2, Part 2 from DaMuse.
victoria altepeter’s nebulae: a star is born
The massive, dense clouds of gas and dust in space that make up a nebula is the place where stars are born. Using silver, shibuichi, bronze, copper, nickel, red brass and stalactite slices, metalsmith Victoria Altepeter interprets this special place in our universe with her new series Nebulae.
Altepeter, currently the resident artist at Arrowmont (read about her experience here), creates sculpture for the wall and jewelry inspired by the universe and it’s vastness. As I looked at each piece I realized that I wasn’t sure which ones were the larger wallpieces and which were brooches – I love when that happens. I didn’t add descriptions on purpose today. Can you tell which of these are for the wall and which are adornments for the body?
The combination of polymer clay and metal is becoming popular as a mixed media option. Polymer clay artist Judy Belcher tapped Altepeter to create a collaborative piece for the invitational exhibition Exploring Connections – part of the upcoming Synergy2 conference in Baltimore later this month – I can’t wait to see this in person at the conference.
Victoria Altepeter lives in that special place in the universe – the place where stars are born. Hot stuff!
Find more photos like this on crafthaus
More from Altepeter on Flickr.
polymer clay in the news: articles, online class
Polymer clay is up front and center in the current issue of Art Jewelry magazine (January 2010). Art Jewelry editor Hazel Wheaton lets us in on her conversation with Kathleen Dustin, one of the most eminent artists working with the medium today. Dustin never disappoints and the magazine is worth the price just to see the juicy images of her work and read her philosophy about sharing techniques.
Also in this issue, Seth Savarick taps into the trend we are currently seeing regarding large-scale jewelry in the article “Go Big with Lightweight Polymer Clay.” This is a terrific 6 page how-to for making a BIG, BOLD BANGLE. Savarick will talk about this further at the Synergy2 conference in his seminar, Think BIG / Work Big: Polymer Clay Jewelry On A Grand Scale and in this hands-on workshop.
More polymer clay news this week – on Wednesday, December 2nd, Cynthia Tinapple of Polymer Clay Daily will share her technique for making faux polymer clay beach pebbles in a LIVE, online class hosted by Alison Lee. More from Tinapple about the class here and read what Lee has to say about the polymer pebbles here. If you haven’t tried polymer clay yet, this is a terrific introduction to the medium taught by the author of the premiere blog about polymer clay art. I’ll be attending the Craftcast Masterclass on Wednesday - hope to see you there.
Can’t get enough? Art Jewelry is showing a ‘bonus’ slideshow of Kathleen Dustin’s work on their website in addition to a free ‘wallpaper’ image of a Jeff Dever piece.
synergy2: the time is right!
Enjoy a little commercial break while I prepare today’s post. I will be at the Synergy conference in February 2010 and hope to see DAM readers there. Let me know if you are going – I would love to meet you!
Check back this afternoon for your daily dose of inspiration. Thanks to Seth Savarick for this beautifully crafted teaser (can’t believe how perfectly matched the music is – really builds the excitement).
carolyn tillie: silver and polymer clay desserts
What happens when you mix an MFA in metals, certification as a Master Chef, more than a decade of writing professionally for the food and wine industry, and a whimsical sense of food and art? Carolyn Tillie’s Just Desserts, a treasure trove for foodies and almost as good as the real thing.
Box of Macaroons Bracelet
Hand fabricated sterling silver, polymer clay
Nine Tartlet Brooch
Hand crafted sterling silver, polymer clay
5 Tarlet Pendant
Hand-forged sterling silver, polymer clay, sterling silver cable
Tillie combines her metal work with polymer clay desserts from Doll House Collectables, framing the miniature pastries in hand fabricated sterling silver and gold. Sweet. There is also a bento box collection that mixes Tillie’s craftsmanship with collectible Gashapan.
Etsy shop here.
You can find Tillie on Artful Home.
katherine wheeler enjoys the journey
Katherine Wheeler considers metal to be her main material, but she often integrates porcelain, paper, linen thread and polymer clay into her jewelry and hollow ware. The Melbourne artist, who maintains a strong focus on enjoying the process of making, has a gold and silversmithing degree from RMIT University in Australia.
Untitled Neckpiece
porcelain, silver, linen and polyester thread, paint, glass beads, pva
Anemone Cup Ring, fine silver, polymer clay, cubic zirconia, paint
Stilt Cup, silver, linen thread, pva, paint
Urchin Ring, fine silver, buckram, paper, paint
My method of designing and making jewellery is spontaneous. I like my work to retain the energy of a quick sketch, which can often be lost during the process of making. The use of fine silver shim allows me to make impulsively. My method allows me to fabricate objects that have a paper-like fragile quality unexpected of metal.
