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IPCA Exhibitions and Awards

Applicant Artists: Wearable Jewelry 2018

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Christine Dumont: France

Christine Dumont: France

Brooch:

Title: Britannia

Materials: Polymer clay, stainless steel and slate

Dimensions: 65mm x 80mm x 20mm

Description: As an artist I see myself also as an interpreter of my surroundings. I live near the sea as well as an abandoned slate quarry that shipped slate through France in the 18th and 19th centuries. The slate was used in the construction of castles and cathedrals.

The construction of the piece is architectural, built on a base of found slate. Angled above the slate is a metal sheet topped by one of my signature motifs. Inserted between these layers are a depiction of seaweed from my walks along the sea. 

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Linda Leach: United States

Linda Leach: United States

 Title: Crazy Quilt Ensemble

Category: Wearable Jewelry

This ensemble of jewelry started with the crazy quilt veneer pictured in the frame. The veneer is constructed of various techniques of polymer clay in black and white bordered by gold strips. The veneer is then used to create the bangle bracelets, pendant necklace, and earrings.

Materials: Polymer clay

Measurements – various

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Jana Honnerová: Czech Republic

Jana Honnerová: Czech Republic

 Axess necklace

This beaded necklace in the shape of two handed axes is stringed on the ball chain – actualy the ball chain is incorporated into the beads so they hold position. I used my favorite colour palette enriched with light green.

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Jana Honnerová: Czech Republic

Jana Honnerová: Czech Republic

 Snake finger bracelet

These bracelets always remind me snake skin. I love them. They are simple, easy and has many variations. Can´t wait what will bring another one (or two). Medium size full bracelet, 100% Premo clay.

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Jana Honnerová: Czech Republic

Jana Honnerová: Czech Republic

Five suns necklace

I realy love how the colours turn out here, it is a smooth play of light and shade.

The bowl shaped circles with slight crackles are both side patterned, made with my faux mosaic technique. The engraved peebles in matching colours are sitting in the middle of the bowls.

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Beverly Chesterby: United States

Beverly Chesterby: United States

BENTLEY BUD VASE BROOCH

If a vintage Bentley sat in the garage next to my mud-spattered Honda, I would definitely honor the tradition of bud vases in luxury vehicles. Here it is! Full disclosure: I made a gridded bump texture plate and black and white bargello tube during a couple of long gossipy phone calls and just let them lead me to the goony flower. No way was it going to be the “Just Messing Around Brooch,” though!

Materials: Polymer Clay, commercial pin findings

Dimensions: 3″ wide x 2-5/8 high x 1″ deep

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Melinda Puho: United States

Melinda Puho: United States

TITLE: Eternal Love

DESCRIPTION: Infinite love that flies on the wings of eternity, with ever-changing colors and glow that enlightens the darkest nights.  

I entirely sculpted this iridescent, glow-in-the-dark piece of wearable art by hand, without the use of any molds.

MATERIALS: 

– PREMO polymer clay (regular and glow-in-the-dark one handmade by me using translucent polymer clay and glow-in-the-dark powder)

– Swarovski crystals 

– Swarovski drop

– Iridescent pigments that change their colors depending on the angle

– 14K gold filled chains

– Magick

DIMENSIONS:

Pendant  – 120mm wide, 125mm tall, including the Swarovski drop

– total length: 20 inches, adjustable (the width of the pendant is added to the length.)View 2

Khatuna Liluashvili: Georgia

Khatuna Liluashvili: Georgia

Pendant: Brooch Spring

Material: Polymer clay, Metal

Length 4, 5 cm

Width 3,5 cm 

Firstly, I made background from red polymer clay, which had glitter effect. Then I made colors  which I needed for this composition. Therefore I mixed different colored polymer clays with each other. Given composition required approximately 12 colors for small details. 

I sticked in every piece of flower petal or flower stem , leaf, dot one by one by needle on surface. I used magnifying glass. 

Firstly, I made big flowers, secondly leaves, and then small flowers.  

Finally, I fired this piece of work in the oven according to the rules. 

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Khatuna Liluashvili: Georgia

Khatuna Liluashvili: Georgia

Pendant: Great blue Heron

Material: Polymer clay, Metal

Length 5,0 cm

Width 3,7 cm 

Firstly, I made background  from polymer clay on metal carcass. Then I sculpted in clay naked bird’s figure.  Then I mixed different colored clays, and got different colors which I needed for this composition.

