Many of Kristen Oxtoby’s designs (These Hollow Hills) rely on extruded clay laid down together to make corrugated shapes. Here, ball chain dangles from the bottom of her Farrah earrings. And in her Circa series, the polymer strings wind around circle cutouts.
Kristen’s pieces are big and bold. She calls it “…a ’60s-inspired aesthetic with a 90’s soundtrack.”
This North Carolina artist makes collections that have attitude. Get the full effect on her Instagram.
She watched friends extract comfort from cooking and tried that. “It was just another thing I was failing at,” she says. She moved on to tie-dye, yoga, face painting, and more. One day she bought some polymer clay to pass the hours with her daughter.
You know the rest of the story!
“My daughter and I still do clay together when she’s in the mood, but she gets angry if her results don’t look like mine. So I’m working to teach her the word “experiment” and the notion that each time she tries, the trying makes her better. It’s a lesson I’m still learning at the end of every strange, horrible, or hopeful day in quarantine when I sit down with my clay and my little tools and I try again to make one small piece of the world just right.” Rebecca is on Instagram and Twitter.
Thanks to Seth Savarick (still in Chicago, moving to Palm Springs) for pointing PCD to this article. If you’re ready to get more newsy bits in one weekly digest, sign up for Saturday’s StudioMojo.
No, no, no…that’s not me on the cover of the beautiful Polymer Week magazine! That’s the evocative, delicate polymer sculpture of Israel’s Edith Fischer-Katz.
S?truncova? did interview me for this issue. I blush at how glamorous she made me look (then I flip through the pages again to make sure it’s me.)
But more to the point, these quarterly magazines are collector’s items because they elevate polymer art to the level of fine art that we have dreamed of. The paper is slick and weighty. The photography is stunning. The quality of the work is breath-taking. The tutorials are first-rate.
Posting in response to one of those 10-day challenges on Facebook, Sabine didn’t add any explanation. The requirement is only that the art is somehow significant to the artist. Viewers can draw their own conclusions.
The mosaic appearance comes from layered scrap. When you use scrap, you bring to a project the color selections and design decisions from your past. Your way of working, your history is embedded and gives the new piece an extra richness.
The three offset layers ripple pleasantly against each other.
There are all sorts of “wowser” weekend posts out there but I’m stuck on the earring explorations from UK’s Rebecca Thickbroom.
She takes the football shape (or is a leaf shape a more accurate description) and combines with squares, circles, rectangles to arrive at a whole collection of earrings.
The finishes are scuffed and scratched. The colors are muted. Rebecca’s playing around makes me realize how I miss doing that.
Those of us stuck in isolation are wistful about how she enjoyed a weekend in-person, socially-distanced show (oldspitalfieldsmarket). It looks almost unreal. Here’s hoping that we can all experience that again soon.
Sometimes I don’t know who made it or what it’s made of but my alarm bells start chiming and I run to see who’s at the door.
After an exhausting day, I was happy to settle on these earrings from Maria De Oliveira. (to someonesomewhere). Obituaries came up when I googled her. That can’t be right!
Instead of digging up Maria and verifying the material, I’m just going with my gut and the huge exhale I felt when I happened upon these ombre earrings. My shoulders dropped, my neck felt better. They’re what we would call Skinner blends. I’m calling it a polymer post.
There’s a bulging file folder of clickable candies just waiting for me to organize them into this week’s StudioMojo. When I feel everything’s a hot mess, that’s usually when I’m on the right track. Come see if I’m onto somthing good.
India’s Radhika Sadhika (radicalsbyradhikasadhika) illustrates the flow of line transforming into shapes that are aesthetically different in every piece.
She combines clay and wire in ways that make them look like sketches. Brass wires connect clay designs and turn them into minimalist wearable line drawings.
You’ll only find a cryptic bit about Radhika on Instagram. You have to DM her for sales information on her intriguing pieces. Her links lead you to a Google Photo gallery of her work. The path to her works mirrors the Evolution/Revolution theme of her work.