At an invitational gallery show in France, Metal Clay jewellery by seventeen international artists is featured until June 11th. The show is the dream project for artist Angela Baduel-Crispin. PÔLE BIJOU GALERIE in Baccarat, France will display the works for the next four months. Are you unable to travel to France to see the show? We have a virtual tour of the show. The artists’ pieces and information is organized by country.
This exhibition is the first of its kind. It focuses on giving visibility to both this relatively new material and to artists of international renown who have pushed metal clay to it’s highest potential! Seventeen international artists (all women) each with her own their different styles and techniques. 70% of the work in the show is jewelry and the other 30% or so is composed of objects in metal clay. We were very thankful that number of artists were invited and submitted their work for the show. Selection was strongly based on originality of the work and technical proficiency.
The show started on January 16th and runs until the 11th of June. The official opening was on February 9th.
Tribal Warrior Woman symbolizes Every woman, at once simple and complex, guarded and protective, secure and vulnerable, functional and decorative. She stands strong, fights fiercely for her own, opens herself with love, enfolds all into her armour for both defense and nurture. Her chains are not only the ties that bind but also the connections between women around the world. Made from the very earth of Australia, Warrior Woman is accompanied by Wolf, a symbol of her visionary creator, loyal yet fierce protector/companion giving both strength and worldly knowledge.
Like every woman, Warrior Woman gives pieces of herself to nurture and enhance others, remaining whole in and of herself. Appearing to be nothing more than a statue, her armour is symbolic and trans-formative, revealing interconnected pieces of exquisite jewellery. Functional and decorative pieces include her arm guards becoming earrings; her shield, a stick pin; the bow and arrow across her back, a bracelet.
Warrior Woman was sculpted completely by hand from Aussie Metal Clay. Unlike traditional metalwork in which precise measurements remain true, metal clays shrink varying amounts during both drying and firing stages. Using five colours in two different firing temperature ranges, Kim combined beauty and functionality, seamlessly fitting the jewellery pieces, while accounting for the differences in shrinkage, malleability, and strength of the two High Fire colours of the armour and three Medium Fire colours of the body, the like types fired together. During her creation, Kim also perfected a unique metal clay glue enabling finer, more delicate pieces to be invisibly affixed.
Kim, a lifelong Australian, has been a renowned designer of dog jewellery and accessories for many years. She pioneered personalized pet sculptures using traditional metal casting techniques. A new world unfolded when introduced to metal clay. “Knowing No Boundaries” Kim’s motto, encourages her to be an innovator in metal clay. Warrior Woman’s inspiration appeared as both form and symbolism in a dream, with a personal message about life’s battles. Kim relates, “Sculpting Warrior Woman pushed me to areas I had not ventured before. She helped make me into the sculptor I am today, and for that I am forever thankful to her.”
Chicago based jewellery maker Marco Fleseri has been working with metal clay since 2003. “I made some crude dangly shapes and textured them using the point of a toothpick,” he told me. “I knew it had potential, particularly for creating things that would be difficult or impossible to produce using previous/ traditional methods.”
I asked Marco about his earliest memory of being creative. “When I was five years old I made some blobs that I thought resembled fish, using a papier-mâché I had fashioned by soaking crumpled facial tissue with glue. I sculpted the shapes and let them dry. I was later dismayed when I put my ‘fish’ into a bowl of water and they dissolved.”
Marco’s studio is in a building with other artists and I’m always interested to find out how organised other people are. “My studio is usually somewhat organized, unless I have several projects happening simultaneously.” I can relate to that! Continue reading…
Imagine chatting about the history and the future of jewelry design while sitting in a warehouse stacked floor to ceiling with boxes and boxes of mostly vintage beads and jewelry making components. What an astounding wonderland of inspiration! I metwithCarlandElyseSchimel,co-ownersofCJSSalesinNewYork City, one of my favorite places to head for a creative boost.
(Image: Wire wrapped stone necklace design by Carl Schimel.)
