Vase Gone Wild
October 9, 2013
Inspirational Art
Tendrils and squiggles on the surface of a piece are wonderful elements that add direction and energy, but it just seems to take it up a notch when the piece is actually made from such lines alone.
Emily Squires Levine creates most of her vessels with this open type of form, pinning together canes and lines of clay to create vases, bowls, and other decorative containers. This wonderful vase is aptly called “Tendril Vase.”
The tendrils look to be from a caned sheet, made from layers of clay folded over onto one another, rather than a roll or bar cane. These long sliced lines create the very structure of this sinuous vase. Does her approach get you thinking about open forms, or just what wide range of shapes a cane can actually take?
For more examples of this kind of structure with many different caned shapes, take a look at her website and blog.
The Guys Have It
September 23, 2013
Inspirational Art
I’ve had several conversations recently about the ratio of men to women working in polymer. I’m not sure I’m really the authority on the subject, but we do know it’s small. I seem to recall that Cynthia Tinnapple and Judy Belcher pulled up a statistic at Synergy 3 but I can’t recall the exact number, only that we are an overwhelmingly female-dominated art form. That poor handful of guys!
So this week, I thought I’d highlight a handful of our guys, trying to stick with the ones that don’t get seen around quite so much.
First, for your pattern- and color-viewing pleasure, we have Adam Thomas Rees. His work is similar to that of Jon Anderson, who we have featured on here and in the magazine; but for the most part he works on a larger scale and the focus is more on color rather than controlled patterns.
I can’t say if Adam was influenced by Jon or if they individually came to work in cane-covered animal forms separately, but I think I see some influence by other men in polymer here. At the very least, there are some canes that look quite a bit like the the mica-shift canes of Dan Cormier. Maybe its just that these guys are all sticking together!
If you know of any guys in polymer (or are one of them!) that aren’t getting the attention you think they deserve, write me at sbray(a)thepolymerarts.com with a link to their work, and let’s see about getting them highlighted this week!
Exploring Texture Variation
September 3, 2013
Inspirational Art
Did you see yesterday’s post? I mentioned that you could possibly take some of that artist’s textures and apply them to other kinds of work. Well, here is a bracelet that has a couple of those textures, using crowded polyp-like pieces and point-impressed dots of clay, along with (I think) canes. It’s quite an inviting undulation of texture moving organically across the cuff bracelet, don’t you think?
This is the work of Ukraine’s Asya Kuzahmetova. Quite a different piece for her, but I think it’s a great direction that she started exploring late last year. Asya does a lot of exploring, taking classes with master polymer artists and continuously working on different forms and applications with varying degrees of success; but the important thing is, she does explore, and lets herself go to see what comes of it. In the process, she hones her skills and her finishing work. I think she’s definitely someone to keep an eye on. See more of her work on her Flickr page and her online shop.
Creative Patterning with Canes from Israel
August 3, 2013
Inspirational Art
Did you know that Israel is geographically on the continent of Asia, but for political reasons is considered a European country? I didn’t. How very interesting. This fact has allowed me to go ahead and share the work of a rather active polymer artist from Israel, Tova Reshef, under this week’s Eastern European theme. Her penchant for great canes and floral designs fits into the aesthetic veins we’ve been seeing from Eastern Europe, so I think she’s quite well placed here.
Canes are where Tova really shines, as you can see on her Flickr pages. But along with the popular cane covered objects, she occasionally comes up with little gems like this pendant. By cutting out spaces in the center of the placed canes, she develops both visual and tactile patterning, making for a very interesting piece.
She also creates these rather intense color combinations with her rose canes–the soft gradations of the colors in the petals somehow intensify the contrast of colors. Take a look at these earrings on her Etsy site. They’re quite lovely.
Caning in Belarus
August 1, 2013
Inspirational Art
Here’s an example of something that probably would have founds its way into our themed week on caning if I had been able to search with the right keywords in the right language and alphabet. Anastasyia Arynovich from Belarus creates absolutely beautiful canes and applies them in such a way that you forget about the cane; all you think at first is that she’s created something amazing.
The straight-forward, centered, and symmetrical design of these monochromatic earrings is simply gorgeous. Creating work that is this simple and eye-catching is no small feat. I have tremendous respect for perfectly executed design that uses the most basic concepts. Work like this requires just the right balance, just the right level of intricacies, and some serious skill and patience in construction and finishing.
The monochromatic kaleidoscope cane in these earrings is just a single example of the excellent work Anastasyia does. There are many more examples on her Flickr page, so many I couldn’t help but share one more! It’s just red, gray, and white, but isn’t this beautiful?