I sculpted feather and shaft of feather  one  by one , and gradually sticked in bird’s naked body by needle.  I used magnifying glass. I added marsh plants.

Finally, I fired this piece of work in the oven according to the rules. 

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Khatuna Liluashvili: Georgia

Khatuna Liluashvili: Georgia

Pendant: Flamingo

Material: Polymer clay, Metal

Length 5,0 cm

Width 3,7 cm 

Firstly, I made background  from polymer clay on metal carcass.  Then I sculpted in clay naked Flamingo’s  figure.  Then I made colors which  I needed for this composition . For this effect I mixed different colored polymer clays with each other. I never use paint, lacquer. I sculpted each feather, shaft of feather individually and gradually sticked  in  bird’s naked body by needle. I used magnifying glass.  Then I added plants.

Finally, I fired this piece of work in the oven according to the rules. 

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Sarah Machtey: United States

Sarah Machtey: United States

White Leaves from the White Continent

This pendant was not actually made in Antarctica but it did visit there in November 2018. While it loved the snow and penguins, it hopes to someday get to visit someplace where there will be other leaves to keep it company – perhaps a summer wedding?

Polymer clay, liquid polymer clay, mica powders (Cernit, Sculpey, Pearlex)

About 4.5 inches long and 5 inches wide.

3068 A WJ2 b


Linda Webb: United States

Linda Webb: United States

 The rich, natural color and bright contrast of a winter-hardy red fox was the inspiration for my pendant. My goal was to capture the bold color and distinctive fox face while applying my own geometric style to create something truly unique. I began by sculpting a base in black clay. I then made a palette of veneers in a variety of subtle shades of brown and cream. Most of the veneers were made entirely from clay but some have bits of iridescence sparkle or thin layers of acrylic paint. I cut tiny strips from the veneers and laid them on the clay base mosaic-style. The patterns created by the tiles were playfully designed piece-by-piece and include a heart in the center of the forehead symbolizing a love of art and nature.

The finished piece is 2″ X 2″. The eyes sparkle with black Swarovski crystals. A rustic leather cord and handmade copper findings complete the necklace. 

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Fiona Abel-Smith: United Kingdom

Fiona Abel-Smith: United Kingdom

 Title – Kings of Borneo.

Materials Used – Plaque and leaves made solely from Kato Polyclay with  metal wire, findings and links creating the ‘chain’ of the necklace.

Dimensions – the focal area of the leaves and plaque is 6 x 5 inches, and the necklace itself is 16.5 inches long.

Description – There is something about baby orangutans. They have that look which makes them seem so all knowing, as if they are staring into your soul. There is no reproach in their gaze, no judgement, but I look at the devastation that we are causing to their habitat, and I feel such sorrow for their plight.

In this necklace, I wanted to capture that look they have, that gentle knowing gaze in a portrait of a baby orangutan, created completely from polymer clay. It is done in an oval plaque, much like the miniature portraits so popular in the Victorian age, capturing a moment.

The image is textured and sculpted and seemed to grow by itself, creating its own character, and watching me with that enigmatic half smile, as I worked.

To me, orangutans are the Kings of the Borneo jungle, so what better setting than to have my orangutan face plaque staring out through the leaves of the actual Borneo King plant, Alocasia Macrorrhiza, with the tops of those huge leaves created with bail’s reflecting the colours of the orangutan.

2 Kings of Borneo together in one piece.

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Applicant Artists: Functional Containers 2018

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Laurie Mika: United States

Laurie Mika: United States

Years ago while teaching polymer clay workshops in Israel, I was treated to a day at the flea market in Old Jaffa. There was a vendor selling metal embossed and jewel-encrusted antique Old Testaments that caught my eye. I ended up bringing home two small tomes that I have treasured to this day. These beautiful books have become a continued source of inspiration for a series of Medieval-looking, jeweled book covers I have been creating in polymer clay on tin boxes.

During the Medieval period, monks were often commissioned to create lavish book covers with “treasure binding” where metalworkers would use embossed patterns of gold and silver and set precious stones into the surface creating an ornate, jeweled cover. Using polymer clay and gold leaf I was able to create the look of these jeweled covers. I have also been exploring ways to create bezels in clay to surround and secure gem stones and pearls. All of the jewel clusters on this book cover were created from scratch using polymer clay.

