Small Rattle, polymer clay, oxidized sterling silver

A recent visit to her blog confirmed that Charuau’s command of the materials is maturing at a rapid pace.  Her current body of work combines polymer and oxidized sterling silver in ways that celebrate each medium.  Bookmark her site -  I think  Céline Charuau is one to watch.

Pendant Full of Leaves, polymer clay, oxidized sterling silver

White Thistle Brooch, polymer clay, sterling silver

Starry Stones, polymer clay, sterling silver

Poppy, polymer clay, oxidized sterling silver

Read more about Charuau, including which jewelry artist influenced her metal work, on Polymer Clay Daily.

Thanks to Ronna Sarvas Weltman for refreshing my memory.

Knot In The Belly

Polymer clay jewelry boxes – click on the image to see these close up

Hedge Hog box, polymer clay

Gosia in her booth at a show in 2009
Click on this picture to see it large and get a good look at the work

Even her business card holder is charming

Sleepy heads…shhhhhhhh…

Polymer jewelry box closed

Polymer box, open

Gosia’s Etsy Shop

You can find more on her blog here.

Gosia’s Flickr pictures

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Sleepless in Seattle, 2010, glass, polymer clay, seed beads and silver, 25″

Metamorphosis, 2009, polymer clay, steel spring, 92″ x 1 1/4″ x 1 1/8″

Annelida, 2010, polymer clay, 1″ x 3 1/4″

Green Eyes, 2010, polymer clay and glass, 18″

Bobbin Necklace, 2008, polymer clay,sewing bobbins, vinyl discs, 23″
collection of Boston Museum of Fine Arts

Beetlerama, 2010, polymer clay

Beetlerama, detail

FFFFlex Necklace, polymer, wire

FFFlex Bracelet, polymer, wire

FFFlex Necklace, detail

Navarro also puts her own spin on polymer and stainless steel thread bobbins – a technique introduced by Seattle artist Cynthia Toops a few years ago.

Bobbins, polymer clay

Urban Gardens Ring and Earrings

Her over-the-top polymer collar using Maggie Maggio’s watercolor technique is another example of work that pays homage to the artist who originated the idea while allowing Navarro’s style to shine through.

Polymer clay collar – watercolor technique

I don’t speak Spanish, Google’s translation tool is not always reliable and this glimpse (below) of the Urban Gardens necklace left me wanting more. I couldn’t find a picture of the whole necklace – if you’ve seen it, let us know!

Urban Gardens, polymer clay and…?

Navarro also works with glass.

Divided Sebo Brooches
each 2 ¾” x 2 ¾” x 3/8”, polymer, acrylic, mica powder

Monet Bangle Bracelets
3” x 3” x 1 ¼”, polymer, acrylic

“The juxtaposition of a thoroughly modern material with historical referencing brings the past to the present and the present into contact with the past.” Rachel Carren

Winslow Homer Mini Disks Necklace
18” L, polymer, acrylic

Chardin Divided Sebo Brooch
2 ¾” x 2 ¾” x 3/8”, polymer, acrylic, mica powder

Hokusai Bamboo Bracelet
1 ½”x 5/8” x ¼”, polymer, metal leaf, ink

“Because of their mutual compatibility, polymer creates a permanent bond with the acrylic pigments I apply to its surface. It models like clay, drapes like cloth and fires at a low temperature into a strong and durable state.” Rachel Carren

Carren uses handmade silk screens to print thin sheets of polymer with acrylic paint before she layers, folds or weaves the material to create the textile-like effects that overlay the work.

See the full portfolio on her new website.

Look for updates about the book curated by Carren, due out in Spring 2011. Masters: Polymer Clay “will celebrate masterful artistic innovation and imagination in the ever expanding field of artists drawn to the creative capabilities of polymer.”

Click here to read about Carren’s contributions to the Polymer Collection Project, an ongoing effort to elevate the profile of polymer and the Polymer Art Archive, a comprehensive written record of polymer art history.

You can find a previous post about Rachel Carren here.

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

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.

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.

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.

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.