Outside Inspiration: Where We Find Ourselves
January 30, 2015
Inspirational Art
Conceptual work in contemporary jewelry is no rare thing. What is a tad rare, in my opinion, is conceptual jewelry that is wearable (how else can you really fully share it if you can’t wear it out?) and accessible. And by “accessible,” I mean a creation that most people can appreciate because it speaks to and pulls at the one thing we all share — the experience of being human.
I actually love conceptual jewelry, the kind that makes you stop and think, but to share something that this community will find inspiration in kept me focused on finding something that we can all smile at or find something to admire. Our experiences and wanting to hang onto memories of the times and places we’ve experienced is pretty ubiquitous, don’t you think? Tzu-Ju Chen seems to be speaking to that aspect of our human side with this ring. It does push the “wearable” boundary with its size, but I love the nostalgic sense he’s captured with the little cropped photos. Chartres Cathedral, as it is named, shows off photos of the building from a variety of angles on angled little boards accented with semi-precious gems. Tzu-Ju actually sees this work from a slightly different perspective, saying, “My works explores the conceptual play of material and meaning. Travel photography and vintage snapshots serve as mementos that embody the present reality.”
Maybe I am tired, but I’m not sure about the “present reality” embodiment here. Nonetheless, I think I could spend a lot of time staring at my hand and checking out the little photos. Especially if they were photos from a trip of my own. It’s kind of a neat idea to consider how we might integrate our own memories into our work in such a literal fashion.
Tzu-Ju’s work certainly does explore the play of material and meaning and in a wide range of approaches and materials. Tzu-Ju’s website is a beautiful, quiet gallery of her work and concepts that should make a perfect quiet break for you today.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Long Division
January 28, 2015
Inspirational Art
One of the reasons I wanted to do this theme this week was so I could also share some of Christine K. Harris’s latest work. Her pieces are almost wholly conceptual, relaying personal, societal and universal emotions and ideas. The richness of her pieces are the primary draw, along with the clear and ubiquitous nature of so much of her symbolism.
I think this may be my favorite piece of hers to date. I say “I think” because I’m not done examining its many sides, imagery, symbolism and just beautiful application of rhythmic motifs. Every side — inside, outside, front, sides, back — is different and wholly intriguing. Most of Christine’s work is a combination of polymer, two-part sculptable epoxy and other materials as needed. But this box or sculpture or altar, or whatever you want to take it as, moves far beyond the definition of its materials, as does most of her work.
The piece is called Long Division and starts at the top with what I am sure are mirrored twins, maybe even Siamese twins. Within and without, there are Christine’s iconic birds, skulls, skeletons and other symbols of birth, freedom and death that appear in so much of her work. This piece feels more joyous than a lot of her past work though, even with the death symbology; death is so much a part of the cycle of life we are in. I have so many ideas about what might be going on here, but art is a personal interpretive experience when it really comes down to it so I will leave it to you to take from it what speaks to you. As Christine says on her home page, “As important as it is for me to use my art to make sense of the world, it is just as important that viewers take their own experience from my work …”
For a full view of this piece, you will want to go to Christine’s page with its many detail shots. But don’t hesitate to wander further about her site and find other concepts and connections for yourself. If you are curious about her use of symbolism and how you might work this kind of thing into your own work, don’t miss the beautiful article she wrote for our Spring 2013 issue still available in both print and digital.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Abstract Feelings
January 27, 2015
Inspirational Art
I realized after the fact that I posted yesterday’s blog about conceptual art without really going into the particulars of what that phrase means. So I thought I’d correct that, only I ended up going down a bit of a rabbit hole as I went ahead, as I do, when I researched the term and how it is used today. So, just to be fair and to stave off counter-explanations about what the term is used for in contemporary art and various art movements (see Wikipedia’s explanations), I’m going to define our use for it based on how we often used it back in my art school days. We may not have been using it correctly by some people’s account, but we did use the term “concept” correctly and talk of “conceptual art” as being created to relay an abstract idea or complex group of ideas.
