Shimomoto fused glass rods to ‘weave’ the massive installations. Describing the work, art scholar Judy Clowes explains, “This precisely arranged glass environment captures her experience of a particular aspect of each season: a summer storm, a quiet autumn rain, the crisp, cold winter night sky, and the reflective surface of a spring pond.” Clowes goes on to say that the artist is striving for what she calls “a strong quiet:  the quiet of a mountain.”   Mmmmmm….

The gossamer glass wisps are hard to capture in still photographs – watch the video clip below, of Shimomoto’s MFA exhibit, to get a sense of the size and scale of these tapestries (about halfway into the three minute video).

Walking through glass rain from Shelby Falk on Vimeo.

Red Ruffle Ruche, 2009

Frosted Boa Bangles, 2009

Cool Jewel Ruffle Brooch, 2009

Elise was my first teacher when I started working with polymer clay seven years ago.  At the time I knew very little about the medium so when I signed up to take her class I had no idea that I was about to study under one of the leading artists in the field.  Lucky me!  I continued my studies with her for three years and can still remember the first time I held one of her brooches.  The Asian inspired color palette was captivating and the brooch was luminous – so breathtakingly luminous.  I’ve never seen a picture that effectively captures that quality of her work.

In addition to being one of the leading innovators and artists in the field, Winters works tirelessly to promote polymer clay as a recognized medium for fine craft.  In October 2007 she launched Polymer Art Archive, documenting the evolution of the medium. From the website:

This is a site where professional artists working in the medium of polymer will find inspiration. Museum and gallery curators will be able to access documentation about the evolution of this vibrant medium for artistic expression. And serious collectors will discover windows to new works and the medium’s most collectable artists.

Bookmark it.

When I look at an artist’s work as a source of inspiration, I don’t study it in an effort to replicate what I see. There are aspects of the work that draw me in and my curious nature takes over, exploring how I can hold on to the quality that captured my attention. In the case of Adam’s jewelry, I found the subtle wavy edge and the paper-thin metal of the fluted bangle compelling. I was also struck by the way the components of the earrings pictured below appear to be dancing closely and speaking to each other in hushed whispers.

For months I’ve been experimenting with wafer-thin clay. How far can I push it? Which surface treatments lend themselves to clay this thin? Can I imitate the feel and look of textured paper? I’ve got a table overflowing with experiments in various stages of development, but none amount to a fully formed thought. Yet. I’m still in the peculiar place where excitement (oh wow, I can make the clay do THAT?) shares space with uncertainty (ok, now that I’ve figured that out, what do I actually want to make with it?) and I’ve been there for longer than I’d like.

Adam’s work and the paper art that I feature on PCNotes continue to influence me as I lose myself in the process of manipulating polymer clay. Incorporating the qualities that appeal to me regarding her manipulation of metal is an often-revisited starting point for me as I head into the studio.

More on my not-quite-fully-developed experiments next week. Maybe even a glimpse of my process.

strawberry anemones…they look good enough to eat, but please don’t!

sterling silver and hot glue – wow

cast plastic and toilet paper – who knew?

i had to include this cast plastic bracelet
rolling waves, flowing curves…you know i had to.

until one is committed
there is hesitancy, the chance to draw back,
always ineffectiveness.
concerning all acts of initiative (and creation),
there is one elementary truth,
the ignorance of which kills countless ideas
and splendid plans:

that the moment one definitely commits oneself,
then providence moves too.
all sorts of things occur to help one
that would never otherwise have occurred.
a whole stream of events issues from the decision,
raising in one’s favour all manner
of unforeseen incidents and meetings
and material assistance,
which no (wo)/man could have dreamt
would have come (her)/his way.
i have learned a deep respect for one of goethe’s couplets:

“whatever you can do, or dream you can, begin it.
boldness has genius, power and magic in it.”

many thanks to judy dunn for the link, and for spreading another important message to the world as we move into 2007.

reclaimed metal marked and ready to be cut down to size

a minute. that’s all i want. a minute as a fly on the wall of this guy’s mind as he comes up with these ideas. there are quite a few pictures and short video clips so be prepared to stay awhile.

it doesn’t get much better than this.

postcard of japanese pier scene. isn’t it just lovely?

marie gibbons first captured my attention last year when i saw her ‘float’ series. i was immediately drawn to the clay ‘swimmerballs’ – sphere shaped swimmers all curled up and ready to roll. gibbons gives everyday moments a voice. her website is deep and layered – with background stories and insight into her process. she also has two blogs and a newsletter, so be prepared to stay awhile.

this excerpt is from gibbons’ blog about her upcoming 2007 exhibit at the arvada center for the arts and humanities:

prop•a•gate “After a discussion with another artist and friend the other night throwing out ideas, validating or not the ideas that I already have I have come to a clearer discussion . . . (I think) Do I want to suggest myth or story? NO. Do I want to depict speak of BIG human condition trials and tribulations, the journey of mankind? NO. I just want to do what I do…. speak of the everyday. Highlight a moment in time, a moment we have all had many times, and maybe it was so simple that it went by without you ever realizing how momentous it was. I want to take these moments that have resided in me – some from 50 years ago, some from yesterday. I want to present them in a way that is aesthetically pleasing and metaphorically profound. And although these are personal memories, I see the work as the messenger that is propagating many memories from many on-lookers.

I want my residual memories to propagate yours, and by you remembering and discussing your own memories the person you are talking to will remember something of their own, and so on and so on and so on. Rinse, lather and repeat!”

marie gibbons, big swimmer