Inspired Pins–Portugal

So you saw Dan’s pin that started this different version of the inspiration centered project on my previous blog (see it here.) Now he has sent me three of the resulting pins to share with you until he is back and can get the whole project up on their own website and Facebook pages.

The first is from Cristina Almeida who lives in Lisbon, Portugal. Can you see what she pulled from Dan’s work to create her own personal version?

Cristina Almeida Lisbon Portugal

Go back and look at Dan’s pin and see where they connect. Then take a gander at more of Christina’s work to better understand where her style and aesthetics meet and what she drew from Dan’s work on her Flickr page and blog site.

 

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Imagination for the Birds

December 26, 2013

I met Irene Corman at Synergy this past March. She enthusiastically suggested an article idea of hers which eventually resulted in her sharing her knowledge about teaching polymer art classes in the Fall 2013 issue of The Polymer Arts magazine.  Since then, Irene has also answered my call for help in scouting art for the blog and future articles. Her enthusiasm and love of art, not just polymer, has made working with her such a joy.

Irene brought to me this unusual and intriguing artist, Laura Balombini. What a fabulous imagination!

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Irene had this to say about why she is drawn to Laura’s work:

“She has created individuality and expression in each bird-form, while controlling any random effects through the simplicity of form and the repetition of each one, holding size and the shape elements that make up each of the birds, constant. Each of the faces and wings differ, creating interest for the viewer, while the even number and placement in 2 rows around the rectangle provide “discipline” for the design. Additional interest comes from the birdlike movement created by the positioning of the heads as they peck, look, stretch their necks, birdlike, yet also, somewhat human in their features. At first glance, the piece has a feel of folk-art, but the naiveté of folk art is transformed into something else when one sees the human features in the faces. The piece seems to tell a story, and also, holds a surprise. Using polymer clay for these forms is an artistic choice that works really well, given its color range, density and malleability.”

Enjoy more of Laura’s imaginative creations 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.

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Making an Impression … all over.

December 4, 2013

We have another example of scatter composition in this necklace from Aniko Kolesnikova. Since we’ve already done this for a couple days, why do you think this composition works? Or do you?

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I think it does. The elements, although different colors and irregularly placed, are all the same basic form–impressed and filled with colored clay, or in some cases a little extra bit of cane. The overall surface texture of the pieces are also impressed with hand tools so the overall surface is similar.

Hand tool texturing can be widely varied and works great for the scattered look or when kept in an orderly pattern. (By the way, we have a great article in the most recent issue of The Polymer Arts by Anke Humpert. It explores a variety of marks and various pointed hand tools, and explains how to explore them and other tools on your own–don’t miss out on that!) Aniko does quite a lot with hand tools as you’ll see if you spend some time 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.

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The Journey of The Broken Telephone

For those of you who followed the blogging I did from Synergy, you may remember Dan Cormier’s Broken Telephone Project. We couldn’t reveal much then because Dan and partner Tracy were going to roll out the series on The Cutting Edge Facebook page and who was I to spoil the surprise.

Well Dan has now revealed all the beautiful brooches, their creators and his thoughts on the project and related subjects. The conversation he’s started on his wrap-up post (posted on both Facebook and Flickr) is very important and I would encourage you all to take a minute to read it.

While there, take a look at all the gorgeous pieces that came out of the project.

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I was lucky enough to get a close-up look of each of these brooches as I helped pin them on Tracy who became a walking exhibition on the last night of Synergy 3. I’ve held back photos of this unique exhibit until the roll-out was complete. Tracy was easily the best adorned lady of the evening!

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Revisiting the Masters

In a recent conversation with a couple rather big names in our community, I was asked why the community’s major blogs don’t feature the masters very often. It gave me pause. The thing is, I think we do … but part of it may be that there can be a difference in opinion as to what constitutes a master. But really what it comes down to is why we do these blogs. I know my reason is to bring inspiring ideas to you, things that will get you running into the studio or thinking about how to challenge yourself or tips that might help resolve a design issue. This requires a lot of new work and new ideas. The people we might call masters have perfected a set of techniques and/or approaches to design that most of us have become familiar with, so there is a question as to whether a reader will be very enthused by a post on something they’ve seen before. But what this question did make me consider is what we can get out of revisiting the masters.