The CJS Sales warehouse is located on 36th Street between 5th and 6th Avenues in New York City. Savvy jewelry designers can spend hours poring through this extraordinary trea-sure trove that holds literally millions of vintage beads and jewelry making supplies with limitless design potential. The Schimels are constantly seeking out great buys on anything that might be used for making jewelry and accessories.
“We bought a chandelier store that went out of business…[and] a rhinestone factory. We try to keep things that will be inspiration for people and [are] also unusual and different. We price at what we bought it at, so you can get quality vintage parts that are not found on today’s mar- ket at great prices,” said Elyse. To help designers compete and allow their work to stand out, Elyse and Carl sell only to wholesale customers who come to the warehouse. “We do not sell on the internet or show broad images. We do this to protect our buyers. Our customers are very knowledgeable. We believe in promoting design- ers, fostering new ones, to give them an edge.”
(Image: The Milwaukee Sentinel – July 31, 1969)
As a jewelry maker, I marvel that Carl stayed constantly ahead of the curve with his fashion-forward jewelry designs for more than 50 years. It was fascinating to listen to him talk about why he created the line and the manufacturing hurdles he had to overcome to get “Kim Crafts- men” jewelry out to buyers.
I was curious about how the Kim Craftsmen showroom and design space morphed into this vast warehouse of jewelry making supplies.
Elyse explained, “When Carl was liquidating [his jewelry manufacturing business] I started cold calling people. He thought it was cute [and] he was giving me a 100% commission. I started to bring in big accounts, he started to buy [at] fire sales and we started a wholesale liquidation business.” Carl adds, “If I had to describe the business I’d say it is a designer’s quarry. Designers come here to dig out treasures.”
I can personally attest to the digging! When I pay Carl and Elyse’s warehouse a visit, I come prepared by dressing as if I were to go climbing, I bring a rolling suitcase (after one visit where I lugged 30 lbs of beads in a shoulder bag thirteen blocks in NYC) and of course water and a cell phone—in case I get lost or to keep track of time. Losing a day in here is an easy thing to do!
As Elyse showed Art Deco glass beads, unfinished brooch components from the 1950s and mouth-blown glass beads, her father talked about how the artist’s hand should be apparent in his or her work. Carl used the term analog to explain how he worked. “To me [using] a pencil is analog. When you write with a pencil there’s pressure, there’s a difference in how it looks. You can write the same thing ten times…it will be the same each time but [also] different. When I caged stones using wire wrapping the concept being used was ‘mass individuality’; everyonecould have a caged stone but all of them were different.” Today he is intrigued by the idea of what he might have made if metal clay had been on the market when he was making fashion jewelry. “What happens is, as an artist you use the materials that are available at that time in the best ways that you can. But can you imag- ine what Alexander Calder would have done if [metal clay] had been available to him?”
Elyse models one of her father’s body jewelry pieces. This image is reminiscent of a photo from a 1969 newspaper article about his work.
Calder, a world renowned sculptor best known for inventing the hanging kinetic sculp- ture form known as a mobile, had a tremendous influence on Carl’s jewelry design. “When I got his…enormous book of jewelry it showed him working in his studio…a lot of his style of jewelry was much more understandable to me. He wasn’t using goldsmith tools, sized for jewelry making. His tools were large anvils with heavy handles, blacksmith tools, as he was used to making large mobiles and stabiles so there’s immediacy to the way Calder worked, and it showed in his work. If you look at his pieces, there’s a freshness still to his work. You can feel the hand, the way he twisted and moved to create his pieces. That’s analog!” Carl exclaimed. “You can always recognize his tools…for example if he used a hammer with a scratch on it, it would show on his piece like a fingerprint.” Carl went on to explain how metal clay is analog. “It is hands-on. In an age where a tremendous amount of design is going digital, the look is just opposite—180 degrees opposite. I’m sure [the artists using digital design tools] are very, very fine designers. It doesn’t look like jewelry that I’m used to. Metal clay takes me back to when we made jewelry. And we wanted to call it ‘Artistry in Metal’ because at that time, in the 50s and 60s and 70s, bench designers sat down and worked with the material, they under- stood the material. Metal clay is another vehicle for artists to express themselves. It is a phenomenal material….”