The focal point of the cover is a handprinted transfer from an illuminated manuscript with a banner written in Latin that snakes through the middle of the floral design.

Tin box

Polymer clay pieces that are gold leafed and painted

Hand made jewelry pieces

Transfers of Illuminated Manuscripts

6.5 x 5 x 1.5 inches

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Helen Malchow: United States

Helen Malchow: United States

 Hollow form 32. This is a Hollow form that has no interior armatures. I have use two different types of Mokume Gane, inlayed colors and a carved top. You open the box by sliding the hollow form lentil out of the concave insert. The lentil is a hollow form. I used black Premo and sterling silver sheets to make jellyroll veneers, glued two ½ rounds together, polished to 800 grit. The Concave insert in the lid is a mixture of all colors used in the box. It harmonizes the patterns. Shaed accents were rolled into the veneer. The box was constructed using the slab technique. The box is 10”x7”

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Helen Malchow: United States

Helen Malchow: United States

Boomerang Box. This hollow form has no interior armatures.  The veneer is made from a  Mokume Gane background. Jelly rolls were allowed to dryout so they would crack around the outside edges when enlarged. They were inlayed onto the Mokume Gane sheet. Applied to a form and constructed using the slab technique. The sides are sanded to 400 grit. A small black pinch pot is glued to the lid. 7”x12”

1695 A FC3a copy


Helen Malchow: United States

Helen Malchow: United States

Outside/Inside  Box. I am exploring  a series of containers using images we usually see on the outside of containers and transferring them to the inside of my hollow forms. Food that we love but may not love us. What we see and eat everyday does end up on the inside. This hollow form used  Sculpey original clay, watercolors, graphite, Prismacolor pencils, Salt and a Pringles can transfer.  3″x7″

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Linda Leach: United States

Linda Leach: United States

Title: Matched Mosaic Vessel

This matched mosaic vessel started with a bowl of solid polymer clay. A structure of steel wire was added on the outside and woven to the top. Panels of polymer clay were attached to the outside of the bowl and wire basket and decorated with sections of matched mosaic. The stopper is a hollow cone of clay with openings to hold the hammered wire shawl pins topped with mosaic designs.

Materials: Polymer clay, steel wire, nickel silver wire.

Vessel measures 15x8x8”

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Beverly Chesterby: United States

Beverly Chesterby: United States

OPTICAL ILLUSION RING TRAY
 
Maybe it IS a good thing that I don't have a two and a half carat diamond ring to remove when (if) I do the dishes! Bling like that in this little triangular ring tray by the kitchen sink would be the only thing that would take your attention away from the amazing 3-dimensional visual tricks possible with Skinner Blended polymer clay. (Just kidding... I'd take the ring!)
 
Material: Polymer Clay
Dimensions: Triangular-3-1/2" per side

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Margaret Polcawich: United States

Margaret Polcawich: United States

 

“Para Vessel”
Polymer Clay, Epoxy Clay, Wire, Paint, Copper
12″x10″x10″

A lidded vessel of growth and delicate decay. Natural processes simultaneously demonstrate building while deconstructing; tending while sabotaging; peace and conflict. Vessels contain and protect, while restraining and hiding.

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Sarah Machtey: United States

Sarah Machtey: United States

Autumn Box 

Made entirely of polymer clay and liquid polymer clay (Cernit and Sculpey), this box grew from two inspirations: 

The fall leaf influence is obvious; I live in Vermont.  

The other inspiration came from a ceramic box my father made and I inherited when I was eight years old. Thrown on a wheel, it was designed to look like a vase with a very tight neck, but the neck was closed and there was an opening cut lower down that was partially disguised by decorative patterns. I always loved the idea and wished the true opening was completely hidden. So now I make boxes that are not recognizable as boxes when they are closed. 

The color gradations within each leaf are not skinner blend or caning; they are my own technique which I developed to take advantage of slightly translucent clays to achieve not only a smooth color transition but also extra color depth/glow. Each leaf is hand shaped to taper from a center thick enough for vein impressions out to very thin sharp edges. The strength of Cernit allows this. 

Nearly 5 inches tall and 3 inches across. 