We can become so familiar with some things that we just can’t see what there is to learn from it any more. The first time I saw Jeffrey Lloyd Dever’s work was years ago in Art Jewelry magazine. I was floored by his technique and finish (still am actually!) and tried out the tutorial in those pages. I wasn’t very successful but I did learn quite a few things along the way about back-filling and finishing. The thing is, if I worked through that same tutorial now, I would learn something different. What I was able to glean from my exploration of his work then, is not what I would glean from it now. Jeff was at Synergy and had a gallery table of his work so I was able to see his pieces close up. This time it was the color choices that I pondered. That didn’t even cross my mind years ago when I was so focused on technique.

You can see by the detail of his Racine Art Museum installation why his colors might be just a tad intriguing. But is that what intrigues you? Maybe, maybe not. It all depends on where you are in your art and even where your thoughts are on this day.

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The point is, we should keep revisiting the masters, even the same pieces. The best work does not have just one thing to teach us or for us to take away. Really wonderful art will have many facets that will hit us differently at various points in our lives. So, I’ve been thinking … I should make a point here and there of revisiting even the most familiar work on this blog, give us a chance to get reacquainted with it and find what is new and exciting for us because of where we are as a community today. I’d love to hear that many of you are or will do the same. If you have any great discoveries in doing this, do let me know. We can share it here.

By the way, I pulled this image of Jeff’s work from the Polymer Art Archive which is also a treasure of a source for work from our past as well as our present. It is well worth reading and visiting on a regular basis.

Best Business Practice: Cooperation not Competition

If you have the first issue of The Polymer Arts, you may have read the back page Muse’s Corner piece written by Marjon Donker and Saskia Veltenaar, the editors of From Polymer to Art. It told the story of how we e-meet and why we decided to work together, not compete, even though we were all producing polymer clay magazines.

The thing is, I would not have started The Polymer Arts magazine if Marjon and Saskia were producing the same type of magazine I wanted to produce. Nor would I have done so if our other industry magazine, Polymer Cafe was covering the material I wanted to cover. So, when it came down to it, we weren’t at all competing, rather we were complementing each other. The ways things are now, hobbyists and those who just want to play with polymer have Polymer Cafe to look to for basics and fun projects while the more experienced clayer who wants to branch out can look to From Polymer to Art for more advanced projects and articles on issues that interest the polymer fan. For those who look at what they do or aspire to as serious art or are looking to make their craft into an income producing business, they have The Polymer Arts to push and challenge them, make them think, and help them build a better art business. As one of the attendees said during the magazine editor’s panel, we’re now covering the full range for polymer clayers.

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Polymer magazine editors after our Q&A panel at Synergy 3. Starting top left and going clockwise, Sage Bray (The Polymer Arts), Anne Huizenga (Polymer Cafe), Saskia & Marjon (From Polymer To Art)

Do we have different philosophies on publishing for this community? Yes, we certainly do but we all have the similar goal of spreading the wonder and improving the work of polymer artists, regardless of their level of work.  We all four talked over the week in Atlanta for this reason. All the editors even came to my Writing for Polymer in Print workshop (get the guidelines from this workshop on The Polymer Arts website)which was fabulous as the attendees got to hear from us all once again. That’s exactly how it should be.

The thing is, my magazine really NEEDS these other magazines. Someone new to the material might be overwhelmed by The Polymer Arts (unless they are really gung-ho and determined, are coming from another art medium, or they got the polymer bug bad from the start!) So yes, if you’re new, you may want to start with one of the other magazines and if you find yourself getting serious and want to push yourself and your art, we’ll be here. Or just give in and get them all. I do! You just can’t have too much polymer information, can you?

If you are interested in writing for a polymer publication, please do consider sending us ideas. Any of the editors here would love to see your ideas. Just help us out and send it to us one at a time. If what you have doesn’t fit my magazine, for example, I’ll pass it on to one of the other gals. The more we share as a community, the better it will be for clayers everywhere.

 

Finding Our Authentic Voice

One of the big discussions at Synergy (Are you tired of hearing about that show yet!? Sorry … it was just such a treasure box full of ideas and I want you all to benefit from it too) was about finding our voice as artists. I was not the only one that came away with this concept eating away at me. Linda Garbe jumped right on it with a new video discussing texture and materials in the context of finding personal creative expression. Her Box of Color, as seen below, showed up in the video and I just had to get a closer view. Linda kindly sent photos so we could all get a good look at the details. Talk about an authentic voice!

