Clusters of Curiosity
August 17, 2015
Inspirational Art
Monochrome pieces can be difficult to create energy in, simply because one of our easiest and most common elements of visual energy is color and contrast or change in color that creates truly, lively energy. The next most effective element is line. But, here is a piece by Jan Geisen that has a quiet but persistent energy without either of those elements.
It primarily comes from the texture and the use of light in the shimmery clusters that pop out of the rough and crackle surface. And the brilliance of that blue doesn’t hurt at all. I think there is also something to the fact that nothing is well outlined; that you keep wanting to look to see it clearer. The clusters of sparkle suggest something like buried nuggets of precious metal rather than recreating something solid to look at. Normally that lack of definition could too readily detract from the beauty of a piece, but here, it adds a little mystery and piques our curiosity, does it not? Or maybe it’s just me.
If you like this kind of texture, you have to take a look at what Jan has been up to lately. You can find her most recent work on her Flickr photostream and even get yourself a piece from her available collection on Etsy.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
Fabulous Feeling
August 10, 2015
Inspirational Art
We might spend a day or two more on disks since it’s garnered such interest but also because I’ve been sent such beautiful pieces as this necklace by Karen Lewis (aka Klew). Ronna’s piece on the cover of the Fall 2015 issue of The Polymer Arts pushed Klew to reach out to share this. She has such beautiful work, and I just don’t think we see enough of it! So lucky us!
Klew said this about her work as well: “I am inspired by ancient jewelry, specifically semi- precious stone and shell. I love designing with heishi beads, and thought I’d make my own! I pinched them slightly so that they would have a ripple texture rather than simply flat and uninteresting. They are opened up with tiny copper heishi as well to provide movement. It feels wonderful around my neck. I just love it!”
Klew brings up a little pondered point … how jewelry feels when you wear it. A wearer’s experience and connection with your piece also has to do with how it physically feels. I’ve had some stunning pieces that were too uncomfortable to wear for long and other unassuming pieces that I never wanted to take off because they had such a comforting or even massaging texture. What characteristics make adornment feel fabulous on, as well as looked fabulous? It is something that I think bears more study!
In the meantime, you can jump over to Klew’s website and gallery for more gorgeous bits and bobs.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
Bright Organic
August 5, 2015
Inspirational Art, The Polymer Arts magazine news
Thank you to everyone who took part in the Reader’s Wish List Survey. We had 389 people respond, so it’s been taking me some time to get through all your ideas and questions and then compile them, but we’re working on it! I will directly answer some questions and note some of the comments in our next newsletter, so if you don’t get it already, hop on over to the website and fill in the two line form to get that email of news, cool polymer tips and community information sent to you twice a month. www.thepolymerarts.com.
The winners were chosen by a random number generator (your number coming from where you landed on the spreadsheet that your survey responses go to.) The lucky ducks who will be receiving Goodie Boxes this time around are Lorna Slack and Beth Schwartz! Congratulations!
In the meantime, we have fielded so many complements on the Fall cover. Ronna’s necklace is stunning, and that whole organic disks and seed pod theme seems to always turn heads. I thought I’d look for more pieces like that, but something a bit different. I think I found it!
The organic forms are so often created in nature’s muted or darker tones, but I have to say, this shot in the arm of brilliant color works wonderfully with them too. The saturated color and stylized shapes create a fun and joyful version of this kind of necklace. Jenna Wright uses tools she bought from Celie Fago to carve the marks into cured clay. She calls this “Inked Necklace ii” from her Electric series. I am trying to figure out the inked thing—dyeing the carved out spots perhaps? Regardless, it’s a beautiful piece of warm brights and brilliant white that brings organic up to a very cheery level.
If you want more brilliant color and fun ways with organic shapes, jump on over to Jenna’s Flickr page, Boxes of Groxes (what a fun name!) for a bright and cheery break in your day.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
Lining Up Your Own Dots
July 15, 2015
Inspirational Art
So, all this talk of lines and dots has you wanting to try out your own dot-line compositions, right? Well, being the cheerleader that I am, I’ve gone out and found a little something that might get you playing with some of those dots and lines regardless of how enthralled you are with the subject. Just try out this easy and rewarding application technique.
Svetlana Belova generously shares her process for creating these lovely pendants on LiveMaster. The types of patterns you can create this way are endless. It really lets you explore the possibilities without committing to a block of mokume or being limited by a stamp or texture sheet. This kind of work is very meditative and can be a fantastic way to relax or get yourself into a creative zone before working on something else.