Here is an example of both a literal representation and a conceptual representation. Girl on a Blustery Day, by Melissa Terlizzi, is a depiction of, well, a windy, blustery day. That is the visual representation of a state of weather. On the other hand, it also depicts the distress and dishevelment of this poor girl, and particular experiences and emotion are abstract. Along with recognizing the concept, we all connect to the feeling of being caught in a bit of a gale and dealing with the surprises Mother Nature tosses our way. Plus, it’s just a fun piece! It’s too bad I didn’t find a “Blizzardy Day” piece so we could all visually commiserate with our Eastern US friends held captive by the crazy weather right now. You all hang in there!
Although I love this wall piece, it is not, in my opinion, the pinnacle of Melissa Terlizzi‘s work. She also creates the most wonderfully detailed sculptures and fabulous miniature food stuffs. Sophistication and adorableness reside side by side on her Flickr photostream, so wander on over for a delightful e-tour.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Conceptual Horses
January 26, 2015
Inspirational Art
Polymer lends itself particularly well to decorative arts, since it is so versatile in form and color and has the ability to be combined with so many other materials. But it can also be a very expressive medium. An artist can use a variety of sculptural techniques, colors and textures to recreate all kinds of imagery, which makes polymer particularly wonderful for conceptual work. I thought we’d take a week to see just what wonderful and new work is being produced in that area of polymer.
EvaMarie Törnström’s Malta Horse is what got me really thinking about this area of polymer art. For those of you who have been to Malta, the iconic crosses, the aged limestone walls and the intense blue of the surrounding ocean are instantly recognizable, collectively, as representative of that beautiful country. There is a lot more to this particular piece, but I’ll let you puzzle out its other less obviously related characteristics. I’m still puzzling them out myself. But even if you haven’t been to Malta, you know there is a connection between the chosen elements, and it will make you stop and think. As all good art really does.
Sweden’s EvaMarie is partial to creating horse sculptures but does very large wall pieces as well, also usually equine-related. Do take a moment to look at some of her unusual and visually intriguing pieces on her website.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Conceptual work in contemporary jewelry is no rare thing. What is a tad rare, in my opinion, is conceptual jewelry that is wearable (how else can you really fully share it if you can’t wear it out?) and accessible. And by “accessible,” I mean a creation that most people can appreciate because it speaks to and pulls at the one thing we all share — the experience of being human.
I actually love conceptual jewelry, the kind that makes you stop and think, but to share something that this community will find inspiration in kept me focused on finding something that we can all smile at or find something to admire. Our experiences and wanting to hang onto memories of the times and places we’ve experienced is pretty ubiquitous, don’t you think? Tzu-Ju Chen seems to be speaking to that aspect of our human side with this ring. It does push the “wearable” boundary with its size, but I love the nostalgic sense he’s captured with the little cropped photos. Chartres Cathedral, as it is named, shows off photos of the building from a variety of angles on angled little boards accented with semi-precious gems. Tzu-Ju actually sees this work from a slightly different perspective, saying, “My works explores the conceptual play of material and meaning. Travel photography and vintage snapshots serve as mementos that embody the present reality.”
Maybe I am tired, but I’m not sure about the “present reality” embodiment here. Nonetheless, I think I could spend a lot of time staring at my hand and checking out the little photos. Especially if they were photos from a trip of my own. It’s kind of a neat idea to consider how we might integrate our own memories into our work in such a literal fashion.
Tzu-Ju’s work certainly does explore the play of material and meaning and in a wide range of approaches and materials. Tzu-Ju’s website is a beautiful, quiet gallery of her work and concepts that should make a perfect quiet break for you today.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
One of the reasons I wanted to do this theme this week was so I could also share some of Christine K. Harris’s latest work. Her pieces are almost wholly conceptual, relaying personal, societal and universal emotions and ideas. The richness of her pieces are the primary draw, along with the clear and ubiquitous nature of so much of her symbolism.
