Moving. . .

So I took the opportunity of going to Sieraad to get my act together and actually set up a legit website. I'm working on moving the blog over there so that everything is in once place. Blogger is feeling a bit outdated lately, anyways. Anyways, you can check out the new site, and catch up with the blog here:

https://lizsteiner.squarespace.com/

Thanks for reading!

Quote of the Week

"Water is everywhere around you,
but you see only barriers that keep you from water.

...

Mad with thirst, he cannot drink from the stream running so close to his face.

He is like a pearl on the deep bottom
wondering, inside the shell, Where is the ocean?"

~Rumi, A Basket of Fresh Bread

Feelin' Blue

Process Shot of the Week

Finished up a couple brooches and six pairs of earrings this week all for Sieraad!

Quote of the Week

"The surface is rusting over
I had better go into silence."

~Rumi, Too Happy, You could Not Sleep Last Night

Process Shot of the Week

I'm totally swamped with grading and school stuff and an independent project this week so I didn't get too far in the studio. I did allow myself an hour yesterday, which turned into two. I did manage to make this necklace and finish up some brooches this week.

About Town

Some photos from some recent walks about town.

Quote of the Week

"Some of the stuff we imagine engages and connects and calls for the very best in us to come out. Other imaginings disengage us, and shut us down. My understanding is that you get to choose which of your thoughts to go with."

~Anne Lamott, Help, Thanks, Wow

Process Shot of the Week

I made some progress this week on the work for Sieraad, but totally forgot to take my camera to the studio. But I also whipped up these charms out of some scrap metal, vintage buttons and seed beads. You can find them in my Etsy shop here.

Labor Day

I'm feeling a bit overwhelmed lately due to my four classes (did I mention that I'm teaching FOUR classes this semester at two different colleges?), and preparing for Sieraad, along with some other professional commitments. But despite all that, I decided to take myself to the beach over this long weekend. I don't think I'll ever regret taking time out to go to the beach. It was a perfect day, sunny, warm water, and not too crowded. It made for a nice metal vacation, in the name of self care. Hope you're taking care of yourself too. Happy Labor Day Weekend!

Process Shot of the Week

I'm still adjusting to my intense fall schedule, but did manage to put in a productive studio day yesterday; finished two brooches and laid out a few more. Did lots of drilling/smoothing of glass. I also made a few necklaces. I'm still really unsure about how I feel about this work. I flip flop between being totally in love with it and gaping pits of insecurity at the thought of having to show it to anyone, let alone at Sieraad. The only solution I can see though it to just keep pressing forward.

Quote of the Week

"The breeze at dawn has secrets to tell you
Don't go back to sleep.
You must ask for what you want.
Don't go back to sleep.
People are going back and forth across the doorsill
where the two worlds touch.
Don't go back to sleep."

~Rumi, The Breeze at Dawn

Process Shot of the Week

 So after nearly 2 months of doing everything BUT make stuff (prepping for four classes, anyone?), I finally made it back into the studio. It was super productive and amazing and made me just the teensyist bit less nervous about Amsterdam. Hopefully once my classes get more settled, I'll be able to eek out a little more time for making during the week.

Paper Making Around the World

 I just spent a week at Peters Valley Craft Center, where I took a paper making class with Jane Ingram Allen. The class was called "Paper Making Around the World" and reflected Jane's experiences traveling all over the world learning and teaching how to make paper from a variety of plant sources.

We made papers from prepared pulps as well as pulps we make ourselves by cooking and beating local plants. All in all, we made about 8 different kinds of paper from everything from blue jeans to milkweed, hostas, day lilies and more traditional fibers like abaca and kozo.

It was a great class, and I learned a ton. I'm excited to work with the papers I made and turn them into books or other works of art. More on that at a later date!

In other news, we totally met our campaign goal!!!! We even surpassed it a little bit. THANK YOU SO MUCH!!!!!!! to everyone who supported us!!!! Your generosity has been unbelievable!

Thanks for reading!

Jackalope Collective: Curatorial Interview

As promised, here are Rachel and Jillian to talk a little more about the decision to go to Sieraad and invite the rest of us along for the ride.

How did this idea come about? 

 

R:  Basically, I was pretty unhappy during my preparations for the ACC show and also from my results of the show.  From the beginning, I had a feeling the experience would be like trying to roll uphill but I needed to do the show before I could decide how I really felt about US trade shows.  During this time, Jillian and I were also in discussions about her experience at SIERAAD and how great it was for her.  Between my negative experience and her overwhelming positive one, we thought it'd be a good idea to go in 2013... and to bring other US art jewelers who are up n' coming with us.  We wanted to bridge the gap between the US art jewelry market and the European one while simultaneously offering exposure and opportunity to a diverse group of makers.