Go check out her Flickr photostream to see what she does with this cane, along with more of her well-executed work.
Get Caning!
July 13, 2013
Technique tutorials, Tips and Tricks
So my request earlier this week to have people send in caning links for this week’s theme resulted in more questions from people just getting into it. Since there were so many queries, I thought I ought to take a moment to address the basic question these emails had in common … how does one get started or work on moving on from the basics? (For those of you who are quite advanced, this list and links might be helpful as a list for your website [I imagine you get these questions too!] or to recommend before a caning class to get your students to work on the basics.)
So here’s what I would recommend if you are starting out caning …
1. Take a class. So much of what goes into caning, especially reducing, is rather difficult to explain without hands on demonstrations. Check with local guilds, bead stores, the IPCA website, and The Polymer Arts resource list to see what is going on near you. A keyword search using your state/country, “polymer” and “classes” or “workshops” might bring up a few things as well.
2. Get a book. A book with a lot of detail and variety of projects to try your hand at could get you far. Some of the better ones I know of are Sue Heaser’s Polymer Clay Jewellery for Beginners: Book 1 – Millefiori Canes,
Donna Kato’s The Art of Polymer Clay Millefiori Techniques and Patricia Kimle’s Exploring Canework in Polymer Clay: Color, Pattern, Surface Design.
3. Search the internet for caning tutorials. This will give you a broad variety of techniques and approaches to explore. If you’re a self-starter and really motivated, this is usually the least expensive option as many of the beginning cane tutorials are free. Once you get more advanced, you may want to invest in some of the tutorials sold on Etsy and CraftArtEdu.
One of your fellow readers, Meg Newberg, sent along this link of free cane tutorials which she also regularly posts on her very active Facebook page, Polymer Clay Workshop. Here is a post photo from her Facebook page a few months back that I thought was just a beautiful collection of kaleidoscope canes with nicely chosen color schemes that she was working on.
As I am admittedly not the caning expert and so many of you are, please do add your thoughts in the comment section if you have further ideas for those new to caning. Many thanks!
Outside Inspiration: Lessons from Mosaics
July 12, 2013
Inspirational Art
As mentioned earlier this week, if you cane, especially if you are looking to make canes from images, you can learn a great deal from mosaic artists who, like polymer caners, must break down images to their essential components.
I have looked at a lot of mosaic work in my day. I love the texture of mosaics and the genius that goes into creating recognizable images within the restrictions of the material at hand. But I have never seen anything like Atsuko Laskaris’ work. Can you believe this is a glass mosaic?
The image, composition, and emotion of this piece is gorgeous along with being amazing work done in this challenging medium. Her page shows the detail of the work. It would be quite the challenge to do this in polymer but it would be possible to get such subtle changes in color that you see in the skin and hair. Now that is something to aspire to!
Atsuko’s gallery is a long page of continuous inspiration for anyone wanting to attain realistic imagery in their canes, and for anyone that just loves soaking up beautiful art work.
Cane Components–Breaking it Down
July 10, 2013
Inspirational Art, Tips and Tricks
When it comes down to it, canes are not much more than components that we collect into a visually cohesive whole. It sounds simple. Bring a number of shapes, colors and/or lines together and you have a cane. But its the intention of the design, the way you choose components and how you arrange them that makes the cane worthy of becoming that important part of a piece of art.
One of the best ways to learn about arrangement of components for a cane is to actually do it backwards; start with any visual item of a recognizable image you wish–an illustration or a photo–and break it down into its components. Identify each color, each shape, every line that makes up the image. From these components you can reproduce the image in a cane. But first you need the analytical skill to break it down.
A big box of colored pencils can help you break down the colors in the image. Make sample ‘swatches’ of the colors with the color pencils on the side of a print out of the image. Yes, you could do this with polymer as well; but the color pencils keep you in a narrow focus of just analyzing color, not creating it, and speeds up the process. Same goes for not using a computer aided analysis of the image … you need to walk yourself through this, going through the process of comparing each color to the selection you have available.
To break down the shapes and lines, a bit of tracing paper upon which you outline each block of color and each complete line you would need to duplicate in a single polymer color will help you see the individual components.
This analysis you go through in order to reproduce the image will force your brain to do something it purposely and necessarily does not normally do … see an image as the bits and pieces that make it up, not the whole of the image itself. It can be quite a hurdle to get your brain to stop trying to make a recognizable image out of the pieces before it. But this is what you must do to reproduce an image as a cane. And learning how components work together will help you in creating even the most abstract canes. You learn how shapes, lines and colors work together, and that is the basis of every cane you will ever make.