Read this interview about Wheeler on the Melbourne Jeweller.
high5 polymer clay: news about synergy2 and the polymer clay collection
This post marks the last installment of this month’s High5 Polymer Clay series. I hope you enjoyed it. I am taking the rest of of the week off to regain my strength and stamina now that the virus has finally loosened its grip on me. The archives are open 24 hours a day, 7 days a week, so feel free to browse while I take a break. See you next week?
In this High5 Polymer Clay series we took a look at jewelry, sculpture, dolls, objects artists and books that resonated with me in recent days – new work from established artists and work from emerging artists. This morning I shared a suggestion for how you can continue your exploration of the medium and this afternoon I want to tell you about two more important events coming up.
Synergy2 Conference
Ford and Forlano, flower brooch
In 2008 the National Polymer Clay Guild made history with the first Synergy conference, which brought together leading artists in the field and individuals aspiring to bring the medium to a higher level to talk, share, explore ideas and plan for the future of the medium. A resounding success, the conference sparked lively debate that carried farther than the polymer clay community and continues to help us move the medium forward. In February 2010, the newly renamed guild, now known as the International Polymer Clay Association, will do it again with Synergy2 in Baltimore, Maryland.
Synergy2 will feature presentations that explore the theme ‘Expanding Connections’ and the highlight is expected to be a celebration honoring the 22-year collaboration of renowned studio jewelers Steven Ford and David Forlano along with a special presentation by the artists.
Ford and Forlano, necklace
Ford/Forlano, two of the top studio jewelry artists working today, “have developed a body of work that has changed the way we look at studio art jewelry.” At Synergy2 they will take us into their working process and discuss how collaboration has shaped their work over their career. A question and answer session will give attendees a rare opportunity to get to know the acclaimed artists.
New! Pre and Post Conference Hands-On Workshops
In addition to more than 45 presentations, the Synergy2 team recently added pre and post conference hands-on workshops from some of your favorite artists working with the medium today. The workshops are conveniently located in the same venue as the conference. I am looking forward to the Synergy2 conference in February – will I see you there?
Polymer Clay Collection Project
Racine Art Museum, Racine Wisconsin
In other news, Elise Winters and her team at Polymer Art Archive have recently announced that the Racine Art Museum in Racine, Wisconsin will establish a permanent collection of polymer jewelry, beads and sculptural objects. In addition to assembling a world-class collection of polymer art, the museum will establish a library “to protect slide, print and catalogs for academic research”, a hardcover catalog of the collection and an exhibit. Elise Winters, the force behind the Polymer Clay Collection project and Bruce W. Pepich, executive director and curator of collections at the museum, will also speak about the collection at Synergy2.
Dan Cormier’s Fiji Mermaid (2000) is one of three Cormier ‘Tin Toy’ vessels heading to a permanent home at the Racine Art Museum
[click on the image to read more]
Winters is also the driving force behind a fundraising effort to secure money for the project. She will be announcing donor levels, naming opportunities and fundraising goals as soon as the details are complete. You can donate by following the link at the end of this post.
From the PAA website:
“For those of you who have shared my dream over these many years, that polymer art be given an honored space in museum collections throughout the country, I now ask for more than good will. You can help turn our collective dream into reality today, by making a donation to the Racine Art Museum.” Elise Winters
Links:
2010 Synergy2 website and registration
A Collaboration Celebration – Ford and Forlano Synergy 2010
Hands on pre and post conference polymer clay workshops at Synergy2
Read about the 2008 Synergy conference here
Ford and Forlano’s website
Polymer Art Archive post about how you can support the collection
Polymer Art Archive posts about the Polymer Clay Collection here and here
Read the rest of the High5 Polymer Clay Series here
high5 polymer clay: cynthia tinapple
Today’s posts will complete the High5 Polymer Clay series, but that doesn’t have to mean the end of your polymer clay exploration. Cynthia Tinapple has her finger on the pulse of what’s happening with the medium and since 2005 she has been sharing it on her blog, Polymer Clay Daily.
Dedicated to “showcasing the best polymer clay art online”, PCD is the premiere place to go to discover trends in polymer clay, read about new artists, and see what your old favorites are up to now. The popular blog has a loyal following of artists, design enthusiasts, crafters, teachers and collectors who check in each day to see what Tinapple has found.
