Crosswise Crafts
August 4, 2019
Inspirational Art, Polymer community news
Heather Campbell – “Keep Circling”
If you read this blog because polymer is your primary art material, do you consider yourself a polymer artist or a mixed-media artist? This question has arisen in a few conversations recently – how to identify oneself as an artist – and also in regard to the content of these blogs posts because a lot of people that are writing me of late have turned out not to be primarily polymer artists, or at least identify themselves as mixed-media rather than polymer artists. I think that’s really cool and I don’t find it terribly surprising that people who work in other art materials are interested in polymer because polymer has so much crossover and such a wide range of possible applications.
I mean, is polymer clay the only material in your art studio? Aside from maybe dedicated caners, I think the majority of us who identify as polymer artists also have drawers and bins and boxes of other things like beads, fabric, paints, paper, resin, and so much more. So, is your polymer art really a type of mixed-media art? And what is mixed-media art really anyways?
And most of all… do the labels really matter?
Labels are important for the purpose of organizing all the information we are inundated with daily, but unfortunately, it also puts people and concepts in restrictive boxes and that can become problematic. When someone is labeled (or calls themselves) a polymer artist, it doesn’t mean that they work only with polymer or even primarily with polymer. They may simply have an affinity for the material more than any other single material.
Not only do we use a lot of other materials in polymer work, but we can also so readily draw inspiration from looking at artwork in materials. I, myself, find fiber art to be an immense resource for ideas in my polymer work, especially modern quilting, so I thought I’d bring you along to explore some of the ways today’s quilt art and polymer creatively crossover.
Crosswise Crafts
Quilt art is a form of fiber art which pushes beyond functional bedcovers and quilted clothing of the past. Fiber Art itself is a relatively recent term, first used shortly after World War II to categorize fine art using natural or synthetic fiber as the material. This speaks to how relatively new the focus has been on fiber as an art form. Luckily, the term quickly worked its way out of the relatively elite world of curators and art historians into a more generalized use encompassing all fiber-based artistic applications, from weaving and quilting to intensely detailed embroidery and monumental outdoor installations.
There has been a tremendous amount of experimentation going on in fiber arts since the latter decades of the twentieth century, something as polymer artists we understand and applaud but, unlike polymer the many forms of fiber art draw from some of mankind’s oldest crafts so experimentation tends to rally not around techniques but around form, nontraditional materials, unusual use and placement of materials, and conceptual approaches, especially those involving cultural issues and activism. This makes it a rich source of inspiration that can really light the way for new possibilities in polymer.
As I’m sure you know, not only do we emulate fiber in polymer, we also have methods of construction and layout with veneers and inlays which use basically the same approach as quilting, less the sewing. Both art forms also technically work in three-dimensions but are commonly composed in two-dimensions which is why I think it’s such a great arena to look to for a creative shot in the arm.
Here is a very direct example of the crossover between quilting and polymer. Lindly Haunani draws the patterns for her polymer quilts directly from classic quilt patterns, like this one based on a half square quilt design.
She uses these wall pieces to examine and teach color. She also applies the concepts to brooches like these lovely pieces.
By the way, Lindly has a series of workshops teaching color through the creation of veneers and polymer quilts coming up in late August/early September at Creative Journey Studios. You can check those out here.
Although classic quilt patterns pop up in polymer quite often, contemporary quilts are nothing like these. Here is an example of traditional quilting techniques but without the traditional patterns by Lisa Jenni. Do the colors or composition poke at your creative brain but with polymer on the mind? It could be an arrangement with alcohol ink dyed polymer, striped canes, and stamped clay medallions, right?
That quilt reminds me a little bit of Gera Scott Chandler’s work. The colors and the emphasis on oblong circles are probably the connections but you see how one could possibly inspire the other, yes?
And how have we not seen something like this piece below done in polymer? This is embroidered quilting by Susan Lenz It’s less than 3’ x 2’ so such a piece in polymer would not be a monumental task. This has given me an idea … I think I know what I’m going to do with all the inchies collected over the years. Let’s all make wall pieces from our collections!