Canes are not that different from pointillism or representational mosaics. An artist puts different colored dots or shapes together, and when you back away from the surface so you can’t see the components a complete image emerges. Take a look at any of Julie Eakes incredible examples of caning to see this exact effect.
If you want to really dig into this concept, read through Julie’s blog and/or get one of her CraftArtEdu classes on caning.
A Good Cane Improved by a Fitting Finish
July 9, 2013
Inspirational Art, Polymer community news
Putting together a pleasing color palette and effective patterns is just half of what will make a good cane true art. The cane itself is just part of your art supply stash until it is sliced and applied to a form or shaped. Now don’t get me wrong; I believe caning is an art unto itself! So is gem carving, fabric design, leather tooling, and film special effects. But like these specialized trades, cane work is a component of something else that will make the detailed designs involved really shine. It is part of a bigger piece.
That is why the application and finish of the cane is so important. You wouldn’t want to see an expertly faceted ruby in an uneven base metal setting or a gorgeously woven damask made into a dumpy house dress. A cane is actually very much like a gem or printed fabric. The design of the cane should determine the application and finish it receives. A delicately detailed kaleidoscope cane should be perfectly set and finished smooth while a goofy face cane can be sliced in a large chunk and strung with big funky beads.
Let’s look at how Carol Simmons applies her very detailed and near flawless cane veneers on these simple cuff bracelets. Simple the type of bracelet may be, but each cane is perfectly aligned, there is not one discernible seam, the edges are trimmed and smooth, and the surface has been buffed to a high gloss making for stunning pieces … far from simple or ordinary.
Whether you are a novice or have had many years of experience caning, you can learn so much about caning from following Carol’s blog. It’s really a must for all caning fans. (Check out her February posts! Fabulous insight on building canes from concept on through. Start at this link then scroll down to move to each successive post.)
Of course, Carol teaches fantastic classes on caning and her mokume gane work. I believe there are still some spaces left for some of the workshops at the Master Class Camp where she’ll be teaching along with an overwhelmingly impressive list of other artists in Maryland in a few weeks. She also has her 2014 European tour schedule up, so if you are on that side of the globe, do check out where she will be when, and get in on her wonderful, information-packed classes.
One of the last places we visited on my whirlwind trip through Europe was Sweden. It was actually very brief, only half a day as part of a train tour around the coast between Denmark and Sweden, but what a lovely country and what lovely people. This did not surprise me, as my idea of these people primarily comes from getting to know Sweden’s Eva Marie Tornstrom over these last few years. She is a darling and impassioned woman as most anyone could surmise from just seeing the emotional and openly honest work in her sculptures.
I have been watching Eva Marie’s work just bloom for the last several years. Her newest pieces have included some surprise elements, in particular, these zipper-back horses. The surface of the horses are richly textured and with matte colors and cane flowers, and then within the zipper framework, there is this contrast of crackled and shimmering gold. I can come up with several metaphors for what she’s done here but this work is created with so much room for your own personal connection, so I will leave it for you to fill in those blanks.
My favorite place to check in on Eva Marie is on her Instagram page where you can see the transformation of her work from one project to the next. But you can also get a closer look and more details about why she creates horses on her website.
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Can you believe it’s August already? More than halfway through the year! How have you been doing with your New Year’s resolutions? I have 2 out of 3 down pretty good. But like me, many of us have not been able to keep up with polymer challenges and studio goals and have had to adjust them. That’s okay. The real purpose of a challenge is to keep at it and see what you can discover if you push yourself. Just this week, I have finally been able to keep a steady studio schedule (a couple of hours every other day which is a 100% better than what I had managed at any time the first half of the year!)
Then there are amazing people like Wendy Jorre de St Jorre who have done this kind of thing at least a couple of years in a row. That’s dedication. Last year she did bangles and this year she’s been doing rings, one each week. She takes her amazing canes used for necklaces and bracelets as well as various decor items and works them into beautiful bands. Although some of the original canes distorts quite a bit as it is wrapped around the small domed band, because she has such great color sense and keeps an eye on the balance of contrasts, the abstract (and even not so abstract) results are just gorgeous.
To see what she has accomplished aside from this beautiful ring here, hop over to see Wendy’s adventures on her Flickr photostream.
Inspirational Challenge of the Day: Take an application usually used in a different kind of jewelry or decor and create a ring. Or if you do create a lot of rings, create something unusual like a hat pin or an ear cuff.