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Susan Detwiler: United States

Susan Detwiler: United States

This horned reliquary with its shape suggestive of a human heart was inspired by visiting The Metropolitan Museum of Art in New York City, and especially by those artifacts from ancient and medieval times in Europe. I found their mix of sophistication and crude crafting methods fascinating and charming. This is my interpretation of such an artifact, one that might be found hidden deep in the mysterious Black Forest. The exterior of the reliquary is adorned with precious jewelry left as tributes by the devout. The gold-lined interior holds relics whose origin has long since been lost to history.

The Black Forest Reliquary is approximately 7 x 5.5 inches, not including its stand. It was constructed over an armature made of a bivalve shell and foil which was subsequently removed. It is made of polymer clay with bits of paint, glass beads, crystals, and a repurposed rosary.

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Fiona Abel-Smith: United Kingdom

Fiona Abel-Smith: United Kingdom

Title – Save our Seas

Materials used – Created completely from Fimo Polymer Clay, apart from a thin layer of wire mesh buried inside the bowl to give it more strength.

Dimensions – 9.25 inches diameter x 3 inches deep.

Description: We know pollution’s devastating our seas, our reefs, coral and marine life. But many of us only see this through pictures on glass screens, (TV / Computer) or in glossy magazines. These often-contrived images prepared for our enjoyment are reflected on the inside of this fish bowl. A 2d image, of a reef in a pristine state, a characterisation, finished to a glass smooth surface, just like those screens we see the world through.

But the underside of the bowl depicts a different scene, beneath the waves, and takes us to the reef itself. Textures, 3d fish and coral, and unlike that choreographed 2d image, here some species are missing, others are reduced in numbers, and parts of the coral are bleached and dying. It is for me, a more realistic representation of how we are affecting marine life and our seas.

And while I am aware of the irony of depicting ‘saving our seas’ in Polymer Clay, I consider that not all plastics are in themselves bad, and it is what we do with them, how we dispose of them, that is important. I am hoping this polymer artwork will not be consigned to the depths of our seas.

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Applicant Artists: Nonfunctional Containers and Hanging Art 2018

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Claire Fairweather: New Zealand

Claire Fairweather: New Zealand

Title: ‘Inspiration’

Description: The meandering line of small glow in the dark tiles represents the initial inspiration or brainwave. I often get my creative inspiration in the dark of the night. The graded colors that ripple out from this brainwave represent the development of an idea into the whole concept. The choice of shades of turquoise reflects the restful, calm, contemplation that forms part of my inspirational process. Each mosaic tile that covers this sphere is like one small part of a grand plan, and it is very satisfying when they all come together, to create the whole thing. As I was making this sculpture, I was already getting inspiration for my next creation.

Materials: Polymer clay tiles and acrylic paste grout (over stainless steel sphere)

Dimensions: 17 cm (63/4 inches) across x 17 cm (63/4 inches) high

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Laurie Mika: United States

Laurie Mika: United States

Embedded Heart

Having traveled extensively in Mexico, sacred hearts have long been a source of inspiration in my work. In this piece, I have also incorporated the practice in parts of Mexico for attaching Milagros to wood substrates like shoe forms and hands. Milagros, meaning miracles, are small tin pieces, often representing parts of the body, that were traditionally nailed onto church doors and pinned onto garments to give thanks for prayers that were answered.

This heart was first created in ceramic clay that was bisque fired. I then covered the heart with gold-leafed polymer clay and was then able to embed the surface with a variety of jewelry pieces, metal findings and charms similar to the Milagro-encrusted objects found in Mexico. The small window cut out in the center is symbolic of a portal to inner peace that only the heart can provide.

Ceramic clay base

Polymer clay with gold leaf

Metal findings

Charms

8 x 4 inches

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Laurie Mika: United States

Laurie Mika: United States

Hand of Mysteries

Alchemy and the art of the ancients is the inspiration for this shadowbox shrine, Hand of Mysteries. Historically, the hand, also called the Hand of the Philosophers, is a talisman that depicts the symbols of man’s transformation into god, however, this piece is secular in nature and speaks more to the way that the universe was understood in the 16th century. In the hand is locked the secrets of the philosophers about “earth and seed”. Traditionally represented with unique symbols on each of the fingers and thumb, The Hand of Mysteries is often portrayed with the all-seeing eye (also found on US currency!) and the symbols of the moon, the sun, a crown, and a star. I added the personal symbolism of the clam shell since it represents pilgrimage and travel, something that appeals to me. The eye, that I painted on a limpet shell, in the center is based on Victorian jewelry called Lover’s Eyes and is not associated with the original alchemical symbolism but was added as a way to incorporate and reinterpret symbols from various cultures and time periods.