J:  It really was a pretty simple evolution in planning.  It went quickly from us sharing a booth together to us helping bring a larger group because we felt like we could accomplish more in terms of representing American jewelry if we went about it very diplomatically and showed a range of work.  I've felt for awhile that a lot of younger makers are eager to be displeased with things, but not so eager to take action.  Rather than complaining about the absence of American work in Europe, it seemed like a way to begin to tackle the problem was to simply take a lot of work over together.  The reception I got there was so welcoming, I started to think a much bigger part of the problem was simply that we don't show up.  American collectors have held up European work as the be all, end all while the European collectors have no incentive to come here because we don't have the range of art jewelry specific fairs that are worth the trip.  By sharing the financial burden, we're making it a little more achievable for the problem to be addressed immediately.
 

What was your selection process for the artists like?

 

R:  It was REALLY tough!  We spent a lot of time scouring the internet and brainstorming folks who made great work while keeping diversity strongly in mind.

J:  We had a lot to factor in.  Since we weren't representing any specific organization, we were able to choose people based both on the caliber of work and based on who we felt comfortable spending a lot of time with.  Also we wanted to keep the work as diverse as we could so that no one felt like they were competing for sales, and so that we were truly representing a cross-section of what's happening in the contemporary art jewelry scene in America right now.  We made lists a little longer than what would work because we knew it would be difficult for people in a lot of ways, and we had to plan for those who couldn't make it work.  I'm still bummed that a lot of my original list didn't work out, but it has led to me being introduced to some new makers who I wouldn't have gotten so close to otherwise. 
 

What do you hope comes out of this experience, either for the individual artists, the group as a whole or American Art Jewelry in general?

 

R:  For me, the number one priority is helping to merge the US and European market.  By bringing such a large, diverse group, I believe this can happen faster than if only one or two of us went at a time.  I do realize that there are other American based art jewelers going to SIERAAD this year and I think that's great.  It helps to further this main goal.  My other angle for this project is to personally interact with a market that is more knowledgeable about art jewelry than the folks who were at the ACC show.  You can read more about my experience here. 

J:  I totally agree with Rachel's point that we're going to have a much more immediate impact by showing up with so many people, both our selected group of emerging makers, and the many other Americans going as well.  It makes a much stronger statement than if it had only been the two of us.  And to be honest, Rachel and I both are outliers in many ways.  Our work represents certain aesthetic extremes, and I think we're showing a much clearer picture by bringing such a diverse group.  We're trying to be ambassadors.  Last year I was the only American wondering why I was the only American.  This year there will be around 20!  I think both our project, and the other Americans going, are going to make a considerable mark on the fair as a result.  Hopefully this will be viewed as a turning point for visibility regarding American work in Europe.  Hopefully our group, who are all recent graduates, will come home with new collectors and exhibition opportunities that help catapult them into that first phase of their studio practice.  It's a long shot, but I'd also like to see some of the differences in fair practices to show up over here.  Perhaps if the best American work starts showing up overseas more than domestically, there will become an interest in art jewelry-only fairs here.  Perhaps the established American fairs will adopt some of the practices of the European fairs that make them so easy for emerging artists...
 

What has been the most challenging aspect of organizing this adventure?

 

R:  Organizing ten women is no easy feat!  Thankfully, it has gone as smoothly as I imagined it could, so, that is wonderful.  I think the fundraising that we're currently doing is the most stressful.  Jillian and I promised that we would do our best to cover our enormous booth costs (round about $7,000 USD).  Most of the makers in our group (including myself) could never afford to do this show without this fundraising.  In addition to our booth, we need to pay for lodging, travel, meals, other travel expenses and the cost and time to produce our work.  These costs add up very fast.  The result of our fundraising ultimately determines how much financial trouble many of our group members get in to.

J:  I agree that fundraising has been very stressful.  I knew we were asking our group members to take a risk, and I want to try and mitigate that as much as possible.  It won't be cheap, but it will be cheaper than going it alone.  I hope we are able to provide an experience that is worth it for all of them.  I have faith in the long-term benefits, but it is still difficult not to feel worried about everyone and the quality of their experience.  I've also struggled with the limited time I have available because I would like to be able to help everyone who is going over from America.  Rachel has been great about keeping me on task, and helping me focus on our core commitments to those in our group given that we persuaded them to take this risk with us.  My time at SIERAAD was so wonderful last year, I think once everyone finally gets to Amsterdam I'll start to feel less freaked out.  For now, it's going to be something that keeps me up at night from time to time...

What has been the most rewarding aspect of organizing this adventure?