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Linda Garbe’s Box of Color, top view

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… and a view of the bamboo and fungi sides.

Linda says she created the box as a result of doing the exercises in Lindly Haunani and Maggie Maggio’s book Polymer Clay Color Inspirations.

While it took great discipline to do each and every exercise in order, it was well worth it. I learned a lot about color. The last exercise is to cover a box using what you have learned about color. I visited the Chicago Botanical Gardens during the time I was doing the color exercises. They have a Heritage Garden which show how early gardens featured one type of plant in each area. They did not mix plants together in the same flower bed as we do today. This garden became the inspiration for design of the box. Each side features one type of plant: bamboo, fungi, Queen Ann’s Lace, and ferns. The top is a fantasy garden created in my mind.”

This box and more of Linda’s explanation about its creation come in at about 3:10 on Linda’s video. The video starts out with thoughts on cultivating our own unique approach to creativity but the majority of it actually focuses on texturing and using everyday objects as tools. A lot of good ideas here so if you have a few minutes, sit back and soak up a little inspiration this weekend.

 

Polymer Pioneers

March 20, 2013

One of the truly exciting things about going to an event like Synergy is getting the chance to meet the people who you admire and aspire to be. Although you may have the opportunity to meet a great polymer artist by taking a class, there is nothing like a lengthy event like this, a retreat, or a workshop to give you the opportunity to chat and hear their stories.

At Synergy, we had the opportunity to not only talk to a large number of highly talented and innovative artists, but we were also treated to their presentations and panels. One of my personal highlights was the closing banquet’s presentation with three of the most influential polymer pioneers – Nan Roche, Kathleen Dustin and Lindly Haunani. They told stories of the good old days, how they started in polymer, and how they started organizing polymer artists and the hurdles they encountered in the early days. A lot of funny personal notes and anecdotes were included as well. It was just great fun to hear of our polymer beginnings from these very important artists who were there.

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I have my own personal anecdote about Nan Roche from this past week. For those of you who might not know, Nan wrote the first book on polymer clay, The New Claypublished back in 1992. That book precipitated the advent of polymer being considered a true art medium, and really pushed the public awareness of it. And today, it is still considered one of the best books on polymer for beginners. So this genius of woman comes up to me the first day of Synergy, all bubbly and kind of bouncing and says, “Oh, I just love your magazine!” I was floored and started babbling back about how much I admire her and what she has done for the polymer communtiy. I knew she subscribed (she gets both the print and digital versions of The Polymer Arts) but I thought it was just a matter of keeping track of the industry. As it turns out, Nan had to back away from doing polymer for a number of years, so she actually considers herself far less talented than many of the folks she is often grouped with, and finds The Polymer Arts inspiring. Whoa. I get some really touching compliments but a comment from someone like her … its hard to explain how much that meant to me.

As you take a closer look at the picture here, note all the pretties down in front of the presenter’s table. Those are the pieces that were auctioned off at the banquet–they include vintage pieces by Marie Segal, Jeffery Lloyd Dever and Lindly Haunani. Most of the larger events run by guilds have such auctions, giving the attendees a chance to buy some really wonderful work while supporting the organization – just another reason to make it to a retreat or other big polymer event. Check your local guild to see what they have going on and keep track of others through the IPCA newsletter, or by checking The Polymer Arts Resource list.

 

Success by Working Together

My apologies for this being late today. Travel plans were a little more hectic than expected, but I am safely back in Colorado after a most energizing week. Now that the majority of the fun is over, the hard work is about to start. I’ll be going through all my notes and recordings soon, putting together a picture of what Synergy was about. There were numerous important discussions, but they were only discussion – taking action is the important step and we’ll be doing our part here at The Polymer Arts to ensure, in whatever way we can, that discussions continue and the material we love is raised to higher ground.

We did have two extremely successful fundraising efforts at the show. The primary one was for the IPCA, and a good number of well-known artists donated to the auctions. This beautiful piece was donated by Julie Picarello who was not able to attend but sent this to be auctioned to help raise funds for the IPCA’s efforts.