(Photos of jewelry by Kim Craftsmen, a company owned by Carl Schimel and his brother.)
I couldn’t agree more! Combine metal clay with some of the vintage beads and findings at CJS Sales and you’d have an exquisite combination of a modern material matched with vintage beads. If travel to New York City is not an option, seek out your own local charity, “antique” shops, or online for vintage elements to add to your own jewelry. When I find my creativity waning, a visit here spurs new ideas in new directions. It is like going to a museum for in- spiration, except that here you can take home the items that inspire you and use them in your work! Elyse showed me old pedals from a ma- chine. I forget what machine they were for because I was focused on the typeface used for the logotype imprinted on them! Inspiration for a new line of necklaces, perhaps? Now how to explain to the TSA agents at the airport that I need to bring home a half dozen metal pedals even though I have no idea what they are for!
CJS Sales: www.cjssales.com, 16 West 36th Street, 2nd floor, between 5th and 6th Aves., New York, New York 10018 (212) 244-1400
I’ve been an admirer of Cindy Miller’s work for a long time so I was really happy to have the opportunity to find out more about her for this profile.
(Photo: “Branch with Labradorite and Drops” Necklace by Cindy Miller)
Raised in Alabama, Cindy is now a full-time studio artist. “I’m single and live in Athens, Alabama with my Maine Coon Cat Taz – she’s a big girl and ‘helps’ me a lot,” she smiled. “I have also been adopted by several feral cats that live in the neighborhood so I always have an escort to my car. I live on the Tennessee River next door to my sister and her husband. They have created a beautiful retreat at the river and being there is very relaxing.”
This interview appeared in the 2nd anniversary issue of Metal Clay Artist Magazine in 2011. We loved Jen’s work then and continue to follow her career as a jewellery designer. (Note: New pieces from 2016 appear at the end of the article along with contact information to see the entire collection.)
She sells her work through several venues. “I have an Etsy shop and I sell my work at an outdoor Artist Market in Burlington on Saturdays from May through October. I also have my work in a lovely accessory boutique in Burlington called Trinket and I do a few local holiday craft shows and trunk shows.” I asked her what tips she had for artists who want to sell their work in the same way. “If you’re selling online, take fab photos. If you’re selling at a craft show, find or make great displays that jive with your work. And for selling in shops, approach shops/galleries very professionally and creatively. Remember, every part of everything is an opportunity to be creative! Use letterhead with an image of your jewelry on it. If you’re delivering work in a box, make the box beautiful. These are all chances to show how passionate and how good you are and to impress that on people.”
She finds inspiration in science fiction and fantasy and loves a good story where disbelief can be suspended in favour of wonder. Her practical and ultra-organised side is always vyingfor attention alongside her creative and messy side. Each is trying hard to learn from the other and live in harmony.
She’s been creative from an early age. “There’s the really early mud pie phase, but my first efforts at actually making something would be when I was about six or seven and my grandmother taught me to sew on her Singer treadle sewing machine. Not sure how I reached the treadle, but I’ve been sewing ever since. I was hell bent on becoming a fashion designer. Now I’m relieved that never happened and I still enjoy making my own clothes.”
She continued, “I was pushing 40 when I began making and selling my jewellery. Before that, my resume reads like a novella. I worked in clothing retail, was a department store buyer at 19 and assistant manager of a mall store boutique at 21, then moved on to more clerical work, working in offices, then banks and real estate lending. My favourite job title was File Librarian for the Medicaid Billing System for the State of Florida … talk about a paper pusher! I’m a firm believer it’s never too late to discover and follow your bliss.”
Kathy considers herself to be a designer/maker rather than a jeweller. She lives in Gainesville, Florida with her husband. “Dave and I will have been married for 36 years in July 2016. We currently share our home with one senior citizen kitty, 18 year old Miss Zoe. Last year we bought a classic mid-century, concrete block and terrazzo floors ‘atomic ranch’. It’s an east/west orientation and has the most wonderful morning and afternoon light, perfect for leisurely mornings sipping tea and reading the NY Times.”
