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 Feb 22 2008 | Filed under: 1995, Backfill, Micromosaic, Ravensdale 1996, Toops
Here’s another treat for your viewing pleasure to tide you over until I return from the ACC Baltimore Craft Show.
When I began to think seriously about building a substantial collection of polymer art, I wanted my first purchase to be literally the cornerstone: the most significant piece I could afford by the finest artist I […]
Elise on Feb 01 2008 | Filed under: 1993, 1994, 1995, 1995 Polymer Clay Calendar, Ford, Julie: Artisans Gallery, Nonpareils, Toops, Voulkos, Zinman
Coining new words is not my specialty, but the last three posts on this site seemed to demand a descriptive term for the tiny, hand formed polymer balls used by Lori, Amy, Cynthia, Pier and others. For the purpose of uniform terminology, let’s call them “nonpareils.”
When I asked Amy Zinman about the technical inspiration […]
Elise on Jan 25 2008 | Filed under: 1995, 1998, Feiss, Illuminating a Medium: Polymer Retrospective, Muse NPCG 2001 Conference, Nonpareils, Toops, Zinman
Having given birth to this website exactly a month ago, and having nursed it through its formative days, I’ve gained some unexpected rewards.
To get the site up and running, I’ve had to review thousands of slides that had been sitting in boxes as well as taking new photos of my own polymer art collection and […]
David on Jan 22 2008 | Filed under: 1994, 1995, Caning, Ford, Forlano, Ink Transfer, Translucent Layering
After returning from a trip to Japan in 1994, I felt inspired by much of the textile design I had seen there.
Steve (Ford) and I were looking for new cane ideas as well as new jewelry forms to work with. After looking closely at much of the ikat patterns we found in books and Japanese […]
Elise on Jan 11 2008 | Filed under: 1995, Haunani, Liska, Shrinemont, Tube Beads, Winters
It seems to me that innovation in the medium of polymer often resembles our own adult version of “telephone.” One artist comes up with a great concept, something she just has to tell a colleague about. In a rush of excitement, that second person passes along the original idea, inevitably adding a personal twist or […]
Lindly on Jan 08 2008 | Filed under: 1995, Liska, Shrinemont
Over the span of three National Polymer Clay Guild Retreats at Shrinemont, I was able to witness the evolution of Laura Liska’s bargello beads. One year she spent hours mixing color samples that nestled back into a neat hexagram, another year she experimented with different shapes for her beads, earrings and necklaces. Every aspect of […]
Kathleen on Jan 01 2008 | Filed under: 1989, 1995, Color transfer, Dustin, Feiss, Forlano, International Bead Conference, Translucent Layering, Voulkos
I first became intrigued by the particular characteristics of translucent polymer in 1989 when I made two goblet forms entitled “Angel’s Goblets.” I layered it very thinly with some opaque millefiore intending to let light pass through it in order to see patterns layered over other patterns. I did not continue exploring this whole idea, […]
Elise on Dec 28 2007 | Filed under: 1995, Amt, Chatoyance, Dustin, Ford, Forlano, Gibson, Haunani, Hughes, International Bead Conference, Roche, Toops, Voulkos
This image, stunning for its deceptive simplicity, provides unusual insight into the development of polymer artistry. Shown are the 12 beads Pier Voulkos brought to exhibit and sell at the 1995 International Bead conference in Washington D.C. Those who know Pier’s work well will recognize that these beads both mapped her past work and forecast her future. […]
Elise on Dec 22 2007 | Filed under: 1991, 1995, 1996, Allen, Ashcroft, Flower Valley Press, Haunani, Publications, Roche
Many acknowledge Nan Roche and her book, The New Clay, as the source and the early inspiration for the explosion of information about polymer and its growth as a medium for artistry.
But how many realize that this could never have happened without the support and vision of Seymour Bress, founder of Flower Valley Press. In […]