The Agony of Writing an Artist Statement by Jeannette Froese LeBlanc

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It is very hard for some artists to write an artist statement and it is sometimes equally hard for others to read.  It is easier to write a bio and to tell others where you’ve been and what you’ve done.  But it is so much harder to explain why.

Having an artist statement prepared is a great way for customers to connect with your work and it gives shops and galleries “sound bites” to use to promote your work. After having suffered through the agony of writing my own artist statement I can tell you that the most important thing about an artist statement is the process of writing one.  I found it helped me sort out my own artistic history and methods.  It has helped me to  clarify the direction of my work and it has jump started a new body of work. Despite already knowing how important one was to have, it’s not something I’d written for myself.

calvins-artists-statementI was recently in the position where I had to send in my artist statement.  500 words.  Five.Hundred.Words. OY! I procrastinated for a few days.  Then I cut and pasted bits of things I’d written.  I sent it in.  And was told, “This is not an artist statement”.  I knew that, but found the exercise very difficult.  I’m not one to ever stand up and say, “I did this and it is awesome.” I needed help, so naturally I did some research.

A friend of mine pointed me to this site: http://www.gyst-ink.com/artist-statement-guidelines/ this one is good too: http://www.artstudy.org/art-and-design-careers/sample-artist-statement.php

I rewrote my artist statement. (After I raided my kids’ trick or treat bags, walked the dog, tidied my studio…procrastination is one of my rituals before writing.) I read some guidelines about artist statements and I started over. I hope my new version is a real artist statement.  And I hope that when you need to write one you can remember that they are very hard for most artists to write—give yourself a break.

 

20161025_1410491Jeannette Froese LeBlanc is a studio artist living in Rural Ontario Canada.  She is inspired by the landscape and history of Canada.  The structure of trees inspires her as much as people’s portraits.  Both are re-occurring themes in her jewellery and photography. To see more of her work please follow her on Instagram: https://www.instagram.com/sassyandstella/

Metal Clay 101- Carving Metal Clay by Dona Miller

mountain-ring-wet-carvedWet, dry, push, pull. Whatever method you choose, with time and a little practice you can create beautifully carved metal clay.

Carving in wet clay can give you curved edges and a sculptural feel. (See opening photo.) The clay is wet and the tools used are generally soft and rounded.  Wet clay added to wet clay can be shaped by pushing the clay into place.  Large amounts of wet metal clay can be cut off and small amounts brushed off with a wet brush.  Often artists working “wet on wet” will simply brush each side of clay to be joined with a swish of water from a paint brush. Just about any tool can be used with wet metal clay and most people like to use traditional clay carving tools. In general carving wet clay involves a pulling technique, where the tool is being pulled toward you to remove clay. Another way to think about it is that the clay you are removing is moving toward you. Fortunately, clay carving tools are readily available and inexpensive.

catbones-broach-dry-carvingThe method that I prefer is carving dry clay, which creates crisp, clean lines even on textured surfaces. (See Cat Tail Brooch photo.)I use micro wood carving tools to do this. When using a wood carving tool, you will be using a pushing motion to remove clay. The clay you are removing will be coming off the tool in front of your tool. Keep in mind, you can achieve a slightly different result depending on whether you carve into leather hard or fully dry clay. Fully dry clay will create more resistance which can give you more control, especially when you are first starting.

I generally use a pencil to draw my carving lines if I am doing a detailed carving or I want very crisp, specific cuts in my clay. If I want a more organic look, I will only mark starts and stops for my lines. I will then do a very shallow carve to create a guide for the tool when I am carving deeper. This allows me to move the first cut along a line, easily seeing my marks in front of the tool. After the shallow groove is in, I let carving tool to track in the groove while making the deeper cuts.

The trick to nice clean carvings is to remove a little clay at a time. You can always remove more clay, but it is often difficult to cleanly add clay back where you have removed too much. Also, make sure your piece has good support under it where you are carving. If you are carving a domed piece, leave the piece on the form while carving.

As always, safety is key when you are carving. Clay carving tools can be sharp and pointy and can easily injure if you are not paying attention. If you are using wood carving tools, note that these are extremely sharp and placement of your hands so the tool is always moving away from your fingers is important.

Once you have control of your carving technique, you can carve shallow, intricate designs. You can also take a completely different approach and create negative spaces by carving all the way through a layer of clay to make an open space. The sky’s the limit. Enjoy!

donaDona’s love of jewelry began as a child, sitting on the floor for hours with her mom’s jewelry box. She began designing her own jewelry in high school and spent time studying the work of a jewelry designer and family friend. During her career in high tech, Dona traveled the world fascinated by the cultures and their use of color and texture.