Her work is so unique, I asked her what her main influences are. “It kind of depends on what I’m making. My more minimal CORE body of work tends to be inspired by patterns in nature and clothing. Repetition of form is a regular theme in my work. How many ways can I use just one element? And in clothing, I’m kind of obsessed with a whole genre of European and Japanese designers whose work is raw and somewhat avant-garde.”
“My Urban Primitive work is inspired by the ornament of ancient cultures of the South Pacific, Oceania and South America as well as Japanese folk potters. And for general visual juice, the NY Times Style magazine and the Wall Street Journal monthly magazine always have at least one little inspiring bit of something.” I asked Kathy which of her pieces she feels reflect these influences best. “My ‘Stacked Cubes’ necklace is an excellent example of the clothing/repetition inspirations and ‘Aegean Muse’ very much speaks to the Oceania/tribal influences.”
Like many of her contemporaries, Kathy first heard about metal clay in the article in Ornament Magazine in the 1990’s. “I can honestly say that article changed my life,” she explained. “It was about the first group of makers with Tim McCreight at the helm, set up for a week or so by Mitsubishi at Haystack School in Maine.
Coming from a clay and pottery background and having no real interest in traditional metalsmithing or fabrication, it was literally a dream come true.” “My clay background was immensely helpful – no fear of kilns! Late ’97, I bought a 100 gram lump of original PMC, hauled out my clay tools and dove in with a tiny clay test kiln with manual controls that I rigged up with a digital pyrometer. I had to watch the temperature and dial down the controls until I could get it to hold at 1650 for the 2 hours. Tedious, but that was long before there were any small, affordable digital kilns. I think the first things I made were some dangly bits for earrings and beaded necklaces.”
“These are what I think of as my fancy, ‘look at what I can do’ show pieces. Each new version of metal clay allowed an expansion of techniques and experiments which led to my jewellery getting more and more elaborate as in my ‘Vertebrae’ collar.” This is PMC3 and white beach glass fumed by the silver, recycled glass beads wrapped with PMC3 strips, and the pendant is beach glass and glass frit. It’s all lashed together with linen.”
The nature of Kathy’s work is pretty organic so I was interested in how much planning goes into each piece. “I sketch a bit, but not much. I’m more likely to write descriptions of ideas with very rough sketches. In addition to bigger focal elements, I like to make a whole bunch of components, lots and lots of the same element. My CORE group of work is all about repetition of form and it’s always a joy to sit at my worktable working out all the ways an element can be used.”
“For the Urban Primitive pieces, I sit down to my worktable, see where my gaze lands and start pulling out gems and artifacts and bits and bobs. It feels very much like composing through improvisation. I assemble my palette and let intuition guide me. The completed piece is always a delightful surprise.”
As such a lover of metal clay, I asked Kathy if she used any other techniques in her work. “I do utilize some silver smithing skills, mostly very simple soldering with a butane torch and easy solder paste,” she explained. “I make all my own findings, ear wires and clasps. My variation on the “S” hook is forged and soldered. And cord, golly do I love making cord. I’ve taught myself how to ply cord into various thicknesses in lengths up to 6’ or 8’ and, via YouTube, how to braid 3 and 5 loop cords. The loop braided cords are time consuming and the length is limited by my arm span, not much as I’m 5’2”, but they are complex and lovely and a nice complement to my more minimal pieces. The cords in combination with hand cut leather and stitching provide a beautiful, earthy element to the work.”
I asked Kathy if she had a particular piece of work that really means something to her. “I remember the first big piece I sold. It was called ‘Le Monde’. It was a statement piece of graduated, highly textured original PMC beads alternating with artisan lampwork glass Basha beads by Barbara Metzger and Rory Ross’ raku beads. I was at a really teeny local craft show and had the piece with me, basically for show. A couple I knew, well known collectors and art patrons, wanted to buy it. I was stunned. ‘How much was it?’ Uhhhh, $800? SOLD! I packaged the piece up, sent the lovely couple on their way and then promptly burst into tears. I felt like I had truly arrived.”
