I am relieved to find out that I am not the only one feeling overwhelmed by the state of my studio. (Although, I am pretty sure I win the prize for the messiest studio!) I’ve heard from many other artists who are also looking at their studio space with a heavy heart. These spaces are sucking our creativity. I am certain that my lost mojo is in here somewhere. I’m on a mission to organize and reclaim my studio space. I feel that my work is stale and that if my studio had a good airing out, maybe my jewellery would be better. But what to do with all this stuff? It’s all good stuff. I hope readers have some organizing tips for me!
I am on a mission to reclaim my lost creative mojo.
Poof, right before my eyes a year (or more) has passed without me being in my studio working on jewellery. It’s been a year of ups and downs…many more downs than ups and I guess working in my studio didn’t seem important, or I wasn’t motivated. Whatever the reason, here I am standing in the door of my dusty and very messy studio. Amazing how this space became a “dump zone” so quickly. I love the light in here and the smell of my art supplies. But this is as far as I ever seem to get with reclaiming my studio. Feeling overwhelmed by the amount of stuff, stale ideas and stuff…. I usually just sit here and contemplate renting a huge container and taking every last item out of the studio and only putting back what I really need. But as I look around, I’m not sure what I need. It’s been too long. Continue reading…
Suivez un cours en France…. sans quitter votre maison! Sabine Alienor Singery a réalisé un cours en vidéo pour les lecteurs de Creative Fire ! Dans ce cours, elle montre comment réaliser une bague en pâte de bronze, préparer la pâte pour l’utiliser avec la Silhouette, utiliser la Silhouette pour graver de la pâte flexible, assembler et cuire la bague et enfin, utiliser de la résine UV pour créer un cabochon unique. Bien que ce soit un projet complexe… les artistes de la pâte de métal de tous niveaux apprécieront son cours.
Take a workshop in France…without leaving your house! Sabine Alienor Singery has made a video class for Creative Fire readers! In this workshop she will demonstrate making the bronze clay ring, preparing clay to be used in a Silhouette cutter, using the Silhouette cutter to etch the flexible dry clay, assembly and firing of the ring, and lastly using UV resin to create a unique Cabochon. While this is a complex project…metal clay artists of all levels will enjoy her class.
Every once in a while I find artwork that stops me in my tracks. I love it when that happens–it’s a moment when I really feel inspired, full of questions and yet I just want to look and look and look at the artwork. Lori Field’s work stopped me in my tracks a few months ago. I am thrilled to share our interview. (Please note: if you click on an image you can see it full size!) Continue reading…
This unisex ring has a slightly rough, masculine look and can be a great gift for a man. It has a firing temperature adapted to allow Art Clay™ copper to sinter while being fired together with fine silver, in a way that is safe for both metals.
Project by: Angela B. Crispin
Edited by: Jeannette Froese LeBlanc and Margaret Schindel
Material List: Lava Ring materials
Cette bague unisexe a un aspect un peu brut légèrement masculin et peut être une bonne idée de cadeau pour un homme. La température de cuisson de la Art Clay Copper a été adaptée pour permettre au cuivre de fusionner tout en étant cuit avec l’argent fin d’une manière sûre et fiable pour les deux métaux.
Projet par: Angela B. Crispin
Révision française par Soazig Alligand et Jeannette Froese LeBlanc
Liste de matériaux: Bague Lave
Monday’s are not all bad! Let’s start off the week with something really good. Holly Gage is a never ending river of good things! As a teacher, mentor and motivational speaker she has touched many lives. She has been a supporter of Metal Clay Artist Magazine before our first issue came out! I think we chatted at the Art Clay Conference about magazines in 2009. Over the years she has had images in the gallery and she has contributed articles. Maybe some of you remember this piece from an MCAM gallery? Below is our fifth interview with the Saul Bell Award finalists in the metal clay category.
I have admired Janet Alexander’s work for many years. She has contributed articles to Metal Clay Artist Magazine and she took part in a very special charity bracelet project two years ago. We featured her bracelet on the cover. Her innovative design is a match of beautiful imagery of the mountains in her area, the helping hands of the charity she was spotlighting, along with the complexity of a hidden link system. Knowing her work, I was not surprised to hear that she is a finalist for the Saul Bell Design Award!
Creative Fire: How long have you worked in metal clay?
Janet Alexander: I had been introduced to metal clay in 1999 but then started working in metal clay in 2009. Continue reading…
Our third interview is with Terry Kovalcik from the USA. Terry’s locket “A Tear for Icarus” (2005) was the first piece that caught my eye and made me really look at metal clay. As you can see by Terry’s finalist piece for the Saul Bell Design Award, his attention to detail and excellent craftsmanship have not wavered at all.
Creative Fire: How long have you worked in metal clay? Is there one kind of metal clay that is your favorite?
Terry Kovalcik: I was first introduced to Precious Metal Clay in 1999 and have worked with it ever since. So that makes it 16 years. As for a favorite, it’s hard to say, I do find myself using the 960 hybrid PMC clay a lot lately. My approach is to pick the best clay for the job. PMC 960 works well for many different techniques, it’s strong and versatile. Continue reading…