After leaving the high-tech world, Dona returned to her love of jewelry design. Her work is influenced by the places she has lived and traveled, bringing the textures of nature into her designs. Her love of stones is featured in her one-of-a-kind pieces which showcase the stones she has collected.

Dona currently teaches classes in jewelry design and techniques. Her students continue to be an inspiration to her, fascinating her with the unique perspective each student has conceptually and artistically.
Dona is an award winning artist. Her work is featured in stores and galleries throughout the Northwest and in print.

Tutorial: Fine Silver Leaf Earrings by Jeannette Froese LeBlanc

leaf-beauty-shot-4x4I live in rural Ontario, Canada where autumn is the most glorious and colourful season. Once the leaves turn many colours, I start to think about making leaf jewellery. I was inspired by oak leaves for this project. Follow along with me and you can easily use your own favourite leaves to make earrings or a necklace pendant.

 

Here’s a link for the project: https://pmcconnection.com/education/projects/guide/name/fine_silver_leaf_earrings_by_jeannette_froese_leblanc.php

Thank you PMC Connection for sponsoring this project! Please note…the photos in the project link are tiny.  To enlarge photos please click on the image.

Enjoy!
Jeannette

P.S. If you make this project I’d love to see your work!  Send me an email with your image to: cre8tivefire@gmail.com

 

So you wanna sell your jewellery?? (Part 1)

12552325_163727650661795_2052323012_nLast month we ran a survey for our readers and there were some really great comments and questions.  One theme that repeated itself was about “making a living” at selling your work.

Here are a few of the reader questions:
“How can I make a living at my art?”
“How do you balance a personal life, regular work and creative time?”
“Does anyone make a living selling metal clay jewelry?”
“Can you make a living as an artist when you work with metal clay? This question could be asked to any “regular” person, like you and me ;)!”

I could have asked any of these questions! So I’m not the expert with the answers.  But I have done a bit of research and I have some resources to share. The first thing I’d like to address comes from a conversation about these very topics with my father.  He told me to “never pay too much for an income” and to “make a life, not a living”.  Sage advice from a person I admire.  I think his words address the question someone had about balancing work life and creative life. You can become a slave to your work even if it is your calling and by consequence miss out on family and friends. Many artists throughout history have sacrificed for their art. I have struggled with “work-life-balance” myself.  I’ve had to choose what is the most important–not just to me but to my family and so creative time often gets missed even though working in my studio is like breathing for me. I decided that I’d never regret giving the time to my children.  They won’t always be around but my many unfinished pieces of “art” will be there.index4

Question: “Does anyone make a living selling metal clay jewellery?”
Yes, I think there are artists who do!  However, given that the job of “artist” lacks a regular pay check, artists have to rely on many revenue streams. Artists living off their craft work hard at marketing their work, they sell on many platforms such as shops, online and shows, they teach, and most have varied jewellery lines and some sell products.  I would encourage you to find artists pages online, their sites and so forth and see how hard they work at “making a living”.

Question: “I would love to ask many of the high profile artists for more detailed information on how they achieved such name recognition/built their business in this community. And, if it supplies their full income, possibly even in the absence of a lot of travel teaching.”

This short talk by Paul Klein about finding your niche, removing obstacles and finding a mentor provides a great answer to the above question.

“Artist and career advisor Paul Klein emphasized the importance of being different.  He insinuated that distinctiveness generates sales–even more so than quality.  “Can’t all of us name artists who are doing really well monetarily, whose work we think sucks?”  The branded artist doesn’t necessarily produce better work, but more bankable work.” Quote from this article in Forbes.

In “Part 2” I’ll find answers to the questions about the nuts and bolts of business such as inventory, tracking, descriptions of work.

quote-to-make-living-itself-an-art-that-is-the-goal-henry-miller-130-94-16My closing comment is to be yourself.  I know that sounds so cliche. But it’s so true. I’ve been looking at metal clay jewellery for over a decade. (gasp) and I can almost without fail look at a photo of a piece of metal clay jewellery and tell you the name of the artist (and if I’m wrong–usually that person was the “inspiration” for the work). We need more work that stands out.  In another article I found on Forbes by Jessica Hagy she shows why weird can be bankable. Yes…be weird, but let your own distinct artistic voice show in your work!

Image credit for opening image: Location Pillar in the stairwell of the UT Austin Art Building was up for two weeks

JFL HeadshotJeannette Froese LeBlanc is working on becoming a distinct and profitable jewellery designer.  From her studio in rural Ontario, Jeannette tries to balance life as a mom of two (very) active children and earn a living from her jewellery.  You can find her work online and in several boutiques. www.SassyandStella.com

Artist Project Series: Gordon K. Uyehara

unnamed“The Artist Project Series” will feature 12 artists over the next year or so.  Each artist will let us look over their shoulder while they make a piece of art using EZ 960™ sterling silver metal clay.  As the master artists show their methods for making a piece, I hope that you are inspired and learn a new way of looking at metal clay. With thanks to the artists participating and to our corporate sponsor, Cool Tools.