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Before I get into my little thoughts about today’s intriguing piece, I wanted to put out a couple of thoughts for all of you who are attempting to do the challenges. I’ve had some questions and concerns about getting them done. First of all, you don’t need to do all the challenges presented to gain insight and benefit from them. The goal is to push yourself to look at your work differently, to explore, and to see what there is to discover. A regular challenge will certainly help you do this because you would have committed to a particular goal. But you do not have to do 3 a week. Some people have the time to do so but certainly not all of us. Maybe just one a week, choosing whichever challenges I post that appeal to you most. Or take one night or one day a month and choose a couple to explore. Make your goal reasonable for you and your schedule. I can already tell you that three a week is really taxing me. I am barely managing the sketch suggestions and I have yet to take photos so I can share, but I do plan on doing it. If you thought you’d try to do them all and can’t, readjust your goal to something manageable.
Also, remember that these challenges do not require that you finish a piece each time. Being able to finish is extremely important and that is where sharing on the Flickr page can be a motivator. But maybe you do one challenge a week and aim to have one completed piece to share come the end of the month. Do what works for you and, please, do not give yourself a hard time if you are not able to keep the goal you set. Readjust and just keep trying. Keep your personal end-goal in mind. Mine is to have more regular studio time and, although I haven’t completed anything yet, I have at least been at my work table a lot more than I had been. Those are small steps, but they’re important. As long as you are moving forward and not stalling or going backwards, those are accomplishments to be happy about.
Speaking of small things, do you see what small adjustments were probably made here to create this mermaid’s tail? I am guessing, from the look of Kim Detmers flowers petal canes, that these cane components started out floral but, somewhere along the way, they suggested fins to Kim. I chuckled at the form being just the tail of the mermaid. Did she shed this when granted a wish for human legs? Is this the mythical aquatic version of a rabbit’s foot worn for good luck? I don’t know but I liked the whimsy and the re-purposing of the canes, if that is what she did.
Kim is all about fancy and fantasy as you can see in her Etsy shop. And what is fantasy but re-envisioning our common world?
Inspirational Challenge of the Day: If you want to try a challenge today, how about taking a cane, a motif, a form, or some element that you regularly create with and try to imagine it as something else. A bead could be a dolls head with the addition of a body and a hat. A heart motif could be petals on a flower or cut in-half to become tear drops. I’m looking at my vine motif that I usually use vertically and I’m thinking I could set them horizontally to become stylized wind motifs. But that is just a first thought. Let’s see where I can go from there. How about you?
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This Friday I’d like to leave you with a little something to try out this weekend. I still have a myriad of examples showing the combination of dots and lines, and we may just pull out a few more for next week, but for now, how about we just have some fun? France’s Marie-Charlotte Chaillon shares this versatile tutorial for juxtaposing dots and lines in a piece of jewelry, although it could easily be transferred to home decor or other decorative art. I like that the ‘dots’ here aren’t your basic option. The cane that will make the stacked dots is rather nice on its own for accents or mosaic work. It looks rather like an interesting twist on the pixellated retro cane. The white seems to be key as the gradation gives it a bit of an inner glow. Any color palette that appeals to you would do, but the graphic nature does show off bright contrasts quite nicely.
Marie-Charlotte is pretty generous with the cane-centric tutorials, so if that is where your creative meanderings are on right now, head over to her blog or her Pinterest board specifically dedicated to her tutorials and have yourself a blast!
When talking ruffles, most likely fabric comes to mind first as a source for outside inspiration, but do you think of felt as a particularly ruffled fiber? Instead of flouncy and fluffy, felted ruffles offer substance and a more solid and open canvas for dramatic textures and colors.
This scarf shows some of the potential of using felt to create undulating edges. Felt has been making a bit of a come back in the fashion world and felt crafters are coming out big and bold with it. I thought this work by Irena Rudman would intrigue polymer artists as the composition of the work looked immediately to me like wonderful inspiration for leaf-shaped beads or the facing ends of a curious cuff bracelet.
There is something kind of Melanie West about this scarf. I can also see a thin polymer component with a center of slices taken from stacked circular extrusion canes or mokume surrounded by ruffled Skinner blends or mica dusted polymer. It got my wheels turning. Is it intriguing you?
Irena is really big on the ruffles in her work, which you can see in her Etsy shop. If you are just dying of curiosity as to how she accomplished this or simply have a budding interest in felting (which can and has often been combined with polymer pieces), Irena has a number of tutorials for scarves and collars in her shop, as well.
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First of all, I just realized this will be the last post of May. Really? This month is over? Wow … that went quick. Due to all the bedlam here, we’ve been just barely keeping up with the 3 blogs a week, and we have at least another week or so of chaos to get through. So, between that and all the notes from people who are liking the 3 days a week (“We have so much to read every day as it is …”), for now, we are going to keep this pace. Once we have the summer issue wrapped up next week, I’ll put together a survey (and some fun stuff to give away!) and give everyone who wants to offer their opinion, a chance to weigh in on the blog schedule.