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The IPCA auctions broke records, which is fantastic considering all of the whispering about big plans for the IPCA. On top of this generosity, individuals and the IPCA itself, as well as Ron LeHockey (each putting in $1,000; and Ron was matching funds … not the first time he’s done that!) pitched in to help raise the rest of the money needed for the Samunnat project. Not only did the group manage to meet the project’s goal, but it was actually surpassed by nearly $2,00o. Now, the women in Nepal who benefit from this can get the building they need, as well as furniture and other things that will make their lives and efforts easier and more impactful.

We’ll get out a bit more news this week along with some pretties but right now, I need to catch up on some sleep. Until then …

The Criticism We Need

March 17, 2013
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A large part of the conversation this week at Synergy had to do with our avoidance of constructive criticism. The consensus was unanimous – criticism is necessary to our growth and improvement as artists and community, but the hurdles we have to overcome to change a culture of “Like” into a supportive culture of thoughtful examination are huge. According to surveys conducted for this convention, the vast majority of polymer artists create because it is a source of enjoyment, not because they are trying to make a living off of it or get into galleries or museums. With such a base and the pervasive nature of our internet dependent community, it will be difficult for us to get even a fraction of our folks into a habit of giving and graciously accepting criticism of our artwork.

However, avoiding criticism does reduce the effectiveness of our efforts to grow the polymer image from hobbyist craft medium, to a serious fine art form. More so, we still need our hobbyists, and the criticism is not going to be – and should not be – an integral part of their process. Sometimes we should just enjoy the process of creating. But for the serious artists in our community, criticism needs to be seen as essential and, someday, common. Because the inverse of the quote above is true … what we do will mean next to nothing if we avoid criticism and the opportunity to improve our visual communication with the world we present our work to.

Okay … I got all kinds of serious. Perhaps its because last night was so not serious. Our closing banquet was fraught with silliness, innuendo, and wonderfully warm camaraderie. Our sides and faces hurt from laughing but the conviviality assisted the auction raising efforts. I don’t have the numbers, but I hear we raised a record amount to help the IPCA continue its efforts and changes we are hearing about.

Now off to the American Craft Council show to see what else is going on in the craft world.

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The Broken Telephone Project

March 16, 2013
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Another amazing day at Synergy yesterday. My brain is so full, details are falling out and left scattered behind me, as I amble from one session to another, from one spontaneous and passionate conversation to the next. I’ve been trying to stop to make notes throughout the day, but even going from my head to the computer, some information is incomplete or probably a tad skewed from how it was presented.

We each filter information differently due to our own personal preferences, emotional reactions and connection to the world, so the ideas and facts we relay are not always precisely what we were told. A fantastic example of how information is filtered and changed was illustrated yesterday through the “Broken Telephone Project”, an experiment in inspiration and reinterpretation that Dan Cormier put together for Synergy.  If you ever played the ‘telephone game’ as a kid, you might remember how a simple phrase whispered into the ear of the first person in line would become something completely different (and often quite hilarious) after being passed down the line, changed and reinterpreted by each person as it went.

In Dan’s version, the ‘message’ was sent via art work through a line of eight artists. Each artist was asked to reinterpret a brooch made by the artist that came before them in line, into a brooch of their own. Dan started it off by creating a piece inspired by imagery in the Mexican town he is presently living in, and then he sent it to the first artist on his list. This is Dan’s piece that started things off …

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The ‘message’  was sent down the line, each artist making a new brooch based on a prior artist’s brooch. The end result was a series of eight completely different, but also amazingly connected pieces of art. Unfortunately, I can’t say too much more, as the whole project was done beneath a cloak of secrecy (the artists only knew of the one artist that came before them in line, but were unaware of who participated in the project after them.) And Dan still has to reveal the line-up to the artists who weren’t present here at Synergy. But several things could be taken away from the project, including the value of working with or allowing other artists to influence one’s work as a challenge, which can push an artist in an unexpected direction. There was also some iconography that disappeared in some reinterpretations but then reappeared in later brooches, making us all wonder what kind of creative or cosmic connection there might be in the art work that we can’t see.

The presentation of the project this week at Synergy is not the end of this experiment. Dan will be finding a place to share this with all of you soon. The project also spurred a number of conversations about variations and similar projects that could be instigated – not only because they are fun and fascinating – but the collaborative work is another way to get the polymer community working together, with the possibility of more exposure at a high level within the global art world.

If you aren’t familiar with Dan and his partner Tracy Holmes, they work together to not only bring Dan’s incredible art to us all but they also design and sell unique polymer tools along with Dan’s intense master class book, Relief Beyond Belief.