Wood shadowbox

Polymer clay pieces that are hand stamped, painted and stenciled.

Found objects, jewelry pieces

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Donna Greenberg: United States

Donna Greenberg: United States

RUSTY REEF – Polymer Wall piece

Rusty Reef represents a small intimate bio-system based on forms and shapes found in the sea or perhaps even the forest as nature repeats herself endlessly. In this piece I’m most interested in exploring the movement, transition and transformation that happens in the natural world while not being slavish to realistic interpretation. I imagined this fantasy system almost as a piece of metal, affected by the passage of time by creeping rust and verdigris. In keeping with the organic quality of the piece, I chose to create an irregular edge dictated by the interplay of the individual forms themselves. I challenged myself to find depth and interest and life using a limited palette to focus more on the forms and movement. 

Rusty Reef Materials – Ultralight polymer clay, wire armature for the largest flower form, Genesis oil paints and glazes, Gesso board with adhered Arches paper for the base. base. Dimensions- 12 x 12 in. , 1 ½ in D.

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EvaMarie Törnström: Sweden

EvaMarie Törnström: Sweden

 Title: Haru

Description: Haru is a Japanese word that means “Springtime”. With the mild colors of this sculpture, I want to give a salute to traditional Japanese art with its sparse and very precise lines, which ” coincidentally” happen to express beauty and harmony.

The zipper on the back becomes a contrast to the soft and timeless attitude. A zipper is a modern invention and thus becomes a break of style. In addition, it reveals a shimmering inside that also is a strong contrast. Question: What does this mean? There are many hidden messages in this little horse sculpture that, with great expectation, looks up to what is coming. Answer: The messages you find by yourself are always the right ones. 

Materials used: Concrete (as the armature), polymer clay, black zipper, copper leaf metal, soft pastels, acrylic paint.

Dimensions: Height: 21 cm, Width: 10 cm. Depth: 6 cm

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EvaMarie Törnström: Sweden

EvaMarie Törnström: Sweden

Title: Global Warming

Description: One of humanity’s greatest challenges is the global warming. It is all about decisions: Political decisions, corporate decisions and the decisions that each individual person make – we are all important.

I present our earth as a globe, wildely forced forward by a resolute rider with a whip. In front of the globe stands a symbol of the future – a little child. With a droopy flower in her hand, she bravely stands still and with her right hand raised she tries to stop the very big runaway horse. She wants to have a world to live in when she grows up.

The creation of this sculpture unexpectedly touched me very deeply. Keeping the round globe in my hands and carefully placing out the different continents and understanding their relations to eachother made me understand how important it is for us to take really good care of this little globe that is our mutual home in the universe.

Everyone should create their own globe with their bare hands to understand how important it is for us to cooperate in nurturing the world we live in. And to not push it beyond its limits.

Materials used: Steel wire, apoxie sculpt and aluminum foil as the armature, papier maché for the shape of the globe, polymer clay, soft pastels, acrylic paint. 

Dimensions: Height: 71 cm, Width: 66 cm, Depth: 20 cm

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Beverly Chesterby: United States

Beverly Chesterby: United States

ROBOT FLUTIST

This guy was inevitable! He was created for a flutist buddy who collects vintage robot art and wears Vibram sole shoes. Since I’m also a flutist, polymer clay has proved to be the perfect medium in which to work. It’s super easy on the pinkies! No more telling the conductor that I can’t play F# for a while since I burned my ring finger while soldering a bezel or had a little boo-boo with the lapidary wheel… 

Materials: Polymer Clay, craft wire, silver findings and beads for eyes

Dimensions: 4″ high x 3-1/2″ wide x 1-3/4″ deep

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Henry Aschner: United States

Henry Aschner: United States

Title: Desert Tortoise

Description: Many of my creatures are southwest inspired, sometimes known as spirit animals. This is my polymer clay desert tortoise sculpture. The tortoise represents patience, persistence, and well-grounded in folklore.