Our first artist is Gordon Uyehara from Honolulu Hawaii. Recently he was interviewed by UK artist Julia Rai. Read her interview here.

In Gordon’s project, he shows how to make a Pangolin ring. It is an awesome piece of jewellery modeled after a very interesting animal. His project is quite timely too as countries have started to come together to sign a trade ban on Pangolins. (NY Times article.) Learn more about this animal. (Telegraph UK article.) Continue reading…

Book Reviews by Pat Evans (Soldering, Leather and Architecture in Metal)

MCAM 5.4_Page_24_Image_0001SOLDERING BEYOND THE  BASICS By Joe Silvera, Kalmbach Books, 2014.

I always tell my metal clay students that adding basic soldering to their repertoire can add versatility to their work. Until I took a class on production soldering with Joe Silvera, however, I didn’t realize just how many possibilities there were for more advanced soldering techniques to enhance my metal clay practice. Not everyone has such a skilled teacher available. Luckily, anyone with basic soldering experience and access to a torch can use Silvera’s new book to ramp up their skills.

Section one is full of information about tools, including types of torches and how to set them up and adjust them. It gives in-depth descriptions of materials such as flux and solder as well as some basic stone-setting directions. The author understands the limitations of home studios and his section on setting up a studio is down-to-earth and practical, with an emphasis on safety. Throughout the book Silvera suggests nontoxic products whenever possible. All the projects can be completed with the reader’s choice of a butane torch or a small tank torch system. Continue reading…

Metal Clay 101-Syringe Extrusion by Teva Jane Chaffin

Chaffin RingsThe syringe is my go-to form of metal clay for many techniques and applications. Not only is it great for setting cubic zirconia (smaller than 3mm) but also for creating texture and pattern.

unnamedOne of my favorite uses is creating a filigree-type tree of life. I also use as a fill in for seams or gaps that may appear when creating dry construction pieces. Using steady pressure and a moist brush for smoothing will make a smooth join.

Holding syringe(1)Holding the syringe – Avoid a death grip!
It is important to hold the syringe in a way that is comfortable for you. My recommendation: grasp the syringe barrel using four fingers of your dominant hand and place your thumb on top of the plunger. The “wings” of the syringe will rest on top of your index finger. Use wrist movements to guide the direction of the syringe.

Cutting the tipTo trim or not to trim the tip:
The amount of the tip you cut off will determine the size of the line to be extruded. The more you cut, the large the line. It can be useful to have multiple length tips available for a variety of uses. Be sure tips are on a syringe and kept moist in a cup of distilled water or a syringe saver in between uses. Continue reading…

Metal Clay 101: Metal Clay “Snakes” – What Are They Good For? By Delia Marsellos-Traister

There are so many creative possibilities with metal clay. One opportunity is to roll coils, or as many of us lovingly call “snakes”. Coils may be used for bails, decorative accents, or as a primary part of a piece.

Right off the bat, let me tell you, that rolled coils, are stronger than syringe coils. There is more metal content by volume in lump clay then there is in syringe clay. This extra strength comes with a trade-off, though. Coils take a while to dry when compared with a rolled-out, flat, piece of clay due to the extra volume. Give coils a good hour to dry in air. If after ten minutes of air-drying, your coil seems stable enough to put in a dehydrator or on top of a warmer, then go ahead and do that. Take care that you don’t move your coil too soon. Otherwise, you risk flattening one side or picking up texture from the tray.

OKAY!  Let’s go!

IMG_3089 Continue reading…

Making Modern Electrum, an Experiment by Lynn Cobb

PMC Gold spinning element

Since gold clay is so expensive, might there be a way to combine it with silver clay and still have a finished metal that appeared gold in color, but would be less pure than PMC Gold clay and therefore, a little less expensive?

The ancient Greeks and Romans were aware of such an alloy, which occurred both naturally and man made. They called it “electrum” and used it for coins, jewelry and plating. My reading led me to discover that an alloy of more than about one third silver would result in a metal that appeared silver, that is, no gold color at all. Ancient alloys seemed to be no less than about 20% silver. Therefore, my plan was to combine a variety of gold and silver PMC mixes so that the alloys were in that sweet spot of 20-30% silver, to see what shades of gold would result. Continue reading…

Metal Clay 101- Paste: “The Thick And The Thin Of It” By Lora Hart

CompletedRepairIt happens to everyone. – both novices and masters. You’re working on a special piece of metal clay, and snap! Something breaks. Or you’re putting together a bead and can’t match the pattern at the seam. Or you simply want to join this element to that one. The most common response to any of these (and a million other) scenarios is to reach for that little pot of slip. Continue reading…