Be sure to look at Susan’s Lancet window series too. They have a similarly open layout but in kind of stained-glass patterns.
Contemporary quilts, like polymer, are not restricted to a two-dimensional canvas or flat layers. There are a lot of things being added into and onto quilts today. Just look at this riot of wonder by Molly Jean Hobbit.
Does this piece bring to mind any polymer artists who also use lots of pieces and materials in their work? Maybe Laurie Mika, Heather Campbell (as seen in the opening image), or even Christi Friesen with her mixed-media mosaics? If you have always liked what these ladies are doing, just imagine the fresh batch of ideas you could get from contemporary quilts.
Want to really delve into the quilt world now? You go down a rabbit hole by simply putting “quilt art” into Pinterest, or you could start on the Contemporary Quilt Art associations gallery pages. Click on each image to get a whole slew of additional quilts by various artists. It’s quite the fabulous (and possibly time gobbling) rabbit hole to go down.
Want to do a little polymer quilting of your own today? Well, you could sit down to this video by Jan Montarsi, demonstrating how to make striped polymer quilt squares. Mind you, he uses his new Create Template, but you could do it without the template if you want to get right to it. If you have the latest edition of The Polymer Studio, Issue #3, go to Jan’s article on multicolor blends first to make some really bright and saturated blended sheets to work with. If you didn’t subscribe or purchase your copy yet, you can get an immediate digital download or order a print edition on the website here. And you can get Jan’s templates here.
Where Two Crafts Collide – working with the Craft Industry Alliance
So, my curiosity about this mixed media labeling question pushed me to do some research early last month and, in the process, I found the Craft Industry Alliance. This is a fairly new organization – it was created in 2015 – but it is growing quite quickly as an information and supportive advocacy trade association for all working craft artists – this includes you!
I really liked that this organization recognizes craft art as a broader community that is not segregated by material or form. Since the founders are primarily fiber artist, however, it started out heavy in that arena, but they are actively growing into other communities. I know this because the president of CIA (gosh, their acronym sounds so covert!) contacted me after I joined their organization online with an earnest request to get to know the polymer community better. After a lovely chat and a few emails, we are now working on polymer based content for the Alliance. How cool is that?
So, what is this organization and what might it do for you? Well, here is the skinny, straight from President, Abby Glassenberg:
Craft Industry Alliance is a community of craft professionals. Strengthen your creative business, stay up to date on industry news, and build connections within a supportive trade association. Artists who are interested in becoming teachers of their craft, writing books, and showing their work in galleries need to think about setting up a solid business foundation from which to grow. Marketing and branding, legal, accounting and tax issues, social media and blogging … these are all issues creative business owners need to think through. Don’t do it alone! Come together with 1,300+ fellow members in a supportive community where you can find solid answers to your questions, make connections with the right people, and find the resources you need. Check it out at https://www.craftindustryalliance.org
As you can see, the organization is focused on active artists who show and sell their work or promote themselves as teachers or writers. It doesn’t really matter how small or how big your creative operation is, you’ll always benefit from a little help and I think it’s a fantastic idea to have a community of people from all areas of craft supporting each other. I’ve always been a little worried that the polymer community has remained a bit insular since we have issues that few other material arenas have, being such a very young material, working with a plastic in an environmentally sensitive world, and battling the “kids art material” image. But growth in this community will come from the outside, not from within so the more we reach out and network with other craft artists and the larger craft community, the more energized and innovative we will be as a whole and that will keep the community growing and vital.
The Sage Sabbatical
So, as most of you probably know by now, August starts my little sabbatical from production work on print publications so I can attend to some health issues. I have to admit, it’s made me a little depressed. It’s just rather sudden and I’m such a workaholic and so used to having a deadline hanging over me all the time so it’s a little unnerving. Luckily, it actually started out busy since we wrapped up the release of The Polymer Studio Issue #3. It turned out just beautiful and we’ve already received so many great comments on it with particular excitement around articles like the fascinating story of Brazil’s polymer master, Beatriz Cominatto, Debbie Crothers’ acrylic and polymer exploration, and Jan’s multi-color skinner blend techniques.