A base clay figure is sculpted over armature wire and foil for initial shape, then fired. The millefiori tiles are placed over the base sculpture, smoothed and fired again. I then sand and buff using wet sanding and micromesh to a 12,000 grit for a super-smooth finish. Even with its small size, this tortoise represents many hours of work.

List of Materials: Polymer Clay, armature wire, taxidermist glass eyes

Dimensions: 3” x 4” x 5.5

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Henry Aschner: United States

Henry Aschner: United States

Title: Nine-banded Armadillo

Description: Many of my creatures are southwest inspired, sometimes known as spirit animals. This is my polymer clay armadillo sculpture. The armadillo represents a heightened sense of awareness, security and strength in folklore.

A base clay figure is sculpted over armature wire and foil for initial shape, then fired. The millefiori tiles are placed over the base sculpture, smoothed and fired again. I then sand and buff using wet sanding and micromesh to a 12,000 grit for a super-smooth finish. These millefiori canes were made just for this sculpture, and this armadillo represents many hours of work.

List of Materials: Polymer Clay, armature wire, taxidermist glass eyes

Dimensions: 5” x 6” x 13”

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Henry Aschner: United States

Henry Aschner: United States

Title: Barn Owl

Description: Many of my creatures are southwest inspired, sometimes known as spirit animals. This is my whimsical polymer clay barn owl sculpture. Wise and mystic, the barn owl has a classic heart-shaped face and piercing eyes looking through you.

A base clay figure is sculpted over armature wire and foil for initial shape, then fired. The millefiori tiles are placed over the base sculpture, smoothed and fired again. I then sand and buff using wet sanding and micromesh to a 12,000 grit for a super-smooth finish. My process represents many hours for each sculpture.

List of Materials: Polymer Clay, armature wire, taxidermist glass eyes

Dimensions: 4” x 4” x 7”

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Kelly Hoffman: United States

Kelly Hoffman: United States

“A Bird’s Eye View”

16″ x 16″

My sculptures usually include a “found” or discarded object. For this piece it was a silver plated teapot. At the same time, seeing crows in my neighborhood inspired me to create one out of polymer clay. I imagined putting the two forms together, the life size crow and the teapot. Making several sketches, the concept and design for how to physically connect them came together.

The landscape image created on the teapot builds a narrative for the sculpture while the curved branches suggest mystery and movement.

The crow has a cardboard and wood armature with a polymer veneer. The branches are made from extruded polymer which were then coiled over formed wire. The silver plated teapot was sprayed with a paint primer and then was covered with a polymer veneer. Lastly, a wash of acrylic paint was brushed over the entire piece.

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Fran Abrams: United States

Fran Abrams: United States

Title:  Abstract Influences

Dimensions (not counting frame): 12″ x 16″

Materials used: Polymer clay, fabric, pre-stretched canvas, glue

Description: I create polymer work that hangs on the wall. My work uses polymer clay glued on canvas that I have covered with fabric to bring out the color of the work.  The clay design is created using the tapestry technique that I learned from Carol Zilliacus (deceased). I use Premo clay for its strength and flexibility.  The black lines are applied over the design layer.  I enjoy pushing the clay to see what colors can be blended successfully and seeing how the clay can be used sculpturally as well as flat on the canvas. In this piece, my intent was to evoke abstract art and the lines in work such as that of Kandinsky.

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Fran Abrams: United States

Fran Abrams: United States

Title:  Hanging Around

Dimensions (not counting frame): 8″ x 10″

Materials used: Polymer clay, fabric, pre-stretched canvas, glue

Description: I create polymer work that hangs on the wall. My work uses polymer clay glued on canvas that I have covered with fabric to bring out the color of the work.  The clay design is created using the tapestry technique that I learned from Carol Zilliacus (deceased).  I use Premo clay for its strength and flexibility.  In this piece, the design has been cut and then assembled with spaces between the sections. It was baked over a rope of clay to provide the shape. I enjoy pushing the clay to see what colors can be blended successfully and seeing how the clay can be used sculpturally as well as flat on the canvas. In this piece, my intent was to create a sense of joy and ease.