I asked Kathy to tell me a bit more about where she sells her work. “At first, I sold my jewellery at juried craft fairs and wholesale to small galleries and women’s boutiques,” she explained. “In ’06 I designed a lovely little wholesale collection and connected with a team of sales reps. Through what was then the Gift Show circuit, they got my work into museum stores like the San Francisco Museum of Modern Art, Seattle Art Museum and high-end craft galleries like Real Mother Goose in Portland, OR and the Ansel Adams Gallery in Yosemite.
I’m really proud of the fact that at one point I had close to 50 wholesale accounts, all done by me, all fine silver PMC. I supported our family and put my husband through his first librarian certificate degree with my jewellery. These days, I have a couple of galleries that I still work with, but now I sell my work mostly through my own website.”
Images: “Landscape Rings” and “Landscape trio 3” by Kathy Van Kleeck
I asked Kathy what she is currently working on. “Interesting thing, this question and it’s got me quite gummed up. I’ve been developing a new group of jewellery with the working moniker of Bare Bones, looking to the ornament of very primitive cultures for inspiration and how to loosen up my already minimal work, make things less pristine. I’m exploring how I can further deconstruct what I do, make it less refined, almost crude, but still wearable and durable. I thought I was moving right along on this recent track, but deciding on an image to share stopped me dead. I have a feeling there’s going to be a lot of tweaking, more exploration and revisiting some themes of past work.”
“Whatever I do next, it will be the most authentic expression of my aesthetic to date and since it’s all still very much in my head, I don’t have any images to share. As of right this moment, the ideas feel very fresh and exciting, making me want to step immediately away from this keyboard and get to work!”
She went on, “PMC3 remains my favourite metal clay as it allows me to work very dry, folding and layering components till they barely hold together. To a lesser degree, I also use BronzClay and Hadar’s Steel. I’d like to do some larger, focal pieces in combination with other mediums. Right now, concrete is calling to me and maybe fused glass or eco resin or some combination of all of the above mediums and metal clays. A lot of what I do is pretty minimal and rustic. I want to go even further with that, in the vein of “art brut”, create work that is raw, but full of heart and life, work that is stripped to the absolute and essential core, but fully resolved and engaging.”
She finds inspiration in science fiction and fantasy and loves a good story where disbelief can be suspended in favour of wonder. Her practical and ultra-organised side is always vyingfor attention alongside her creative and messy side. Each is trying hard to learn from the other and live in harmony.
I was introduced to the work of Canadian artist Véronique Roy by Jeannette Froese LeBlanc and as soon as I saw her pieces, I knew this would be an interesting article. There is a simplicity and purity about her work that is so attractive, I really looked forward to learning more about her. Veronique was brought up in Montreal and now lives in a small village in the Laurentians which is a mountainous region in Québec, Canada.
“I consider myself as a creator, a maker and a jeweller. Also a businesswoman!” she told me. Her studio even has a name! “I work from a small workshop on the edge of the forest, in my backyard. To get there, I have to cross a little stream that runs through the land. The workshop was built three years ago, with the help of my friends. As my work was encroaching too much on the living space of the house, it was time for a change and to have an exclusive space for Brelokz (the name of my studio).” How cute is this snowy little house, like something out of a fairy tale?
Véronique has always valued her creative side. “Creativity has always accompanied me in how I see life. When I look at things, my eyes capture details that can escape others at a first glance,” she says. “From the beginning, I felt that metal clay would play a central role in my professional development.” I asked her about her first experience with metal clay. “I discovered metal clay almost six years ago. I attended a training course to learn basic silver clay techniques. I immediately fell in love with this somewhat capricious material which allows working in so many different ways. I remember that my first piece (a pendant) was not at all to my taste, but it was a model that was required for certification in the course.”