Svetlana shares her techniques on her blog and sells her work through her LiveMaster shop where you can see other examples of this and other pretty compositions.
Little Bits of Filigree and Applique
June 15, 2015
Inspirational Art
I am a fan of small details. I love work that has been built one tiny bit at a time, which is probably why I find myself drawn to the application of tiny bits of polymer something called polymer embroidery, applique or even filigree. I found a number of pieces on a search this weekend that I think really open up the vast possibilities of creating imagery and texture from working with small bits and thin strings of polymer.
I want to start with this lovely little pendant because I just adore how the impressed polymer bits were extended into a dynamic rush of water and plumes of ocean foam. This was created by Estonia’s Katrina who has the shop, Filigrina, on Etsy. Every detail on this was hand-tooled in a way that makes me think more of painting than sculpting. And instead of simply pressing the bits of clay to create texture from the impressions, there also looks to be some dragging and cutting in with the hand-tools to make those little bits into the imagery we see here.
Katrina also sells printable scrapbook paper images and jewelry transfer images in her Etsy shop, so stop by and take a look at all the fun stuff she has to offer.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
Outside Inspiration: Little Silver Box
April 24, 2015
Inspirational Art
As I was picking out work for this week and looking at inros, box pendants and purses, it crossed my mind that someone needs to make purse necklaces that are functional. I don’t like carrying around a purse (I’m too likely to put it down and forget it!), so wouldn’t it be great if we had something we could just hang around our necks to carry the essentials? Well, that’s probably not practical because we all we carry so much these days, but it did lead me to search for a crossover type piece, which then led me to Terry Kovalcik and these amazing metal clay box pendants. Most of his necklaces are containers of some sort with all different forms and approaches. His passion for this kind of work is evident in these couple lines from his artist statement:
“I’ve become passionate about making boxes that allow me to work on both the inside and outside designs—with the mystery of its interior and the secrets that can be hidden inside. These little surprises are special gifts to the wearer that they can choose to share with others.”
So true. That mystery, not knowing what is hidden within adds a whole other dimension to the impact these pieces will have on a viewer. And, the wearer gets to carry around a little something they can keep as a secret or share with others. With forms like this one, I see an easy transition to polymer clay for those inspired by his forms.
Drop in on Terry’s website to see the other boxes he’s made. If you’re really intrigued, there are few more that can be found if you search Google images. You will see photos of pieces both closed and open.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.
A Few Floating
December 4, 2014
Inspirational Art
Simplicity often works best when presented in an unexpected manner. A necklace of leaves is nothing unexpected. A necklace of three leaves floating, however, is.
This interesting neck-piece is the creation of Delphine Roche de Montgrand of Paris, France. There is grace in the simple triad composition, the slight variation of the leaf sizes and the way they are arranged. But, we are halted by the way they float around the neck, and then, I think, we linger because of the rich color and the naturally attractive fan shape that makes ginkgo leaves so popular. To add anything else here would ruin the quiet feel of an autumn morning so succinctly replicated here. Do you agree?
Delphine works primarily in replications of nature with a little splash of illusion thrown in here and there. You can read more on her blog through Google translate if you don’t speak French.
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.
A Spot to the Side
June 17, 2014
Inspirational Art
Sometimes the surprise found in our work comes incidentally as we create with other intentions. Una-Odd Lynn was fascinated by a collection of moonglow beads and had planned some simple cut pendants in polymer for them but ended up with something just a little different.
“I cut out a hole, not reserving the removed clay, and planned to use a moonglow bead in the middle. Experimenting with a tube to punch out the hole I discovered [the extra clay] would make a nice side bead.” And these sweet little necklaces were born!
Mrs. Lynn’s pieces and ideas are kind of all over the place but that openness to working with whatever suits a mood is often exactly what is needed to allow for new discoveries. Una-Odd blogs about all the various things she does and ponders on her entertaining blog. Jump on over and explore a little yourself.
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.
Monochromatic Intricacy
May 21, 2014
Inspirational Art
Today, let’s dial it down to something more attainable for us mere mortals. We don’t all have quite the level of patience to accomplish what we saw the last couple days but perhaps we could approach that with techniques where intricate work can be accomplished on a smaller scale.