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Fran Abrams: United States

Fran Abrams: United States

Title:  Knotted

Dimensions (not counting frame): 12" x 12"

Materials used: Polymer clay, fabric, pre-stretched canvas, glue

Description:  I create polymer work that hangs on the wall. My work uses polymer clay glued on canvas that I have covered with fabric to bring out the color of the work.  The clay design is created using the tapestry technique that I learned from Carol Zilliacus (deceased).  I use Premo clay for its strength and flexibility.  In this piece, the ribbon is gold clay that has been textured with sandpaper. I enjoy pushing the clay to see what colors can be blended successfully and seeing how the clay can be used sculpturally as well as flat on the canvas. In this piece, my intent was to take advantage of the alluring combination of red and gold to evoke a sense of love and love's never straight path.

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Marisol Ross: United States

Marisol Ross: United States

“Walk Off Grand Slam”

16″ L x 20″ W

polymer clay, italian glass, metallic powder, grout & acrylic on wood.

“Walk off Grand Slam” depicts New York Yankee, Mark Texeira’s dramatic come from behind grand slam win at home over the rivalry Boston, Red Sox. Fellow team mate, Bret Gardner gives Mark the cutomary, come from behind, game winning, Gatorade bath. Mark retired that year, making that exciting moment unforgetable.

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Applicant Artists: Mixed Media 2018

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Donna Greenberg: United States

Donna Greenberg: United States

WEDGEWOOD WAVE-Mixed Media wall piece

Wedgewood Wave is a new direction incorporating cut paper along with polymer to augment my interest in bas relief and classical craft forms such as decorative plaster work, cameos and even Wedgewood pottery. The piece also pushes past what we usually expect by mixing design metaphors such as realistic clay leaves that transform into classical paper scrollwork and pairing it with clay flora that still feels more naturalistic. Movement and thrust is the over riding theme as the wave of scroll work grows up and out of the bottom leaf forms then lifts off the base, creating a band shell effect and curling into the spray of flora. It’s a tempest that could easily feel out of control but maintains a sense of calm do to the soft pencil drawing techniques and color washes in a limited palette. I also created a hand drawn and painted pattern in the back ground to continue the scrolling wave theme and anchor all the diverse elements.

Wedgewood Wave Materials – Ultralight polymer, Arches cold press paper, Acrylic goache paints, Underwent water color pencils, Apoxie paste, oval stretched canvas base. Dimensions- 13 in. W x 17 in. H x 8 in. D

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Donna Greenberg: United States

Donna Greenberg: United States

TALKING ‘BOUT REGENERATION-Mixed Media wall piece.

Talking b’out Regeneration is an exploration in mixing organic materials with polymer that allows for equal importance between all the chosen elements. Regrowth is the main concept and enduring interest of mine as the organic polymer fungi, lichen and leaf like forms defiantly sprout from the natural woods that are in various stages of transition and decay. Whereas most of my work incorporates organic free form edges, I challenged myself to work with in a classical shadow frame box to see if I could keep the organic flow going while also attempting to break down the very frame, or wall as I began to see it . All the while keeping everything connected and unified. I built the laminated frame then carved and drilled areas to effect a worm eaten quality. The Locust wood panel is very dry and spongy and needed treatment to strengthen it from within. I painted the background flat black to float the natural woven bark paper on and to add a textural segue between the panel and painted surface. Adding polymer elements to the actual front of the frame also aided the regeneration theme as fungi can often be found growing and taking over man made creations.

Materials used- Ultralight polymer, Acrylic goache, carved and drilled laminated wood, locust tree bark panel, woven bark paper, apoxie paste. Dimensions- 12in.W x 17in.H x 2 ½ in D.  

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EvaMarie Törnström: Sweden

EvaMarie Törnström: Sweden

Title: Exploring Energy

Description: The very creative process of this T-shirt was very interesting to me as I learned a lot while I went through a variety of stages with my sketches and my attempts to master the clay.

I knew from the beginning it would be a horse’s head, and I knew it would have a lot of color. In the beginning, I worked very purposefully for several months on various Sami patterns for braids and beads. But in the end, when I peeled off the complexity, simplified and clarified, I landed in something totally different and more stylistic, with inspiration from impressionism.

The intent of this T-shirt is to boost energy and power for the person who wears it. It brings a feeling that you have a lot within you and that you are allowed to let it shine – just like the horse does.

