Vickie Turner has moved to the east coast of Canada and writes a lovely post (on her polymer blog, Claymagination) about her new home and the work she’s doing in her studio. The tour of her area provides a dreamy diversion.
She took a class in polymer surface techniques with Claire Maunsell in Montreal before the move and used it as the starting point for these very distinctive and painterly beads.
Vickie says that she finds herself in the studio – usually by painting. You can easily see how she brings her “process painting” to polymer with stunning effect.
That’s two dynamic teacher/student matchups this week.
Pennsylvania’s Emily Squires Levine used her Artchain Challenge to show us these Then & Now works. Inspired by Karin Noyes’ polymer bowls, Emily formed her first version in the mid-1990’s around a custard dish. It drooped when she removed the warm clay from the form but she was undeterred.
Fast forward to this fall and you’ll see how far Emily has come. In fall 2014 she created a flower pot of wavy tendrils in muted greens and metallic golds, part of her Sargassum series that appeared in the Racine Art Museum exhibit.
Emily’s bowls, eggs and tiles depend on her own strong color palette and exploit the negaitve spaces between elements.
Cynthia Toops combines large lentil beads covered in millefiori cane slices with small insets of micromosaic bird motifs for this new necklace called Seeing Birds.
The birds are all native to Washington state and the piece is featured in the Of a Feather show at the White River Valley Museum located between Tacoma and Seattle. Read more about the exhibition here.
I wish we had a higher resolution photo so you could dive in for a closer look at her magical images made from super fine threads of polymer.
For a better example, zoom in on this brooch that Cynthia made for last fall’s Tilling Time/Telling Time show at Facere Gallery. Keep in mind that the brooch is only 1 1/2 inches square! Silver bezel is by Chuck Domitrovich.