If you’re waiting on your copy, the digital edition went out on the 31st – check spam/junk mail folders if you’re due one and didn’t see it in your inbox. Print editions went to the post office this past Wednesday, so they are on the way too. I have my batch of stock here if you need to order it. Just go to the website.
We also added a Special 3 issue Package of all three of The Polymer Studio issues if you need to do some catching up.
If you’re unfamiliar with my silly little situation that forced me into taking time off, you can find the more-or-less full story in our most recent newsletter here.
If you don’t get our twice a month newsletter, signing up for the newsletter is one of the best ways to stay informed on our publications and new projects, of which there will be something before the year ends even if I can’t do print! But yes, I promise I will not overextend myself and do with the doctor orders!
Speaking of which … I should go now. I hope you are excited by the peek at quilts and the connection to polymer. Have a wonderful rest of your weekend and an inspired week!
Mosaic Flow
February 24, 2019
Inspirational Art, The Polymer Arts magazine news
Are you familiar with something known as the flow state? This is that space you get in where you are lost in your own little world because you are so wrapped up in what you are doing. It happens quite commonly when people are working on creative projects and it’s a really good thing for you, both because it dissipates stress and because it increases your level of “feel-good” chemicals like serotonin and dopamine. It’s also defined as an “optimal state of consciousness where we feel our best and perform our best.” Now, who wouldn’t want that?
I bring this up because I want to talk about mosaics. I think a lot of people look at all those tiny pieces and think, “That looks like a ton of work!” And, yeah, there might be a lot of steps to putting a mosaic together, but the technique is also one that really gets you deep into a flow state. It can be kind of like doodling but with little pieces.
It would not be a hard thing to start on. Most of us have access to tons of tiny pieces, either through leftover canes, unused polymer sheets, or failed projects we haven’t had the heart to toss out. Just slice up those canes, cut up those sheets, and/or start chopping up those cured elements and you have all you need to start creating mosaics. Of course, you can make pieces specifically for mosaics from fresh clay, too!
Mosaics have been on my mind these last couple weeks because, while working on the latest book, Polymer Journeys 2019, it became quite apparent that one of the bigger trends making a splash right now is polymer mosaics and so I thought we ought to take a closer look at this not so new but definitely interesting and flexible technique. (By the way, today is the last day to get the Pre-order Sale pricing on Polymer Journeys 2019! Go to the website to get it at 30% off the cover!)
Mind you, being the insanely creative and exploratory artisans and crafters that they are, polymer enthusiasts aren’t just slapping together any old standard expectation of a mosaic. They are mixing mediums, trying out every shape in the book, using three-dimensional forms, and generally just pushing the boundaries of what the mosaic technique is. Gotta love polymer crafters!
So, let’s take a look at what some people are doing as of late and we’ll end with suggestions for getting into the mosaic flow yourself.
Different Kinds of Bits & Pieces
One of the folks who, at least initially, takes a classic approach to the art form of mosaics but certainly adds her own flavor to it, is Christi Friesen. She cuts out squares of polymer, lays a base to adhere them to and then arranges the pieces in pleasing and energetic patterns. But of course, Christi can’t leave well enough alone — she has to add bling and embellishments of all kinds! She’s been mixing in glass, wire, charms, beads, and probably a bunch of other things I will never be able to identify, to create her whimsical tiles, vessels and jewelry. Can’t you just sense the depth of the flow state she must have been in creating this beautiful maelstrom?