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Outside Inspiration: The State of Craft Art in the Age of the Internet

March 15, 2013
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Its Friday … the day we blog about something other than polymer. But its been all polymer 24/7 here at Synergy! Or has it? In actuality, the talks have been more about art than just polymer, and the first talk yesterday was by a non-polymer artist, and it was the most inspiring conversation up to this moment.

The talk’s theme? The Good, The Bad and the Ugly (complete with theme music from the movie) presented by Harriete Estel Berman, an innovative mixed media artist and blogger. Harriete had fantastic insights and opinions on the state of craft in the internet age, and some really important points that you all should be aware of …  and can be! She posted a version of this talk on her blog, Ask Harriete.  She’s also posted  a PDF version of the presentation. Take some time to read this. I promise it will be very influential for you.

Here is the jist of it …  the internet has allowed us to share, learn and disseminate information at an amazingly fast rate in great volume – that is the good part. The bad side – there are no checks and balances on the validity of information, or much care being taken to properly credit artists and the originators of important ideas and techniques. The ugly has to do with the copying of material, derivative art work being passed along as original, and the commandeering of work with claims of it being one’s own.  Yep, that is pretty ugly.

The point that made me want to get up and cheer was the part of the discussion that pointed out the handicap that comes from the dependence on copying as a method for learning, without there being much of a push beyond that to find one’s own voice. If you read The Polymer Arts magazine, you know that our articles are crafted to get you to think for yourself and grow as an artist, not just as a crafter. It was great to hear that affirmation.

After you go through the talk, treat yourself to a couple minutes on Harriete’s website and sign up for her blog. Here’s a charming piece from her Symbol’s bead collection. There is some rumor that I am into ‘dark’ stuff, and apparently I have surprised or maybe disappointed a few people here (as well as a lot of people saying they had not realized I was so tall … I’m not crazy tall though. Does my editor’s head shot make me look short?!)

I thought I’d share Harriete’s “Scary Girl in Subdued Colors.” I promise I’m not scary but yes, I do like deeper darker colors. Nothing wrong with that, right?!

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This bracelet is primarily reclaimed materials … “constructed from recycled tin from post consumer recycled tin cans. Tins include Cinnamon Altoids tins, and my Scary Girl Lunch box with olive/green colors, browns, black and orange. Bronze Plexiglas center, brass tubing, black polymer clay spacer beads, clear stretch cords.”

Okay, off to learn more from this fabulous group. I’ll have more for you tomorrow!

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Set-Up Day at Synergy

March 14, 2013
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Being the first day, it was primarily dedicated to getting set up (and getting tons of hugs, and meeting people I e-know but haven’t yet meet in person.) It was a wonderful, crazy, whirlwind of a day. I didn’t get shots of eye candy yet– that will be done over the next few days for sure–but to give you a taste of who is here and what is going on, here are a few shots of the vendors and guests.

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LeAnn Armstrong, creator of the Simple Slicer (which we reviewed last issue) was the first person to ‘hug attack’ me. She’s a little thing with a HUGE personality and a big heart. What a great person to greet me those first few minutes after I arrived!

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Barbara McGuire, my hotel roommate and my saving grace (she came to my airport hotel to pick up me and my 100+ pounds of magazines and ‘stuff’ to got me to the conference!) is standing next to her very unique table of mixed media items that attendees were oh-ing & ah-ing over!

Iris Weiss of Polyform (Premo, Sculpey, etc.) teased us with new, not just yet available, products that will be rolling out next month. Teasing she was but I did get a promise that we'll get the new items to review. Yay!

Iris Weiss of Polyform (Premo, Sculpey, etc.) teased us with new, not-yet-available products that will be rolling out next month. She was teasing, but I did get promised that we’ll get the new items to review. Yay!

Okay … more tomorrow but I’m going after the pretty pieces being worn and shown today.

 

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Planning for Clay Immersion

March 12, 2013
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Well, today I’m off to Atlanta for five days of polymer & craft art inspiration and discussion. I plan on taking a lot of photos and notes, and have others who will be doing the same, so we can share as much of this once-every-other-year occasion as we can. I’ll actually be ending the trip with a day at the American Craft Council Show as well. Oh, the ideas I should have by the time I get back!

Stay tuned as I will be blogging from the show, and will post the best of what I see.

