Crowded Elegance
August 14, 2014
Inspirational Art
I knew it was not likely that I would get through a week about repetition and crowded aesthetics without bringing in Cynthia Toops. I tried, but of all the artists I can think of, no one really beats her degree of repetitious elements that is a portrayal of beauty rather than something that tips into chaos or excess.
This tube necklace really drives home the idea that no matter how machined and perfect the elements, the crowded disorder of their assemblage is going to read as organic. Every element here was created with a precision tool or skill set, from the extruded tubes to the carefully chosen gradation of colors, and then to the elegant high-sided bezels the polymer tubes are packed into. It is easy to sense the care in the craftsmanship, but the precision may be hidden. You see this and still think of bunches of flowers, a meadow dense with wildflowers or the flowering of yarrow plants and the like, don’t you? It’s that very slight variation in color and height of each standing tube that sways our thoughts to the natural settings. A simple idea, but the results are complex, rich and rather intense in a quiet, elegant way.
From their amassed tubes to dense string of pods, and on to micro mosaics, Cynthia and her collaborator, Dan Adams, really crowd it in and continue to awe and delight us along the way. If you’ve never visited their website, take a a little trip through some of these beautifully packed spaces.
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.
Tactile Scene
November 12, 2012
Inspirational Art
Cate van Alphen hasn’t been working with polymer for very long but her background in numerous other mediums has assisted and influenced her polymer creations. Her experience in painting is obvious in this donut pendant.
Cate says this was inspired by a painting by Maurice Utrillo, a French painter that worked primarily in the first half of the 20th century. The heavy tactile nature she gets from manually manipulating the clay rather than using stamps or other machined imagery reminds me of heavy impatso painting where the texture itself is part of the design and draw, as it is here.
So, enjoy a little scenery and the idea of manually working your clay in the purest sense.
I knew it was not likely that I would get through a week about repetition and crowded aesthetics without bringing in Cynthia Toops. I tried, but of all the artists I can think of, no one really beats her degree of repetitious elements that is a portrayal of beauty rather than something that tips into chaos or excess.
This tube necklace really drives home the idea that no matter how machined and perfect the elements, the crowded disorder of their assemblage is going to read as organic. Every element here was created with a precision tool or skill set, from the extruded tubes to the carefully chosen gradation of colors, and then to the elegant high-sided bezels the polymer tubes are packed into. It is easy to sense the care in the craftsmanship, but the precision may be hidden. You see this and still think of bunches of flowers, a meadow dense with wildflowers or the flowering of yarrow plants and the like, don’t you? It’s that very slight variation in color and height of each standing tube that sways our thoughts to the natural settings. A simple idea, but the results are complex, rich and rather intense in a quiet, elegant way.
From their amassed tubes to dense string of pods, and on to micro mosaics, Cynthia and her collaborator, Dan Adams, really crowd it in and continue to awe and delight us along the way. If you’ve never visited their website, take a a little trip through some of these beautifully packed spaces.
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.
Cate van Alphen hasn’t been working with polymer for very long but her background in numerous other mediums has assisted and influenced her polymer creations. Her experience in painting is obvious in this donut pendant.
Cate says this was inspired by a painting by Maurice Utrillo, a French painter that worked primarily in the first half of the 20th century. The heavy tactile nature she gets from manually manipulating the clay rather than using stamps or other machined imagery reminds me of heavy impatso painting where the texture itself is part of the design and draw, as it is here.
So, enjoy a little scenery and the idea of manually working your clay in the purest sense.
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