You could say that Claire Fairweather is classically inspired too, but her work has a twist to it. That twist is a commitment to circles used to create these wonderful images of graduated color and varied texture. Using round elements instead of squares and straight-sided shapes that join neatly together, leaves more open space but it’s one that has a fairly regular rhythm that flows in and out of the carefully placed circles. This gives the imagery more orderliness and a softer look as you can see in the many sides of her mosaic globe below. (Be sure to jump over to her blog to get the rundown on what each side is showing.)
Keep in mind that a mosaic piece does not have to be all mosaic. Large swaths can be made up of other types of polymer elements such as textured, silkscreen, impressed, or hand tooled layers or forms. A lot of Susan Crocenzi’s work, especially earlier in this decade, consist of entire halves of her pieces being a kind of polymer landscape, surrounded by glass mosaics or a mix of mosaic mediums. Here is just one example below but you can find more on her website too.
For all of you mad caners out there, here is an example of how beautifully energetic a piece can be just by arranging thick cane slices on a simple form. This bib necklace is a yet-to-be-hung creation by Ivy Niles, who makes some of the most impressive canes. You can see how much more impressive they are when working together in this off-center mandala type pattern.
If you really like the idea of doing mosaics don’t relegate your sources of inspiration to the work of polymer artist’s, as unique as they may be. Take a look at what glass and tile mosaic artists are doing these days as well (just type “mosaic art” into your favorite browser or an image-centric site, like Pinterest or Instagram) if for no other reason than there is some amazing and gorgeous work out there to enjoy. Here is a gorgeous piece by Francis Green in what seems to be a rare piece of wall art. This woman will mosaic anything she can get her hands on! She kinda reminds me of some unbridled polymer artist with their canes. Just take a look at her website.
The How-Tos of Mosaics
So, are you itching to try some mosaics now? Here are a few places you could start:
- If you want to start with something classic, even, and orderly, check out this straight-forward mosaic tile tutorial by Korrina Robinson on her blog.
- Prefer a more open and visually textural approach that is flexible enough to use any type of clay sheets or even canes? Take a look at this mosaic vase by Kathy Koontz on the Sculpey website.
- If you’re ready to really dive in, might I suggest you invest in this great tutorial on micromosaics and faux glass by Pavla Čepelíková. The opening image of this post shows examples of some of the things she’ll teach you to make in this downloadable PDF.
- If you want to use mosaic as a way to diminish your pile of scrap clay and cured bits, take a look at Christi Friesen’s mosaic video tutorial here. You can also have fun creating mosaics Antoni Gaudi style on an unusually formed box with Christi in the Polymer Art Projects – Organic book (go to our website to get your copy!)
- And if that’s not enough, Christi sells mosaic kits on her website where you can also find tons of other embellishments and bobbles to assist in your mosaic flow. Just click here!
- I even have some exciting mosaics for you to look forward to too … We just found out that Staedtler/Fimo is going to sponsor Ann and Karen Mitchell, the Masters of liquid polymer clay, to create a mini mosaic tutorial for the next issue of The Polymer Studio magazine. This is a changeup to Karen’s tiny micromosaic technique published in The Polymer Arts back in the Fall of 2015.
Whew! I got into a flow a bit there myself writing excitedly about all this fun stuff. I hope you’ll give mosaics a try if you have not already, or at least give yourself some time to just get lost in your craft today. It’s good for the brain and the soul and you never know what will come of it later in your creative journey!
Building Off the Center Line
February 26, 2014
Inspirational Art
The work of Laurie Mika is rather mesmerizing. You can sit and stare and find new things for many long minutes as well as every time you return to a piece. And most everything she creates is built off a centered composition with balanced shapes if not textures and motifs on either side. This is in large part due to the shrine format that is the basis for much of her work.
Laurie is a mixed-media artist with a passion for combining and overlapping a variety of mediums to create her easily recognized style. If you would like to learn this technique, she teaches at ArtFest, Art Unraveled, Art and Soul, Raevn’s Nest and Hacienda Mosaico in Mexico. You can also check out her book, “Mixed-Media Mosaics: Techniques and Projects Using Polymer Clay Tiles, Beads, and Other Embellishments,” or her YouTube video. Or just wander through the couple dozen pages of her art on her website.