Beach Stone Necklace, polymer clay
The Ohio artist, who has been working with polymer clay for over twenty years, seems most comfortable showcasing other artists, but occasionally shares pictures of her own work and process. Tinapple’s art shows the same care and meticulous attention to detail as her writing and editing and the results are always stunning. Take a look at some of her recent solo work-in-progress – she is still tweaking the multi strand “beach” necklace pictured above, which was inspired by Laura Timmins and Gera Scott Chandler.
Petroglyph experiments, polymer clay
She is also working on perfecting her petroglyphs and she told me she still hasn’t found “just the right solution” – she’s not quite satisfied yet, though she has tried inks, canes, stamps and stencils. They look ‘perfectly’ spectacular to me – I’m looking forward to the final version.
Tinapple and her husband, woodturner Blair Davis, often collaborate on turned wood bowls inlaid with polymer clay (check the links at the end of this post to see images). In October, their town’s first art center, a $6 million dollar facility, opens with a prestigious inaugural show that will include collaborative pieces by Tinapple and Davis. I have no doubt that their art will be a hit at the Peggy R. McConnell Arts Center of Worthington – if you are in the area do stop by to see the show. The couple is busy creating work for the show and I’m sure she will share photos on PCD, so watch for them.
Come back this afternoon for my final post in this High5 Polymer Clay series.
Cynthia Tinapple’s Polymer Clay Daily
Remember when she decorated her wall with cane slices?
More of Tinapple’s polymer clay stones here and here (love that bowl!)
Don’t miss Blair Davis and Cynthia Tinapple’s bowls
Read the rest of the High5 Polymer Clay series here
high5 polymer clay: book review – polymer clay color inspirations
Whether color fascinates or frustrates you, Polymer Clay Color Inspirations: Techniques and Jewelry Projects for Creating Successful Palettes
Polymer Clay Color Inspirations: Techniques and Jewelry Projects for Creating Successful Palettes
Cynthia Tinapple’s Forward is pure motivation to read the book: “What I’ve found is that excellent color can rescue a mediocre design. And color that’s off the mark or muddied can ruin the finest concept. Your palette becomes your signature. That signature is very personal. It’s tied to culture and geography and weather. It shifts with latitude, with attitude, and with age. Learning about color means learning about yourself.”
The start of a collage…more to come
There is a quiz to determine your confidence level in working with color. Here’s the first line of the description beside my score: “You often feel overwhelmed when making color choices.” Yes, that about sums it up. Until now, I’ve made most of my color choices intuitively and while people usually respond well to the colors in my work I admit that I have never been confident about them – I often feel like they happened by accident.
This book – part textbook, part workbook and part self-help book, will be within arms length while I work in the studio. I’m learning how to understand color, find my personal color palette, choose colors for my next project, mix colors that work, play games with color and then put it all together. At my own pace. In my own time. And you can too.
As an added bonus, Maggio is posting “Weekend Extras” to her blog – more guidance to help you through the exercises. Don’t be shy, this is your chance to ask questions and a wonderful opportunity to connect directly with the author.
Thank you Maggie and Lindly – I am finally beginning to understand the language of color and I know I will come back to the book for years to come as I slowly develop my personal palette and use it in ways that will make my work sing.
From Elise Winters’ review and interview with Lindly on PAA:
“Color Inspirations has been designed to meet the needs of a wide audience. It should be of interest to newcomers who want to try polymer, as well as people who find color challenging. We wrote this book as well for people who might be interested in working with dyes, paints, even colored pencils. If somebody is interested in the dynamics of color, the science of color mixing, the aesthetic awareness of color choice, this book should provide lots of nourishment and inspiration.” Lindly Haunani
Read Elise Winters’ review and interview with Lindly Haunani on Polymer Art Archive
Maggie Maggio’s website and Weekend Extras
Lindly Haunani’s website
Lindly Haunani and Maggie Maggio will each present at Synergy2
high5 polymer clay: an update and new work from sarah shriver
I’m extending last week’s series, High5 Polymer Clay, through tomorrow so that I can include the posts I had planned to bring you before I became ill late last week. I’m still on the mend, so if the Universe cooperates I will have another post this afternoon and two on Tuesday. Enjoy!
In the first few years that she worked with polymer clay, Sarah Shriver didn’t have a color palette she was comfortable with so she “stuck mostly with the bold graphic images using black, ivory, rust, burgundy and dabbling in blues.” This is hard to believe since today Shriver is known as much for her vivid color combinations as for her kaleidoscopic cane imagery.
