Thursday, April 1, 2010

A few pictures of some of the dragons I finished for Synergy2

In the order which they were created:
Knotted Thoughts

Out For A Flight

I Dare You or Evoran Found A Treasure

I showed these to Christi Friesen, and she likes the direction I am going with my dragons. I admire her work and much like her, I like spirals, little dots and have been influenced by the Art Nouveau style. I really like dragons but avoided doing them for a long time because I did not want to have my work look too much hers. She assures me that they don't. What do you think?

Thursday, March 4, 2010

Artistic Voice

One of the re-occurring themes that I noticed at the Synergy2 conference was that of artistic voice. Trying to figure out what that is and how it works for me has been an on-going challenge. I don't feel that I have anything momentous to say with my art. Because of that I kind of abandoned trying to identify my voice. What I want to do is make pretty things, but that in itself can be a statement.
Now, I don't think that it was any coordinated or planned thing that artistic voice kept coming up at Synergy2. In fact it may well be that I simply noticed it because I was ready to hear it and begin to process. Having voice brought up over and over again with different little spins on it throughout the conference really got me thinking again. I have come to some conclusions.

1. You don't have to have something momentous to say in order to have a defined artistic voice.
2. It is not something that you necessarily consciously work on.
3. As one of the presenters said (sorry I don't remember who), sometimes you just have to collect your work from a span of time and look at it anew to even begin to see what makes it unified and yours.
4. I should relax about the whole voice thing and not try to push it. As long as I am true to myself it will be there.

I did a quick search and found a few links to posts or articles that were about finding your artistic voice. I don't want to step on anybody's toes, so instead of quoting sections (some would be large sections) of these, I am simply going to give you the urls for them.

From "Pottery Production Practices", an article by Laurie Erdman on how her artistic voice developed. http://www.ceramicindustry.com/Articles/PPP_Archives/BNP_GUID_9-5-2006_A_10000000000000767224

From "develop on fridays" a post by Jefra Starr Linn on your creative voice.
http://www.jefrastarrlinn.com/develop/voice/

From "Entrepreneur The Arts" an article by Jim Hart entitled "10 Steps to Finding your Artistic Voice".
http://blog.entrepreneurthearts.com/2009/08/26/ten-steps-to-finding-your-artistic-voice/

Friday, February 26, 2010

Having Fun at Synergy2

I have been having fun at Synergy2. My brain hasn't exploded from all the information yet, but there are still two more days of classes to go.
There was a beautiful cake for the 20th anniversary of the National Polymer Clay Guild (now the International Polymer Clay Association) made by Charm City Cakes. I was lucky enough to get a fairly good shot of it.
 
Here are just a few of us who were trying to get a picture of it before it is cut. It was quite a crowd.

 
And here is why I love the zoom on my camera. I was still standing in the same place as when I took the other shot, but was able to zoom in on the cake itself.

Wednesday, February 10, 2010

Kato Clay - Joys and Challenges

Ah, Kato Clay... Wonderful stuff once you get it moving, but the aggravation to get it there. Or so I once thought. I have found that it listens to force quite well and that once you have it conditioned, you do not have to resort to extreme measures for a year or more.
What I do is a modification of the technique that Jana Roberts Benzon uses. While she prefers to work with whole blocks of clay that are still in the wrapper, I many times only want to work with a relatively small amount of clay. I also will buy my clay in the big bricks, so conditioning that much clay is rather time consuming.
My process is this:
*Slice off a section of clay the size you want to work with. You don't have to get it all in one chunk. Don't worry about it crumbling, we'll take care of that soon.

*Assemble the slices, chunks or crumbles into a pile on a hard, smooth work surface. My worktable is wood on which I have set a glass table top.

*Take a wide smooth faced hammer like the wide face on a ball pean hammer or a chasing hammer and start hitting the clay.

*Because the face is smooth, almost none of the clay will stick to it and the little bit that does is easy to scrape off with a clay blade.

*Keep hammering until most of the clay pile starts squishing instead of cracking. You don't have to hit it really hard, but you do want to try to make a dent in the clay. The edges of your pile will still probably be crumbly if you have not struck those as much. Since I work on glass, that is what I tend to do.

*Cut the pile and rearrange it so that the edge pieces are now toward the middle so you can hammer them too.

*Keep hammering, rearranging and hammering the clay until it is soft and pliable.

*Now you can either use your brayer to flatten it out to a thickness that will go through your pasta machine, or you can use the hammering process and let the clay spread out and thin.

*Run the well hammered clay through your pasta machine at the thickest or next to thickest setting, and continue conditioning it as you would a more compliant clay. You should not have to do too much at this point.

*If you find it is still crumbling, just assemble the crumbles and start hammering again.

Using this technique I have been able to "tame" Kato clay into doing my bidding every time.

Thursday, February 4, 2010

Working on items for Synergy2

Here are some of the items I have been working on for Synergy2 later this month.
It is pretty obvious that I have been influenced somewhat by the work of Christi Friesen, but hey, I love dragons and swirls too!

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