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.
Heather Campbell – “Keep Circling”
If you read this blog because polymer is your primary art material, do you consider yourself a polymer artist or a mixed-media artist? This question has arisen in a few conversations recently – how to identify oneself as an artist – and also in regard to the content of these blogs posts because a lot of people that are writing me of late have turned out not to be primarily polymer artists, or at least identify themselves as mixed-media rather than polymer artists. I think that’s really cool and I don’t find it terribly surprising that people who work in other art materials are interested in polymer because polymer has so much crossover and such a wide range of possible applications.
I mean, is polymer clay the only material in your art studio? Aside from maybe dedicated caners, I think the majority of us who identify as polymer artists also have drawers and bins and boxes of other things like beads, fabric, paints, paper, resin, and so much more. So, is your polymer art really a type of mixed-media art? And what is mixed-media art really anyways?
And most of all… do the labels really matter?
Labels are important for the purpose of organizing all the information we are inundated with daily, but unfortunately, it also puts people and concepts in restrictive boxes and that can become problematic. When someone is labeled (or calls themselves) a polymer artist, it doesn’t mean that they work only with polymer or even primarily with polymer. They may simply have an affinity for the material more than any other single material.
Not only do we use a lot of other materials in polymer work, but we can also so readily draw inspiration from looking at artwork in materials. I, myself, find fiber art to be an immense resource for ideas in my polymer work, especially modern quilting, so I thought I’d bring you along to explore some of the ways today’s quilt art and polymer creatively crossover.
Crosswise Crafts
Quilt art is a form of fiber art which pushes beyond functional bedcovers and quilted clothing of the past. Fiber Art itself is a relatively recent term, first used shortly after World War II to categorize fine art using natural or synthetic fiber as the material. This speaks to how relatively new the focus has been on fiber as an art form. Luckily, the term quickly worked its way out of the relatively elite world of curators and art historians into a more generalized use encompassing all fiber-based artistic applications, from weaving and quilting to intensely detailed embroidery and monumental outdoor installations.
There has been a tremendous amount of experimentation going on in fiber arts since the latter decades of the twentieth century, something as polymer artists we understand and applaud but, unlike polymer the many forms of fiber art draw from some of mankind’s oldest crafts so experimentation tends to rally not around techniques but around form, nontraditional materials, unusual use and placement of materials, and conceptual approaches, especially those involving cultural issues and activism. This makes it a rich source of inspiration that can really light the way for new possibilities in polymer.
As I’m sure you know, not only do we emulate fiber in polymer, we also have methods of construction and layout with veneers and inlays which use basically the same approach as quilting, less the sewing. Both art forms also technically work in three-dimensions but are commonly composed in two-dimensions which is why I think it’s such a great arena to look to for a creative shot in the arm.
Here is a very direct example of the crossover between quilting and polymer. Lindly Haunani draws the patterns for her polymer quilts directly from classic quilt patterns, like this one based on a half square quilt design.
She uses these wall pieces to examine and teach color. She also applies the concepts to brooches like these lovely pieces.
By the way, Lindly has a series of workshops teaching color through the creation of veneers and polymer quilts coming up in late August/early September at Creative Journey Studios. You can check those out here.
Although classic quilt patterns pop up in polymer quite often, contemporary quilts are nothing like these. Here is an example of traditional quilting techniques but without the traditional patterns by Lisa Jenni. Do the colors or composition poke at your creative brain but with polymer on the mind? It could be an arrangement with alcohol ink dyed polymer, striped canes, and stamped clay medallions, right?
That quilt reminds me a little bit of Gera Scott Chandler’s work. The colors and the emphasis on oblong circles are probably the connections but you see how one could possibly inspire the other, yes?
