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A comment on Saturday’s post about my search for an apprenticeship on the East Coast sent me skipping to Apprenticementor.com, a non profit website where mentors and apprentices can find each other. The new venture was launched last week by apprentice Jennifer Kahn, and artist Celie Fago, a team for almost nine years.
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Michael deMeng is a mad alchemist. When the assemblage artist finds a discarded shoe or an empty sardine can he doesn’t see garbage, he sees a personal shrine. deMeng’s gift, transforming the common into the sacred, becomes clear when you study pieces like ‘Urning Rubber’, a mixed media reliquary meant to hold treasured objects, and ‘Hell Mask’, that boasts teeth made from a row of matchbook matches.
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One of my intentions for 2010 is to nurture my creative self. I’m off to a good start: In January I set up a brand new studio (I’m still organizing and getting used to the wonderful large space), and I took an online class. Next month I head to Baltimore for the Synergy II conference and March will find me in Mexico attending Ronna Sarvas Weltman’s week-long workshop/retreat at Hacienda Mosaico.
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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.
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I’m sitting here on this rainy Friday watching Robert Dancik’s recently released DVD, Faux Bone Jewelry: Tools and Techniques. [Don't know what Faux Bone is? Read about it here.]
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