If you’ve been following this blog for long, then you have probably noticed my admiration for filigree style work. Even when monochromatic, the lines and textures of dense polymer filigree can be so mesmerizing. Luana Sgammeglia uses this coiled filigree technique to decorate necklaces, bracelets, earrings, and even handbags. Even though this technique looks intricate, it can be made relatively quickly once you get into the rhythm of it. You just need to be patient and steady. Doing this kind of work can be quite zen like actually!
Have you ever tried incorporating coils into the surface design of your clay? You can either roll the ropes by hand or use a handy-dandy extruder. If you have never worked with coil filigree, there are some good video tutorials on YouTube and a number of free image tutorials floating around the web as well. You can enjoy more of Luana’s work on her Flickr photostream or on her Pinterest site.
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.
By adding fluorescent colors to tribal inspired designs, Debbie Jackson brings this ancient art form into the 21st century. Tribal jewelry was traditionally constructed from natural materials, like animal claws and teeth, bone, elephant hair, horns, horse hair, ivory, metal, resin, seeds, shells, stone, and wood. Polymer clay allows us the freedom to create faux natural materials, or use mixed media, to simulate these techniques that date back more than 75,000 years.
African tribal jewelry frequently tells a story. Different colors have different meanings. Blue represents the sky and belief in the gods; green represents the sacred element of grass that nourishes cattle; red represents the blood of the cattle and white represents the milk. Jewelry was also thought to protect the wearer by providing balance between the earth and nature, allowing the wearer to be in harmony with the cycles and rhythms of the natural world.
Challenge yourself to view your work and your designs from a tribal perspective. Pay close attention to the colors you have chosen and ask yourself if they tell the story you are trying to express. Play with color and design elements to energize your work and bring out the tribal influences within you. Add beads or mixed media to enhance your designs and take them to the next level. If you want some in depth help, check out Debbie’s book, “Polymer Clay Jewelry,” for step-by-step instructions.
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.
These days, the idea of something being modern but tribal, encircles a loose set of characteristics that can be applied to all kinds of materials, forms and techniques. The more prevalent characteristics would be earthy or naturally derived color palettes, repeated motifs with a hand drawn look, and rough, uneven edges or shapes. As we’ll see this week, that may not always be true, but if you wanted to create something more tribal or primitive looking, adding these types of elements would lean your piece in that direction.
I don’t know that I would have easily come up with a way to make mokume look tribal but even this technique, drawn from ancient Japanese metal work that demanded precision and fine skill, can be converted to reflect the idea of tribal by simply adding a few of the generalized characteristics just mentioned. Julie Picarello, known around the community for her extensive work with mokume style techniques she calls imprinting, did just this a few years ago with a line of tribal pendants as seen here.
This set of tribal pendants actually hits all the basic characteristics, but Julie’s line of tribal pendants include all kinds of color, texture and motifs, repeated and not. The uneven shapes, however, keep harkening back to the modern tribal aesthetic. Go ahead and take a look at what she’s done in this area on her website and Flickr pages, and don’t forget her book, Patterns in Polymer.
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.
Turkey’s Nihal Erpeden brings us some seasonal shine with her Ottoman series of necklaces. Although when Ottoman is mentioned, I usually think of something to put my feet up on, there is a whole rich history and culture that came out of the Ottoman Empire that we see the influence of but may not commonly associate with the Turkish conquerors or their long standing rule–from 1299-1923, well into the 20th century. That’s not so very long ago!
The interesting thing for art that comes out of the expanded rule of a single culture is the integration of other cultures into the aesthetics of the conquering society and vice versa, of course. Decorative arts from the Ottoman Empire bear the flourish and filigree common in the Turkish culture’s history but also integrated motifs from Persian, Greek, and Byzantine art over the years they ruled in those areas. That makes for a very rich and diverse source of imagery, color and design to draw inspiration from as Nihal has done here.
Both past and present cultures, espeically those we aren’t very familiar with can be a tremendous source of ideas and imagery to integrate into your own artwork. Dayle Doroshow wrote a wonderful article in the present Winter 2013 issue of The Polymer Arts on the influences of past culture with ideas on how to draw from them to give new direction and complexity to your work.
As you know, if you’ve been following my blog for any length of time, I strongly encourage all artists to look outside their discipline for inspiration as it will keep your work and the community’s work fresh and ever expanding. The same goes for looking outside your own culture. When you’re feeling uninspired or think our work is getting stagnant, look outside of what you know, of what you are familiar with. Find something new that gets you excited. Our brains crave novel experiences and information. Feed your brain and you’ll feed your creativity.
For more of Nihal’s lovely work, take a look at her Etsy shop and blog site.
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.
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