Stepping Outside the Box
October 21, 2014
Inspirational Art
A major theme of the weekend in Racine was the idea of stepping out of pre-set boxes. There were a whole range of ‘boxes’ being discussed including our own personal boxes we put ourselves in as artists. Because of those conversations, I wanted to bring up the piece by Jeffery Lloyd Dever that was exhibited in the Racine Museum of Art’s (in)Organic exhibition running through February 1st, 2015. This was already shown on Polymer Clay Daily last Friday, but since I had the luck to be part of a conversation with Jeff about this piece, I thought it was worth showing again and sharing some of his thoughts.
This piece really pushes beyond Jeff’s usual presentation in that it is all black. Completely absent are the glowing gradations of color, the fine lines and the back filled spots that he is so well known for. While standing around after a full day of discussion already, the conversation turned to flaws, and Jeff stated that no one seemed to see the flaws in his work because of all the varied detail. He felt that distracted viewers from the imperfect line or the errant fingerprint. This naturally brought up this all black piece of his since those elements were there to distract. Was it harder to create and finish this new work because there were no visual distractions? He said no, that the limitation of the palette was really quite freeing.
What he wanted to know in turn was whether the work was still recognizably his. We gave him a resounding “Yes.” He seemed surprised. He had worked outside his own still fairly roomy box by abandoning his colors and his details and even working with new forms, and yet, we still could see him in it. Why is that?
My thought on that question is simply this: When an artist is working with their own authentic voice, when they’ve gone through long periods of exploration and discovery, the knowledge and experience they’ve gained over time flows out into their work. I see Jeff’s signature in the cleanness of the shapes, the fluidity of their connection, the sparseness of elements so that they each have space enough to be seen individually and, of course, the organic source he constantly returns to in the forms and compositions he chooses. It may have felt quite different for him, but for us, it is still uniquely Dever.
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
Polymer Pioneers
March 20, 2013
Polymer community news
One of the truly exciting things about going to an event like Synergy is getting the chance to meet the people who you admire and aspire to be. Although you may have the opportunity to meet a great polymer artist by taking a class, there is nothing like a lengthy event like this, a retreat, or a workshop to give you the opportunity to chat and hear their stories.
At Synergy, we had the opportunity to not only talk to a large number of highly talented and innovative artists, but we were also treated to their presentations and panels. One of my personal highlights was the closing banquet’s presentation with three of the most influential polymer pioneers – Nan Roche, Kathleen Dustin and Lindly Haunani. They told stories of the good old days, how they started in polymer, and how they started organizing polymer artists and the hurdles they encountered in the early days. A lot of funny personal notes and anecdotes were included as well. It was just great fun to hear of our polymer beginnings from these very important artists who were there.
I have my own personal anecdote about Nan Roche from this past week. For those of you who might not know, Nan wrote the first book on polymer clay, The New Clay, published back in 1992. That book precipitated the advent of polymer being considered a true art medium, and really pushed the public awareness of it. And today, it is still considered one of the best books on polymer for beginners. So this genius of woman comes up to me the first day of Synergy, all bubbly and kind of bouncing and says, “Oh, I just love your magazine!” I was floored and started babbling back about how much I admire her and what she has done for the polymer communtiy. I knew she subscribed (she gets both the print and digital versions of The Polymer Arts) but I thought it was just a matter of keeping track of the industry. As it turns out, Nan had to back away from doing polymer for a number of years, so she actually considers herself far less talented than many of the folks she is often grouped with, and finds The Polymer Arts inspiring. Whoa. I get some really touching compliments but a comment from someone like her … its hard to explain how much that meant to me.
As you take a closer look at the picture here, note all the pretties down in front of the presenter’s table. Those are the pieces that were auctioned off at the banquet–they include vintage pieces by Marie Segal, Jeffery Lloyd Dever and Lindly Haunani. Most of the larger events run by guilds have such auctions, giving the attendees a chance to buy some really wonderful work while supporting the organization – just another reason to make it to a retreat or other big polymer event. Check your local guild to see what they have going on and keep track of others through the IPCA newsletter, or by checking The Polymer Arts Resource list.
Echoes of Another’s Vision
October 17, 2012
Inspirational Art
This lovely image showed up in a Facebook group this past weekend and just stuck with me. Ariane Freisleben, Munich-born but a resident of Tuscany, has taken classes from all the greats. Her commitment to the medium — and how much she has learned from spending so much time with quality instructors — is quite evident in this translation of Jeffery Lloyd Dever’s backfill and construction techniques.
The design here is just fantastic. The stylized flowers make not only an interesting floral abstraction but they echo the form and surface treatment of the ‘vase.’ She has dots on the small sphere buds visually relating to the dots within dots backfill technique and the teardrop-shaped blooms are the completed form that the vase starts building toward but halts in order to open and hold the bouquet. I might have hoped for more saturated color in some of the lighter translucent teardrop blooms but it’s a minor consideration as the joyful nature of the piece still comes across so nicely.