Materials used: Polymer clay, Dark blue T-shirt, hot glue

Dimensions: Height: 64 cm, Height: 64 cm

Linda Leach: United States

Linda Leach: United States

Title: Lotus Garden

The Lotus Garden started with a hand etched copper plate which was used to create a liquid polymer clay veneer that was hand painted using oil paint and liquid clay. Another etched copper plate was created for the lotus leaf and alcohol ink added for color. The lotus blossom was inserted into a copper strip frame and wired to the copper leaf. Peridot drops were encased in polymer clay and attached to the pendant with covered wire. The entire pendant was strung with faceted citrine beads and freshwater pearls.

Materials: Etched copper, Etching Alternative veneer, liquid polymer clay, alcohol ink, oil paint, copper wire, copper strips, Peridot drops, faceted citrine beads, freshwater pearls.

Necklace measures 7”wide x 26” long.

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Laura Tabakman: United States

Laura Tabakman: United States

Title: Mardi Gras

Materials: Polymer clay, steel wire, sewing thread and flooring materials.                 

Dimensions: This configuration is 20″x16″x 9″, but it could be arranged in different ways, changing the total size it occupies.

Description: The piece consists of 16 separate units built with polymer clay vessels (1/2″ to 1 1/2″ tall) suspended with steel wire on a flooring material. The vessels are balancing in away that a small breeze or just blowing on them makes them “dance”.

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Sarah Machtey: United States

Sarah Machtey: United States

Steampunk Pouch Necklace with Removable Magnifying Glass 

The front and back of the pouch are embossed aluminum from a soda can (inside you can see the original red and white exterior) with pearlex powders in liquid polymer filling the low areas to highlight the pattern. The top is a scrap strip of used copper from a renovation, embossed and then antiqued. The sides and bottom are polymer clay (Cernit) with mica powders (Pearlex). 

The removable magnifying glass is a vintage optometrist’s test lens. 

Also various chains, findings, and copper wire.

Approximate dimensions:   

Pouch/pendant 2″ x 4″ x 1″

Magnifying glass 1.5″ diameter 

Length from top of pouch to bottom of magnifying glass 7″ 

Chain 23″ 

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Emerging Artists - Non-functional Sculpture and Hanging Art

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Nikolina Otržan

Nikolina Otržan

To boldly go where no cats have gone before... - collection

It's 2350 and cats decided it was a high time they started exploring the Universe themselves. They'd built their first Cruiser and off they went. Their first colony was in the Alpha quadrant. They wanted to keep close to Federation since they'd heard that they are creatures out there even scarier than humans, so they figured out it's better to stick to already known enemies.

And, of course, they wanted to get their hands on Federation's replicators, so they never had to worry about having enough food again. Next ship they built was a Napper. Napper's never gotten a replicator, but it had a huge supplies of catnip. By the way, catnip was a ticket if you wanted to visit those cats, they would never receive anybody without it. Once dog delegation came knocking without catnip. Cats let them in, took them hostages and made their relatives build them a brand new docking station. :) Then they built the Explorer. It's not that they really needed it, but some older cats were getting really fed up with those kittens constantly running around, so that was the perfect way to get rid of them. For a while, at least. And when they thought they can finally enjoy some peace and quiet, the Borg came. So they needed another ship… and another…“

All those pieces were made only out of polymer clay and they are completely hollow. Napper is also a brooch and Cruiser is a pendant. Cruiser has a little round about inside, so the cord is fed around it. Defender also has 2 round abouts, so basically it could be transformed into a pendant. Size wise, Cruiser measures 8x5 cm, Napper 9,5x3 cm, Explorer 11x2 cm, Defender 16x3 cm and the Docking station is 11x5x10.

Fiona Abel-Smith

Fiona Abel-Smith

One small step....one giant leap

Dreams of flight aren’t restricted to man, and preparing to take that first step into the unknown has called to many a soul. In this case, tales of wondrous dragons inspire a humble lizard to take to the skies. He builds a hang glider from twigs, leaves and petals ready to launch into the air, to boldly go where dragons went before. The top of the glider is covered in leaves, the bottom made up with a colourful array of petals, he clings on tight to the frame and takes that one small step. Made completely from Polymer Clay on a wired frame with a small hidden brick base for ballast, the whole piece is precariously balanced on one point, as the lizard takes that final step. The weight of the hang glider needed to be kept to a minimum in order to maintain the balance, but the overall feeling of launching off the stones was paramount.

The piece is 13 x 11.5 x 12 inches, (33 x 29 x 30cm).