hmmm, I see it’s been a while since I posted anything. I haven’t been totally idle – I’ve been making components for a custom necklace project and maybe I’ll post some pics from that before too long. However, I still have some notes from the 2012 ISGB Gathering I want to consolidate, as much for my own benefit as anything.
On the Sunday there were two metalworking talks that I really enjoyed: guest speaker Nancy Megan Corwin and Anne Mitchell.
Nancy Megan Corwin is an expert on chasing and repousse and has a book out about it. It was very interesting to learn about these techniques even though there is little likelihood of my pursuing them. However, the main reason her talk stands out for me is that I enjoyed looking at her work (which you can see many examples of on her website). She does wonderful abstractions from nature. I love that and wish I were better at it. My work is very representational and I have trouble making anything that isn’t “something”. Her work also has so many interesting textures.
Though most of her work does appear to be inspired by the natural world I was also very interested in one piece that was a really detailed pocket watch with a scene of the moon landing. I think mainly because the size and form factor were so bead-like. That strikes me as an interesting theme for a lentil-shaped bead, the allusion to a pocket watch.
I was most particularly struck by several pieces she showed that are hair ornaments. For example, this piece that is a vessel for scented oil with various hairpins arranged in it. The idea is that the wearer will be wearing the scent as well as the ornament. This resonated with me because I have long hair and have long been toying with the idea of some sort of hair ornaments using lampwork. Interestingly though, she noted that the buyers for these tend to be women with very short hair who have no intention to actually wear them, they just want it as a scuplture.
She has other pieces where she has thought about practical mechanics: like this one where the clasp of a necklace can be used separately as a pendant.
One thing I love about the Gathering is that with so many different presentations and classes and so much work on display there is a lot of opportunity to make connections between ideas. Individual tidbits of information that are unremarkable in themselves take on new meaning or just strike one differently in the context of other tidbits. Often I feel like there are informal themes running through my personal experience of the conference. I feel like creativity is often not so much having a great idea but putting ideas together in different ways. This time wearability was on my mind. I like the way this hairpin piece above is wearable at the same time as being a work of art – not primarily aimed at what someone will wear or designed around a standard form for a wearable object but still potentially wearable.
On this subject the international presenter Ronit Dagan was also interesting. She has recently done some exciting and dramatic pieces that aren’t really wearable but are artworks nevertheless based on traditional wearable forms like a necklace or shaw and she spoke about feeling free to create art and not worry about it being a wearable article (though she does wearable jewelry as well). I’m not finding a good link to the kind of thing I mean – like the necklace she had in the Indelible show.
The other metalworker I wanted to mention is Anne E. Mitchell. She demonstrated some fine silver metalworking specifically to complement lampwork beads. This was on the very practical end of the spectrum: how to make lampwork beads very wearable while showing them to best advantage using relatively easy techniques. She showed many beautiful examples but in particular her collaboration with Terri Caspary Schmidt, whose work I’ve always admired.
This talk whacked me over the head with something that I already knew: that you can fuse fine silver to itself without soldering. I knew this but never translated that into doing fairly traditional simple metalworking techniques using fine silver and avoiding soldering. I have the gear for soldering and learned to do various metalworking in a course some years ago but I don’t keep it set up and generally feel like it’s too big of a pain to drag that out. And I also know that fine silver is less tarnishable. Why haven’t I made use of this more to do more metalworking to complement my beads?! And the fine silver can be combined with PMC fine silver as well which I’m working on making more use of… She taught one of the workshops – another I regret not taking – but in any case this talk was one of the ones that I believe will prod me, however slowly, to actually get around to trying some new things.