Art Nouveaux Bracelet, polymer clay, 2009
Frida Bracelet, polymer clay, 2009
She credits Judith Skinner’s color blending method, now universally known as the Skinner Blend, as the tool that helped her incorporate color into the work. Shriver’s work is beautifully executed and the cane-building technique she uses to make the kaleidoscope images, though labor-intensive and time consuming, rewards her with brilliant color and pattern combinations that dazzle.
Untitled, 2009
Shriver has tweaked her colors and bead shapes just enough to make a difference in this new work, saying “They are simply the result of moving a little slower and taking a slightly harder look at form. I definitely move in a “baby step” progression but I like to think, ever forward.”
Forest Necklace, 2008
The 2008 Forest Collar necklace, pictured above, is on the wish list of the Racine Art Museum. Shriver is working on a new website – hopefully we will see more of her new work soon.
From her artist statement:
“I build my canes fairly large (about 8 lbs and 4-5 inches in diameter) and work from a carefully worked out set of drawings. Often it takes me close to a month to complete a very elaborate cane with much of the time spent mixing and remixing sheets of color blends. I generally cut the original cane apart into several smaller canes and modify each one differently, using a technique of “kaleidoscoping” or mirroring. This results in a series of differently patterned but related canes.” Sarah Shriver
Links:
Sarah Shriver website
Sarah Shriver will present A Passion for Pattern at Synergy2
Read about the Polymer Collection Project and one of Shriver’s necklaces on Polymer Art Archive.
See Shriver’s earlier work here
Read an interview with the artist on Bead Nerd (more images there too)
high5 polymer clay: grant diffendaffer’s polymer clay ray guns
You have to love the guy. If not for his beads (his book is in the sidebar – Polymer Clay Beads: Techniques, Projects, Inspiration
They are created from polymer clay, with a minimal wood and steel armature. The barrels are turned on a lathe, much like ceramics are turned on a wheel. The hand sculpted bodies feature lathe turned adornments and labels that are handmade with a photo exposure process. Grant Diffendaffer
Polymer Clay Ray Guns, lathe turned, sculpted, wood, steel armature
Detail, lathe turned polymer clay ray gun handles
Links:
Diffendaffer’s website
The Fuller Craft Museum exhibit Sculpting Color: Works in Polymer Clay runs until November 8th
Diffendaffer unleashed
More about ray guns here
high5 polymer clay: we interrupt our regular programming and anna fidecka
We Interrupt Our Regular Programming…
If you follow me on Facebook you might already know that the reason there haven’t been any new posts on DAM since Wednesday is that I took an unexpected trip to the emergency room early Thursday. (And if you aren’t following me on FB, why not? In addition to all of my regular DAM blog posts, I also post many more interesting links!). Looks like I have a wicked virus that is currently wreaking havoc in this part of the Hudson Valley. The good folks at the hospital stabilized me and I’m home now, feeling a lot better – I will likely be back to my regular antics soon. I will try to post through the weekend and into early next week to complete the series, but I will pace myself.
Hope you are enjoying this installment of the High5 series!
High5 Polymer Clay: Anna Fidecka
Anna Fidecka has a website fully stocked with images of her polymer clay jewelry. Fidecka lives in Warsaw, Poland and she has been working diligently learning both polymer clay and art clay silver.
In much of the portfolio you can see the teachers/artists that might have influenced her. But you can also see something else: As you scroll through the dozens of pictures it is evident that while she is working on mastering specific techniques, her voice is beginning to come through.
I can’t tell you much more about her because my attempts to translate her website were unsuccessful. But you can see for yourself that many of the pieces, like the ones shown here, indicate that Fidecka is reaching beyond what she learned from others and making the work her own. I say keep it up.
Links:
high5 polymer clay: shannon sullivan
Last year I featured Shannon Sullivan’s ceramic, resin and plexiglass wall hangings that were reminiscent of molecule slices on microscope slides (link at the end of the post). Sullivan, who holds an MFA in ceramics, is currently showing a collection of ceramic forms that are embellished with simple polymer clay shapes in repeat patterns across the surface of the ceramic.
Plot With Quilted Field, fired ceramic, polymer clay, mixed media, 12×8x8
Plot With Juicy Cliff, fired ceramic, polymer clay, mixed media, 12×17x7
Plot With Sprouting Rows, fired ceramic, polymer clay, mixed media, 3×7x5
The Assistant Professor of Art at the College of the Redwoods in Eureka, California combines earthen clay with synthetic clay in an unusual pairing of materials that are often considered at odds with one another. Polymer, the new clay, often takes a back seat as a credible art medium to the more established earthen clay. Kudos to Sullivan for showing how well they can play together.
Links:
Shannon Sullivan on DAM
Shannon Sullivan’s website