In the meantime, my search for recent translucent clay work that uses the clay’s very particular characteristics in a new or surprising way was not as fruitful as I might have hoped. Have we gotten a bit tired of it? There are plenty of people using it to produce a wide variety of faux effects and mixing it with regular clays for better color and luminosity, but purely translucent for the sake of playing with its diaphanous quality seems to be the purview of just a handful of folks. However, in my search I ran across the pieces you see here. The first example I saw was the earrings you see in the upper left. I thought they were polymer, but then I got to the artist’s page and realized it had to be acrylic.
The artist is Jahyun Rita Baek, and this work is not new either, but something created when Rita was in art school in the United Kingdom. The series is called Cloud, which I believe is referring to the concept of light in both the illuminating quality and the perceived weight that are at play here. The work is beautifully simplistic and mesmerizing. Similar approaches with translucent polymer would be just as amazing, don’t you think?
So, this is the bit of inspiration I wanted to share with you today. Simple forms in floating and swirling designs could be created so easily with polymer. About the only thing this would take is knowing how to hold back and working clean–by which I mean clean clay and clean lines. If I could even get into my studio right now, I would go play for an hour just to relieve some stress. But parts of my office are in the way! So back to that.
Jump over to Rita’s website for more of her unusual work, not just in acrylic, but all kinds of materials from plastic to precious. And enjoy a beautiful spring weekend with a bit of creativity mixed in!
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We haven’t visited the wonderful world of transluscents in awhile, and I have been curious to see what people have been doing lately. Strangely, there is not a lot of recently posted work. Anyone have anything new they’d like to share? I’ll keep searching, but I’m up for some striking new work to be landing in my mailbox, too. Hint, hint.
In the meantime, here is a beautiful piece by Brazil’s Beatriz Cominatto that she created a few years back. It’s not a complex concept, this scale-like layering of cane slices, but it does show off the particular advantage of working with translucents. Instead of considering just the surface of the clay, translucents allow you to focus on the content of the depth of the clay. The layering offers another dimension to the design when translucents are in play, which allows for such criss-cross patterning and other ways to create lines that work in multiple ways.
Beatrice created this in 2012, if the Flickr date is correct. She did a lot of exploring in many different techniques then, so although there is not a lot of translucent, she did some great sushi canes with the translucent clay along with other polymer work. You can explore more of Beatrice’s work on her Flickr page and her website.
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A week of dramatic patterns would not be complete without a little Jon Anderson. You have likely seen at least a few of his larger, cane covered animals or maybe his bowls or even his guitars. But, have you seen his jewelry?
Jon’s fascination with canes is all about the pattern. The forms he covers are more of a canvas than the source of inspiration. Of course, animals and the spirit of them is where his finds a home for his patterns, but his canes come from what he has seen on his travels in other decorative artwork, as well as architecture and the decorative elements of buildings.
Jon has such an amazing eye for how to lay out the canes in a way that enhances the form. Also, his canes are so carefully created and reduced that he can bring them down to a size that can be applied onto forms as small as the pendants you see here. This means that many of us can afford to collect a few, even when our budgets are small.
Although Jon is American, he lives and creates in Bali with his wife who takes care of his promotions and PR. He also has an agent in the US who takes care of the sales and distribution of his work, so Jon gets to just focus on his art. Lucky, lucky guy.
You can read one of his only personal interviews in the Spring 2012 issue of The Polymer Arts and see more of his work on his website.
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Here’s another thought on that whole adding variation to repetition thing. Just as repetition doesn’t have to mean consistent and dull, variation doesn’t have to mean anything chaotic or crazy. The idea of variation is to give us something more to look at, to mix it up a little, to put enough interesting differences into a piece to either make a big initial impact, keep us looking at it, or to evoke a complexity of an emotion. Or, really, just because we find beauty in variation.
But varied can also be part of a series of consistently repeated elements. Center-focused compositions are often considered basic and boring. I probably rallied against that idea in art school more than anything else. What was this aversion to center-focus or balance? Nature is based heavily on this concept, and some of our most beautiful inspirations come from that kind of thing.
These pieces by Ivy Niles are an excellent example of variation in repetition using a centered composition. She uses more than one cane to give the eye a variety of visual textures plus those moderately used crystals to add a sparkle to the brilliant blues. I think we are averaging about five canes per piece plus accents, which could look quite busy, but the centric and regular repetition reins it all in. Just beautiful.
Ivy is a master cane maker with some of the most beautiful and intricate designs. She sells her canes on Etsy and shows off more of her goodies on her website as well.
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