Martha on Jun 20 2008 | Filed under: 1997, Arrowmont NPCG 1997 Conference, Ford, NPCG, Recent History, 1997 NPCG
Elise asked me to lead a small team of volunteers to research and write about gatherings that influenced the development of polymer as an art medium. This is the second of these posts and we hope to follow up with more. Special thanks to Steven Ford who provided this information about the Arrowmont Conference.
Name […]
Elise on Jun 06 2008 | Filed under: 1997, MIPCES Exhibition, Regan
INSOMNIA BOWL, Undreamt Dreams
12¾” x 11¾” x 3¼”
For the MIPCES catalog, Margaret Regan wrote:
“I like images that float, and my work is characterized by a high degree of drift and space. There’s a dream state where you recognize an object, but not it’s surroundings. I love the interaction of control with happenstance, and the blend […]
Elise on May 30 2008 | Filed under: 1997, MIPCES Exhibition, Toops
ANEMONE HAT
polymer clay, brass, velvet, aluminum screen
7” diameter, 3 1/2”h
In the MIPCES catalog, Cynthia Toops wrote: “Dan and I create beads for elaborate jewelry pieces. For this project I wanted to make a full-size hat and imposed one restriction- no beads. We partially encased wire elements in polymer clay in a different way […]
Elise on May 23 2008 | Filed under: 1997, MIPCES Exhibition, Voulkos
POCKETS AND PILLOWS OF AIR
2 ½’ x 3’ x 3″
For the MIPCES catalog, Pier wrote: “This unique clay softens before it hardens in the baking. So most often a large form needs some kind of internal or external armature to keep it from distorting or collapsing while it bakes. I tried air […]
Elise on May 16 2008 | Filed under: 1997, Hughes, MIPCES Exhibition
OLA NYINGMA
peace-pole, prayer-wheel
Approx. 14′ h
In 1996, when Tory Hughes first heard rumors about Michael Grove’s Wall of Polymer, she immediately sensed a creative challenge. I remember the sly smile on her lips, the emphatic quality of her voice when she swore not to be outdone by “the men.” If anybody was going to construct […]
Elise on May 08 2008 | Filed under: 1997, Grove, MIPCES Exhibition
Ruth Anne Grove, WAITING TO DISAPPEAR
wall mural, approx 15 feet wide
We all know and can appreciate the rallying cry of the 1970’s environmental movement, “Small is Beautiful.” Many polymer artists have put that aphorism into practice. Cynthia Toops made “small is beautiful” into what you might call a devotional practice, a religious worship.
So when the […]
Rachel on Apr 15 2008 | Filed under: Blackford, Carlson, Critical Commentary, Dewey
The first time I encountered Leslie Blackford’s inventive creations was the summer of 2007. It was decidedly different from the figurative polymer work I had seen before. From the early days of polymer clay, many artists have found the material to be well suited to sculpting. Two notable artists who use […]
Martha on Apr 11 2008 | Filed under: 1997, Allen, Amt, Breen, Dever, Dewey, Dustin, Feiss, Ford, Forlano, Gibson, Grove, Haunani, Hughes, Kato, Liska, MIPCES Exhibition, NPCG, Regan, Roche, Toops, Voulkos, Winters, Zinman
Elise asked me to lead a small team of volunteers to research and write about gatherings that influenced the development of polymer as an art medium. This is the first of these posts and we hope to follow up with more. Special thanks to Nancy Travers who organized all the materials about MIPCES.
Masters’ Invitational Polymer […]
Elise on Apr 08 2008 | Filed under: 1995, 1997, Julie: Artisans Gallery, MIPCES, NPCG, OCCC School of Art, Voulkos, Winters
Twice in my lifetime I’ve held golden treasure in my hands, two unrecognized artistic creations that were being offered up for sale — at the price of lead or tin. Buying both of those objects altered my life and led me to where I am today.
The second purchase, a pair of polymer clay earrings in […]
Elise on Apr 04 2008 | Filed under: 1994, 1996, Grove
By the mid 1990’s Michael and Ruth Anne Grove had become masters of what was then called the “step blend”. They used the technique not just to add shading within their cane but to create intricate texture and pattern as seen in this brooch.