I find the organic nature of Véronique’s work really aesthetically pleasing. “My creative process can find its initial spark anywhere! Ideas can germinate without my noticing it. Sometimes when I am taking a walk in the forest, or even when I am reading a newspaper article,” she explained. “Nature is my primary source of inspiration. Besides living in a small village in the countryside surrounded by mountains, I also have a personal interest and a formation in herbalism. These played an important role in paving the way to create jewellery from nature’s textures. One day, I was tending to my garden, and saw a tomato leaf wrapped around my finger, which brought a clear image of a leaf ring! Step by step, I started using leaves for my pieces. The four leaf rings are the first pieces that defined my artistic process. I consider them as the basic image that represents my collections. They capture the essence of nature. Simply.”
“Initially, I started with medicinal plants thanks to the influence of my herbalist background. Then, I started looking for plant textures suitable for the material. Gradually, I evolved towards other materials, always keeping contact with my initial source of inspiration. Honeycombs found their way to my heart and imagination. Oak bark and coral were to follow. I use the materials as simple and pure as possible, without too much transformation, in order to preserve their primary nature. As a result, the essence of nature is captured in metal, eternally.
I asked Véronique about her creative process. “When the idea is there, I have to find the source material, and usually make it into a mold. As I only work from organic textures, I have to preserve them to be able to work with them even in winter, when they are buried deep in snow. After the mold is ready, I experiment, try, and test. As soon as I find the form and the finish that I wish to bring out, I go for it. Thus a new collection starts to see the day; quite simply. The process rarely involves designs or notes, but is mainly created in my mind and by taking action. This is also similar to how I live my life. If I have an idea, I have to put it into action as quickly as possible; otherwise, the idea loses its breath and lustre. Living with the passion of the moment!”
Véronique likes to keep her creative process somewhat separate from the rest of her life. “I am in the workshop to for the creation process, whereas I have an office at home for complementary processes such as packing online orders for mail,” she explained. “The workshop is the place where magic takes place, and each piece is created from A to Z. While I try to keep regular weekday work hours, in the period of exhibitions (about 15 shows a year) I usually work double time! You can call me someone organised in chaos, which is clearly reflected in my workspace. Forget the Pinterest image of a well decorated workshop, mine is quite far away from that. I make a big clean-up three times a year (!!!)”
I asked Véronique to describe her style. “I like to follow trends from a safe distance as I don’t like them to influence my work. Trends come and go, changing in the blink of an eye, and sometimes enjoying rebirth after many years; whereas I prefer to create by remaining true to myself; thus my pieces remain timeless. I consider my style to be timeless, organic, and even pagan to a degree! Simplicity and beauty of nature is reflected on each piece.”
Véronique uses several other techniques in the production of her work in addition to metal clay. “I make my own earring hooks and rings. I recently started collaborating with a company where I have some of my pieces cast in .925 Sterling Silver. This new way of working allows me to give more time for the creative process while somewhat cutting down on the time required for production. A few pieces of my Oak Bark collection will also be offered in gold as of 2016 summer, thanks to a jeweller working with traditional techniques who helped to open a door for a new path!”
I asked Véronique what she does to relax. “Travel, discovering new places, new faces,” she began. “Last year, I had the chance to visit Costa-Rica. This summer, I intend to visit Turkey, and I dream about visiting Spain next year. This, for me, is a way to open the gates for inspiration and restoring the energy that is somewhat depleted come spring (winters are long in Québec). Therefore, I prepare my backpack and hit the road. I also like to read and go to music shows.” I asked her if she wore her own jewellery when she is travelling, or even day to day. “I love jewellery, I create them, but I only wear small bronze studs,” she laughed.