And how have we not seen something like this piece below done in polymer? This is embroidered quilting by Susan Lenz It’s less than 3’ x 2’ so such a piece in polymer would not be a monumental task. This has given me an idea … I think I know what I’m going to do with all the inchies collected over the years. Let’s all make wall pieces from our collections!
Be sure to look at Susan’s Lancet window series too. They have a similarly open layout but in kind of stained-glass patterns.
Contemporary quilts, like polymer, are not restricted to a two-dimensional canvas or flat layers. There are a lot of things being added into and onto quilts today. Just look at this riot of wonder by Molly Jean Hobbit.
Does this piece bring to mind any polymer artists who also use lots of pieces and materials in their work? Maybe Laurie Mika, Heather Campbell (as seen in the opening image), or even Christi Friesen with her mixed-media mosaics? If you have always liked what these ladies are doing, just imagine the fresh batch of ideas you could get from contemporary quilts.
Want to really delve into the quilt world now? You go down a rabbit hole by simply putting “quilt art” into Pinterest, or you could start on the Contemporary Quilt Art associations gallery pages. Click on each image to get a whole slew of additional quilts by various artists. It’s quite the fabulous (and possibly time gobbling) rabbit hole to go down.
Want to do a little polymer quilting of your own today? Well, you could sit down to this video by Jan Montarsi, demonstrating how to make striped polymer quilt squares. Mind you, he uses his new Create Template, but you could do it without the template if you want to get right to it. If you have the latest edition of The Polymer Studio, Issue #3, go to Jan’s article on multicolor blends first to make some really bright and saturated blended sheets to work with. If you didn’t subscribe or purchase your copy yet, you can get an immediate digital download or order a print edition on the website here. And you can get Jan’s templates here.
Where Two Crafts Collide – working with the Craft Industry Alliance
So, my curiosity about this mixed media labeling question pushed me to do some research early last month and, in the process, I found the Craft Industry Alliance. This is a fairly new organization – it was created in 2015 – but it is growing quite quickly as an information and supportive advocacy trade association for all working craft artists – this includes you!
I really liked that this organization recognizes craft art as a broader community that is not segregated by material or form. Since the founders are primarily fiber artist, however, it started out heavy in that arena, but they are actively growing into other communities. I know this because the president of CIA (gosh, their acronym sounds so covert!) contacted me after I joined their organization online with an earnest request to get to know the polymer community better. After a lovely chat and a few emails, we are now working on polymer based content for the Alliance. How cool is that?
So, what is this organization and what might it do for you? Well, here is the skinny, straight from President, Abby Glassenberg:
Craft Industry Alliance is a community of craft professionals. Strengthen your creative business, stay up to date on industry news, and build connections within a supportive trade association. Artists who are interested in becoming teachers of their craft, writing books, and showing their work in galleries need to think about setting up a solid business foundation from which to grow. Marketing and branding, legal, accounting and tax issues, social media and blogging … these are all issues creative business owners need to think through. Don’t do it alone! Come together with 1,300+ fellow members in a supportive community where you can find solid answers to your questions, make connections with the right people, and find the resources you need. Check it out at https://www.craftindustryalliance.org
As you can see, the organization is focused on active artists who show and sell their work or promote themselves as teachers or writers. It doesn’t really matter how small or how big your creative operation is, you’ll always benefit from a little help and I think it’s a fantastic idea to have a community of people from all areas of craft supporting each other. I’ve always been a little worried that the polymer community has remained a bit insular since we have issues that few other material arenas have, being such a very young material, working with a plastic in an environmentally sensitive world, and battling the “kids art material” image. But growth in this community will come from the outside, not from within so the more we reach out and network with other craft artists and the larger craft community, the more energized and innovative we will be as a whole and that will keep the community growing and vital.
