All the trends point to a resurgence of terrazzo (the chips of colors you see embedded in commercial flooring and old linoleum).
South Carolina’s Kathy Koontz (flowertown_originals) shows her way of bringing the trend to polymer. She grinds and grates baked scraps then rolls the small grated pieces into a solid color of unbaked clay. Voila! Terrazzo polymer style.
She shows her process on Instagram. Who says polymer can’t be trendy?
Ukraine’s Darya Podorozhna (sofoxyclay) gathers a flock of polymer birds on a delicate chain for bird lovers to wear and admire.
The first week after vacation has rushed by and already I could be back in the holiday frenzy. Over at StudioMojo, we’ll try to slow it down and move into the holidays with grace, a smile, and gifts from our hearts. Join us.
The way Germany’s Eliska Koliosova (fimeli) experiments with tube beads and plays with extruded patterns makes me want to know more about her and her work.
My interest in finding meaning in beads made from scraps has taken me to strange and interesting areas. I’ll be taking the month of November off to explore this phenomenon and write about it. No PCD for a month!
Writing daily is such a habit that taking a break scares me. This week and then some time off. It will be good for our relationship, right?
Germany’s Vera Kleist Thom twirls extruded strings around a ball of clay and carves (or maybe she just textures) the surfaces so that they look woven. The result is a necklace with a thermal waffle weave accentuated by its muted winter colors.
Vera has perfected her woven methods and I’m only guessing about how she makes it happen. Go to her Flickr page to study how she applies similar strategies to vessels, disks, and other beads.
As the season changes, Vera shows us how to shift our palettes and our wardrobes.
Chicago’s Marina Rios (FancifulDevices) creates rustic, Victorian, tribal style mixed media assemblages. Her antique and vintage materials are heavily altered and combined with artisan components to create evocative objects.
Marina adds sand, ground and dyed oyster shell, embossing powders, pre-baked and chopped polymer and more as inclusions in the beads that stack up into this Regolith totem.
After firing, she begins painting – back-painting, resist, dry brushing, glazing and more to give this 3.4″ stack of beads its history and mystery.