So lots of echoing here. A bit of Dever, a bit of dots and bit of drops. And, a great piece from it all.
A major theme of the weekend in Racine was the idea of stepping out of pre-set boxes. There were a whole range of ‘boxes’ being discussed including our own personal boxes we put ourselves in as artists. Because of those conversations, I wanted to bring up the piece by Jeffery Lloyd Dever that was exhibited in the Racine Museum of Art’s (in)Organic exhibition running through February 1st, 2015. This was already shown on Polymer Clay Daily last Friday, but since I had the luck to be part of a conversation with Jeff about this piece, I thought it was worth showing again and sharing some of his thoughts.
This piece really pushes beyond Jeff’s usual presentation in that it is all black. Completely absent are the glowing gradations of color, the fine lines and the back filled spots that he is so well known for. While standing around after a full day of discussion already, the conversation turned to flaws, and Jeff stated that no one seemed to see the flaws in his work because of all the varied detail. He felt that distracted viewers from the imperfect line or the errant fingerprint. This naturally brought up this all black piece of his since those elements were there to distract. Was it harder to create and finish this new work because there were no visual distractions? He said no, that the limitation of the palette was really quite freeing.
What he wanted to know in turn was whether the work was still recognizably his. We gave him a resounding “Yes.” He seemed surprised. He had worked outside his own still fairly roomy box by abandoning his colors and his details and even working with new forms, and yet, we still could see him in it. Why is that?
My thought on that question is simply this: When an artist is working with their own authentic voice, when they’ve gone through long periods of exploration and discovery, the knowledge and experience they’ve gained over time flows out into their work. I see Jeff’s signature in the cleanness of the shapes, the fluidity of their connection, the sparseness of elements so that they each have space enough to be seen individually and, of course, the organic source he constantly returns to in the forms and compositions he chooses. It may have felt quite different for him, but for us, it is still uniquely Dever.
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
Read More
One of the truly exciting things about going to an event like Synergy is getting the chance to meet the people who you admire and aspire to be. Although you may have the opportunity to meet a great polymer artist by taking a class, there is nothing like a lengthy event like this, a retreat, or a workshop to give you the opportunity to chat and hear their stories.
At Synergy, we had the opportunity to not only talk to a large number of highly talented and innovative artists, but we were also treated to their presentations and panels. One of my personal highlights was the closing banquet’s presentation with three of the most influential polymer pioneers – Nan Roche, Kathleen Dustin and Lindly Haunani. They told stories of the good old days, how they started in polymer, and how they started organizing polymer artists and the hurdles they encountered in the early days. A lot of funny personal notes and anecdotes were included as well. It was just great fun to hear of our polymer beginnings from these very important artists who were there.
I have my own personal anecdote about Nan Roche from this past week. For those of you who might not know, Nan wrote the first book on polymer clay, The New Clay, published back in 1992. That book precipitated the advent of polymer being considered a true art medium, and really pushed the public awareness of it. And today, it is still considered one of the best books on polymer for beginners. So this genius of woman comes up to me the first day of Synergy, all bubbly and kind of bouncing and says, “Oh, I just love your magazine!” I was floored and started babbling back about how much I admire her and what she has done for the polymer communtiy. I knew she subscribed (she gets both the print and digital versions of The Polymer Arts) but I thought it was just a matter of keeping track of the industry. As it turns out, Nan had to back away from doing polymer for a number of years, so she actually considers herself far less talented than many of the folks she is often grouped with, and finds The Polymer Arts inspiring. Whoa. I get some really touching compliments but a comment from someone like her … its hard to explain how much that meant to me.
As you take a closer look at the picture here, note all the pretties down in front of the presenter’s table. Those are the pieces that were auctioned off at the banquet–they include vintage pieces by Marie Segal, Jeffery Lloyd Dever and Lindly Haunani. Most of the larger events run by guilds have such auctions, giving the attendees a chance to buy some really wonderful work while supporting the organization – just another reason to make it to a retreat or other big polymer event. Check your local guild to see what they have going on and keep track of others through the IPCA newsletter, or by checking The Polymer Arts Resource list.
Read More
This lovely image showed up in a Facebook group this past weekend and just stuck with me. Ariane Freisleben, Munich-born but a resident of Tuscany, has taken classes from all the greats. Her commitment to the medium — and how much she has learned from spending so much time with quality instructors — is quite evident in this translation of Jeffery Lloyd Dever’s backfill and construction techniques.
The design here is just fantastic. The stylized flowers make not only an interesting floral abstraction but they echo the form and surface treatment of the ‘vase.’ She has dots on the small sphere buds visually relating to the dots within dots backfill technique and the teardrop-shaped blooms are the completed form that the vase starts building toward but halts in order to open and hold the bouquet. I might have hoped for more saturated color in some of the lighter translucent teardrop blooms but it’s a minor consideration as the joyful nature of the piece still comes across so nicely.
So lots of echoing here. A bit of Dever, a bit of dots and bit of drops. And, a great piece from it all.
Read More