The Sage Sabbatical
So, as most of you probably know by now, August starts my little sabbatical from production work on print publications so I can attend to some health issues. I have to admit, it’s made me a little depressed. It’s just rather sudden and I’m such a workaholic and so used to having a deadline hanging over me all the time so it’s a little unnerving. Luckily, it actually started out busy since we wrapped up the release of The Polymer Studio Issue #3. It turned out just beautiful and we’ve already received so many great comments on it with particular excitement around articles like the fascinating story of Brazil’s polymer master, Beatriz Cominatto, Debbie Crothers’ acrylic and polymer exploration, and Jan’s multi-color skinner blend techniques.
If you’re waiting on your copy, the digital edition went out on the 31st – check spam/junk mail folders if you’re due one and didn’t see it in your inbox. Print editions went to the post office this past Wednesday, so they are on the way too. I have my batch of stock here if you need to order it. Just go to the website.
We also added a Special 3 issue Package of all three of The Polymer Studio issues if you need to do some catching up.
If you’re unfamiliar with my silly little situation that forced me into taking time off, you can find the more-or-less full story in our most recent newsletter here.
If you don’t get our twice a month newsletter, signing up for the newsletter is one of the best ways to stay informed on our publications and new projects, of which there will be something before the year ends even if I can’t do print! But yes, I promise I will not overextend myself and do with the doctor orders!
Speaking of which … I should go now. I hope you are excited by the peek at quilts and the connection to polymer. Have a wonderful rest of your weekend and an inspired week!
Read MoreAre you familiar with something known as the flow state? This is that space you get in where you are lost in your own little world because you are so wrapped up in what you are doing. It happens quite commonly when people are working on creative projects and it’s a really good thing for you, both because it dissipates stress and because it increases your level of “feel-good” chemicals like serotonin and dopamine. It’s also defined as an “optimal state of consciousness where we feel our best and perform our best.” Now, who wouldn’t want that?
I bring this up because I want to talk about mosaics. I think a lot of people look at all those tiny pieces and think, “That looks like a ton of work!” And, yeah, there might be a lot of steps to putting a mosaic together, but the technique is also one that really gets you deep into a flow state. It can be kind of like doodling but with little pieces.
It would not be a hard thing to start on. Most of us have access to tons of tiny pieces, either through leftover canes, unused polymer sheets, or failed projects we haven’t had the heart to toss out. Just slice up those canes, cut up those sheets, and/or start chopping up those cured elements and you have all you need to start creating mosaics. Of course, you can make pieces specifically for mosaics from fresh clay, too!
Mosaics have been on my mind these last couple weeks because, while working on the latest book, Polymer Journeys 2019, it became quite apparent that one of the bigger trends making a splash right now is polymer mosaics and so I thought we ought to take a closer look at this not so new but definitely interesting and flexible technique. (By the way, today is the last day to get the Pre-order Sale pricing on Polymer Journeys 2019! Go to the website to get it at 30% off the cover!)
Mind you, being the insanely creative and exploratory artisans and crafters that they are, polymer enthusiasts aren’t just slapping together any old standard expectation of a mosaic. They are mixing mediums, trying out every shape in the book, using three-dimensional forms, and generally just pushing the boundaries of what the mosaic technique is. Gotta love polymer crafters!
So, let’s take a look at what some people are doing as of late and we’ll end with suggestions for getting into the mosaic flow yourself.
Different Kinds of Bits & Pieces
One of the folks who, at least initially, takes a classic approach to the art form of mosaics but certainly adds her own flavor to it, is Christi Friesen. She cuts out squares of polymer, lays a base to adhere them to and then arranges the pieces in pleasing and energetic patterns. But of course, Christi can’t leave well enough alone — she has to add bling and embellishments of all kinds! She’s been mixing in glass, wire, charms, beads, and probably a bunch of other things I will never be able to identify, to create her whimsical tiles, vessels and jewelry. Can’t you just sense the depth of the flow state she must have been in creating this beautiful maelstrom?
You could say that Claire Fairweather is classically inspired too, but her work has a twist to it. That twist is a commitment to circles used to create these wonderful images of graduated color and varied texture. Using round elements instead of squares and straight-sided shapes that join neatly together, leaves more open space but it’s one that has a fairly regular rhythm that flows in and out of the carefully placed circles. This gives the imagery more orderliness and a softer look as you can see in the many sides of her mosaic globe below. (Be sure to jump over to her blog to get the rundown on what each side is showing.)