So where does Véronique see herself going with her jewellery creation? “I would simply like to continue finding inspiration,” she said. “Sometimes, around the month of January, I feel like the well is dried up and I will never have any more ideas! It is winter. The high season of shows has just ended, the excitement has waned, and I feel the need to think about the spring and new collection ideas. I ask myself whether I will be able to find new ideas, and continued inspiration is what I wish with all my heart!” She sells her work in several places. “I sell online, through my Etsy shop. My creations can also be found in several stores that sell works of Canadian creators. And I sell in exhibitions all over Québec and Ontario. I believe that by participating in shows throughout Québec and Ontario, I help demystify this material in the eyes of the public and traditional jewelers. I hope to continue doing this and presenting my creations while introducing the material so that one day people will get to know it better. I see myself continuing to work with this material as long as I have fun doing it, because, above all, it is the pleasure that keeps the passion going!” Absolutely!
Finally, I asked Véronique what she is currently working on. “At present, I am working on my Oak Bark collection as well as a small series of jewellery created from Lilac twigs.”
It was such a pleasure to spend a little time getting to know Véronique and I look forward to seeing her new work in the years to come. To find out more about Véronique, visit her here… www.brelokz.comwww.facebook.com/Brelokz.Bijoux
JULIA RAI is a teacher, writer and artist working in a variety of media. She is the director of the Metal Clay Academy and runs the Cornwall School of Art, Craft and Jewellery. She finds inspiration in science fiction and fantasy and loves a good story where disbelief can be suspended in favour of wonder. Her practical and ultra-organised side is always vyingfor attention alongside her creative and messy side. Each is trying hard to learn from the other and live in harmony.
Patrik Kusek placed 2nd in this years Saul Bell Design Award in the Metal Clay Category. I had a chance to ask him a few questions about his piece and his studio work.
Creative Fire: Can you tell us about the inspiration for your Saul Bell Design Award winning piece?
Patrik Kusek: The piece if part of an ongoing series of work that deals with my mother’s dementia. Molds were made from 18th century plaster cameos called Tour Cameos. I used these to create each of the cameos in the necklace. Tour cameos were collected by Europeans while on their “Grand Tour” As long as 3 years were spent aboard learning about different cultures. I used the Tour Cameos as a metaphor for my mothers life. The fractures and spotty gold represent my mothers memory which is fading away.
CF: Could you have imagined today’s level of metal clay work 10 years ago? Do you think there will be the same level of technical advances in the next 10 years in metal clay art?
PK: I could not have imagined the beautiful work that is made from metal clay today. When I first started using metal clay I could count on one hand the really great metal clay artists. Now we are fortunate enough to have wonderful artists world wide and the new generation is pushing creativity to it’s limits. I don’t think there will be much more advancement in metal clay. There might be smaller achievements but not breakthroughs of the past few years. Metal clay is just a material, and the focus for the future is expressing artistry through the medium of metal clay.
CF: Do you have any advice for a new to metal clay jewellery maker?
PK: Don’t be afraid of making mistakes, we all make mistakes and with metal clay you can always reconstituted, recycle or refine it.
CF: You teach classes on your techniques. Do you have advice for your students about the difference between inspiration and the copying your work.
PK: It’s a thin line to walk sometimes because we encourage our students to copy our work in class but primarily to learn the technique. However they should take the technique and use it to express their own vision. Inspiration is a starting point, a jumping off point to express the idea. A good artist will put there own unique voice into the piece.
CF: What 5 tools do you always have on your bench?
PK: JUST 5????? JoolTool, Dockyard Carving tools, Textures rollers, Water, iPad for music or movies or CNN.
CF: What is your favourite quote?
PK: I don’t really have a favorite. It’s more like my favorite for now…”Commit to Mastery” I like this because it applies to just about any medium. As adults I think we can get too bogged down with being perfect right out of the gate. We need to remind our-self to take our time to really learn the process. If we commit to mastery it becomes a life long process not just a weekend workshop.
CF: If you could spend a day with any artist (dead or alive) who would it be and why?
PK: Picasso, Paris, 1920’s — need I say more?
CF: What’s next for you? (Art shows, lectures, new work….)
PK:I have a couple of videos coming out soon with Interweave. Base metal mosaics and micro mosaics. I love these techniques used in the video they are dramatic yet straightforward.
Thank you Patrik for taking the time to share your responses to our questions. And once again, congratulations on your award. Your design is stunning.