I think this may be my favorite piece of hers to date. I say “I think” because I’m not done examining its many sides, imagery, symbolism and just beautiful application of rhythmic motifs. Every side — inside, outside, front, sides, back — is different and wholly intriguing. Most of Christine’s work is a combination of polymer, two-part sculptable epoxy and other materials as needed. But this box or sculpture or altar, or whatever you want to take it as, moves far beyond the definition of its materials, as does most of her work.
The piece is called Long Division and starts at the top with what I am sure are mirrored twins, maybe even Siamese twins. Within and without, there are Christine’s iconic birds, skulls, skeletons and other symbols of birth, freedom and death that appear in so much of her work. This piece feels more joyous than a lot of her past work though, even with the death symbology; death is so much a part of the cycle of life we are in. I have so many ideas about what might be going on here, but art is a personal interpretive experience when it really comes down to it so I will leave it to you to take from it what speaks to you. As Christine says on her home page, “As important as it is for me to use my art to make sense of the world, it is just as important that viewers take their own experience from my work …”
For a full view of this piece, you will want to go to Christine’s page with its many detail shots. But don’t hesitate to wander further about her site and find other concepts and connections for yourself. If you are curious about her use of symbolism and how you might work this kind of thing into your own work, don’t miss the beautiful article she wrote for our Spring 2013 issue still available in both print and digital.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
I realized after the fact that I posted yesterday’s blog about conceptual art without really going into the particulars of what that phrase means. So I thought I’d correct that, only I ended up going down a bit of a rabbit hole as I went ahead, as I do, when I researched the term and how it is used today. So, just to be fair and to stave off counter-explanations about what the term is used for in contemporary art and various art movements (see Wikipedia’s explanations), I’m going to define our use for it based on how we often used it back in my art school days. We may not have been using it correctly by some people’s account, but we did use the term “concept” correctly and talk of “conceptual art” as being created to relay an abstract idea or complex group of ideas.
Here is an example of both a literal representation and a conceptual representation. Girl on a Blustery Day, by Melissa Terlizzi, is a depiction of, well, a windy, blustery day. That is the visual representation of a state of weather. On the other hand, it also depicts the distress and dishevelment of this poor girl, and particular experiences and emotion are abstract. Along with recognizing the concept, we all connect to the feeling of being caught in a bit of a gale and dealing with the surprises Mother Nature tosses our way. Plus, it’s just a fun piece! It’s too bad I didn’t find a “Blizzardy Day” piece so we could all visually commiserate with our Eastern US friends held captive by the crazy weather right now. You all hang in there!
Although I love this wall piece, it is not, in my opinion, the pinnacle of Melissa Terlizzi‘s work. She also creates the most wonderfully detailed sculptures and fabulous miniature food stuffs. Sophistication and adorableness reside side by side on her Flickr photostream, so wander on over for a delightful e-tour.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Polymer lends itself particularly well to decorative arts, since it is so versatile in form and color and has the ability to be combined with so many other materials. But it can also be a very expressive medium. An artist can use a variety of sculptural techniques, colors and textures to recreate all kinds of imagery, which makes polymer particularly wonderful for conceptual work. I thought we’d take a week to see just what wonderful and new work is being produced in that area of polymer.
EvaMarie Törnström’s Malta Horse is what got me really thinking about this area of polymer art. For those of you who have been to Malta, the iconic crosses, the aged limestone walls and the intense blue of the surrounding ocean are instantly recognizable, collectively, as representative of that beautiful country. There is a lot more to this particular piece, but I’ll let you puzzle out its other less obviously related characteristics. I’m still puzzling them out myself. But even if you haven’t been to Malta, you know there is a connection between the chosen elements, and it will make you stop and think. As all good art really does.
Sweden’s EvaMarie is partial to creating horse sculptures but does very large wall pieces as well, also usually equine-related. Do take a moment to look at some of her unusual and visually intriguing pieces on her website.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