For those of you not making it to Atlanta, don’t fret. There will certainly be an upcoming event you can attend, where you can immerse yourself in polymer and creativity. Here are just a few …

Down under and in need of a good shot of inspiration? Pioneer artist and teacher Donna Kato is coming to Western Australia in May. She’ll be teaching classes May 25th-26th  and May 28th-29th in Geraldton.  If you are anywhere near the area, you really should plan on making this rare opportunity.  Click here for a flyer on the event, or go to their Facebook page www.facebook.com/MullewaArtsDevelopmentGroup

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Mullewa Arts Development group member Debbie Crothers’ symbol beads above. Deb and her cohorts bring polymer art to schools and hard to reach communities in Australia.

 

If you  really want to get away from it all, perhaps a cruise would just the thing – this year the Polymer Paradise Cruise sets sail from Florida and is heading to the eastern Caribbean October 19th-26th. Lisa Pavelka, Christi Friesen and Maureen Carlson are on the docket to teach classes and (considering the group) have a riot of fun. You can get all of the details on the event website.

If either of these are too far or too far off, maybe one of these retreats will be closer:

3rd Annual OK Poly-Clay Twisters Retreat: April 11th-13th in Norman, Oklahoma. Three days of uninterrupted claying and classes.

Orlando Clay Fandango: May 2nd-6th in Orlando Florida. This retreat includes auctions, swaps, vendors, and a boutique along with five days of claying classes and demos.

There is certainly more going on later in the year and across the globe. You can go to The Polymer Arts Resouce page for the latest news. And if you know of an event anywhere in the world that needs to be listed, use the form on the resource page to let us know.

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Should there be a Central Polymer Educational Resource?

March 5, 2013
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The polymer community has a wealth of information available through numerous channels but what we don’t have is a definitive source for the many skills, techniques, and terms that a polymer artist would want to become familiar with in order to grow and succeed in their art. With much of the information available being based on individual experiences it can be confusing to newer artists looking for a ‘right way’. Because of this the question has arisen, “Do we need a central resource with definitive information for our medium?”

At the upcoming Synergy 3 conference Maggie Maggio and I will lead a discussion on this topic to find out what the community would like to see and how viable the idea is. We’ll plan to discuss the possible goals for a central Polymer Art resource that focuses on the education of artists, confirming best approaches & practices, and centralizing information. We’ll also try to determine how such a resource could be built, maintained and funded.

Since many of you will not be able to attend Synergy or the workshop even if there, we wanted to get your opinion and give you a voice that we can take to the discussion. To this end we’ve created a short survey. Take just a moment to add your voice to the conversation: Central Polymer Resource Survey

And since I can’t leave you without something to potentially oh and ah over, here is one of Maggie’s newer pieces.

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Maggie is exploring the structural capabilities of polymer, which considering her architectural materials background, would seem a natural direction for her.  In her words: “I am searching for ways to take advantage of the inherent strengths of polymer clay — its malleability, flexibility, lightness, and unlimited color palette. I am currently exploring forms inspired by the structural skeletons of plants and animals and playing with pieces that wrap the neck and arms. I am using polymer alone.” She’ll be presenting her structural polymer ideas at Synergy next week as well.

I’ll be reporting on our activities from Synergy next week, but in the meantime I hope you fill out the survey and have your voice heard.

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Synergy Presenters Announced

September 1, 2012
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Synergy, the one and only keynote polymer clay community conference run by the IPCA, is set for March 2013 in Atlanta. Information on presenters and programming is starting to emerge.

Yours truly is honored to be one of the presenters and panelists. I’ll have presentations on the new idea for a central polymer clay online knowledge library with Maggie Maggio as well as a workshop on turning your love of polymer into publication opportunities. I have also been asked to be represent The Polymer Arts magazine (I’m not sure who else would have … I think my cat might feel she has a thing or two to say on the matter!) on a panel on craft publications where we’ll answer questions and, I hope, get the kind of input from you, the community, that can help direct the content we publishers will be offering you in the coming years.

The real draw though would be just the wealth of information, the insane level of creative brain waves that will infuse the conference, and the chance to meet truly huge names in our scene such as Christi Friesen, Judy Belcher, Lindly Haunani, Cynthia Tinnapple, and Jeffery Lloyd Dever — all of whom will be presenting and teaching workshops.

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