Keep in mind that a mosaic piece does not have to be all mosaic. Large swaths can be made up of other types of polymer elements such as textured, silkscreen, impressed, or hand tooled layers or forms. A lot of Susan Crocenzi’s work, especially earlier in this decade, consist of entire halves of her pieces being a kind of polymer landscape, surrounded by glass mosaics or a mix of mosaic mediums. Here is just one example below but you can find more on her website too.
For all of you mad caners out there, here is an example of how beautifully energetic a piece can be just by arranging thick cane slices on a simple form. This bib necklace is a yet-to-be-hung creation by Ivy Niles, who makes some of the most impressive canes. You can see how much more impressive they are when working together in this off-center mandala type pattern.
If you really like the idea of doing mosaics don’t relegate your sources of inspiration to the work of polymer artist’s, as unique as they may be. Take a look at what glass and tile mosaic artists are doing these days as well (just type “mosaic art” into your favorite browser or an image-centric site, like Pinterest or Instagram) if for no other reason than there is some amazing and gorgeous work out there to enjoy. Here is a gorgeous piece by Francis Green in what seems to be a rare piece of wall art. This woman will mosaic anything she can get her hands on! She kinda reminds me of some unbridled polymer artist with their canes. Just take a look at her website.
The How-Tos of Mosaics
So, are you itching to try some mosaics now? Here are a few places you could start:
- If you want to start with something classic, even, and orderly, check out this straight-forward mosaic tile tutorial by Korrina Robinson on her blog.
- Prefer a more open and visually textural approach that is flexible enough to use any type of clay sheets or even canes? Take a look at this mosaic vase by Kathy Koontz on the Sculpey website.
- If you’re ready to really dive in, might I suggest you invest in this great tutorial on micromosaics and faux glass by Pavla Čepelíková. The opening image of this post shows examples of some of the things she’ll teach you to make in this downloadable PDF.
- If you want to use mosaic as a way to diminish your pile of scrap clay and cured bits, take a look at Christi Friesen’s mosaic video tutorial here. You can also have fun creating mosaics Antoni Gaudi style on an unusually formed box with Christi in the Polymer Art Projects – Organic book (go to our website to get your copy!)
- And if that’s not enough, Christi sells mosaic kits on her website where you can also find tons of other embellishments and bobbles to assist in your mosaic flow. Just click here!
- I even have some exciting mosaics for you to look forward to too … We just found out that Staedtler/Fimo is going to sponsor Ann and Karen Mitchell, the Masters of liquid polymer clay, to create a mini mosaic tutorial for the next issue of The Polymer Studio magazine. This is a changeup to Karen’s tiny micromosaic technique published in The Polymer Arts back in the Fall of 2015.
Whew! I got into a flow a bit there myself writing excitedly about all this fun stuff. I hope you’ll give mosaics a try if you have not already, or at least give yourself some time to just get lost in your craft today. It’s good for the brain and the soul and you never know what will come of it later in your creative journey!
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The work of Laurie Mika is rather mesmerizing. You can sit and stare and find new things for many long minutes as well as every time you return to a piece. And most everything she creates is built off a centered composition with balanced shapes if not textures and motifs on either side. This is in large part due to the shrine format that is the basis for much of her work.
Laurie is a mixed-media artist with a passion for combining and overlapping a variety of mediums to create her easily recognized style. If you would like to learn this technique, she teaches at ArtFest, Art Unraveled, Art and Soul, Raevn’s Nest and Hacienda Mosaico in Mexico. You can also check out her book, “Mixed-Media Mosaics: Techniques and Projects Using Polymer Clay Tiles, Beads, and Other Embellishments,” or her YouTube video. Or just wander through the couple dozen pages of her art on her website.
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