 

R:  We've been receiving a lot of support:  Klimt02 publicly supports us.  We have received donations to our campaign from both national and international big-name galleries (some are anonymous so I can't name them here).  Brigitte Martin (Crafthaus editor) has also been pivotal in our success so far.  Having these supports is truly rewarding and a big nudge of encouragement and vote of confidence in this project.

J:  Again, agreeing with Rachel, the time we spent at SNAG this year speaking with people about our project was such a big boost for our enthusiasm.  Brigitte Martin, in particular, has been such an asset with regard to prioritizing and organizing our goals.  There have been Americans who champion what we're doing, but there have also been so many international supporters that I continue to feel vindicated in my belief that European "snobbery" about American work is mostly a myth conjured by wounded American pride.  Makers, organizers, and gallery owners outside of the US have donated to our fundraiser just as eagerly, and they have spread the word faster and more eagerly than many of the American equivalents.  It's given me hope that my larger intentions, to bridge this continental divide in the field, are already being resolved.  Also, watching our group members pick up on the promotion of the project and seeing how their work is already being received has been really great.  There was a very quick turnaround on this project, from our initial conversations to really jumping right in and getting people committed to the fair, to our current fundraising.  It's great to see something come together so efficiently and smoothly when it seems, in retrospect, like it could have been a lot harder to pull off!  Let's hope I still feel this way by November, but so far we've had really smooth time.  I'm hoping that we won't have to factor in hurricanes this year...

 We are so close to reaching our goal over at indiegogo. With 4 days left, we are just under $500 shy. Please, please go take a look at our page, that Jillian and Rachel so tirelessly put together. Thank you to EVERYONE who's donated so far!!!!

Jackalope Collective: Jillian Moore

Kicking off our final week of fundraising is my last artist interview with ringleader, Jillian Moore! Jillian participated in Sieraad last year, and came up with idea of a group showing of American artists. You can read more about how this project came out later this week in a curatorial interview with both Jillian and Rachel.

Education: BFA - Metalsmithing and Jewelry Making at Western Illinois University, Macomb, IL        MFA - Jewelry and Metal Arts at University of Iowa, Iowa City, IA
 Lives/Works In: In a home studio in Iowa City, IA, where she does larger, sculptural pieces that are also wearable as well as smaller semi-production work, occasional commissions, writing and blogging, and teaching workshops on the resin surface applications she invented, as well as generally being awesome.

What is your work about?

 I'm very interested in biological forms, but more specifically, I'm interested in ambiguous forms that cannot easily be classified by origin or function. I'm always trying to investigate a space somewhere between humor and horror, while making them strangely appealing in the end. Color and pattern are also very important to me, and I tend to prefer surface work that is very time consuming.

What are you looking forward to most about Amsterdam?

I can't wait to get back, and I'm so excited to share the experience with everyone. There were so many people who became friends by the time I left last year, and I'm really looking forward to seeing them again this year. My trip last year was prefaced by Hurricane Sandy, and I'm really hoping I can fully enjoy some things that were lost to a tight schedule, stress, and sleep deprivation last year!

What artists inspire you?

Bruce Metcalf has been a constant in my work since I was an undergraduate. I really admire how he's pushed further in his work over the years rather than becoming static the way a lot of his contemporaries did. I've also always loved Kiki Smith, Terry Winters, and Yayoi Kusama. I've also been keeping an eye on a few contemporary makers along with those in our group. I think Nick Mullins, Mallory Weston, and Denise Julia Reytan are all doing amazing, fresh work that makes me want to do better to keep up!

What's the best advise you were ever given about being an artist?

It's a job. Clock in and get to work.

Any final thoughts on Sieraad?

I hope the American jewelry community will benefit in the long-term from what we're doing. I would love to look back at this as the first step in a new type of international conversation about our identities as makers, our relationship to the community we are educated and work within, and our function in the larger collecting community around the world.

In a more realistic, short-term sense, I am really looking forward to the reception of our group's work at the fair. I can't wait for everyone to get their work out and get going. The interactions I had with collectors, gallery owners, and the other makers was so satisfying. Getting to that point, and hopefully seeing opportunities start to come together for our group, that's what has kept me going through all of the planning and logistics so far. I can't wait!

Along with Rachel, Jillian organized our indiegogo campaign, and our top tier "Thank You" gift is a brooch with her super cool, self developed resin technique. These are limited production, one of a kind pieces, so you should check 'em out!

Thanks so much to Jillian for all she's done!

Jackalope Collective: Rachel Timmins

I'm running a twofer on interviews this morning and next up is Rachel Timmins!

Education: 2009, BFA, Buffalo State College, Buffalo, NY 2012,
                  MFA, Towson University, Baltimore, MD
Lives/Works: In a home studio in Baltimore, where she'll be teaching for the MICA Fibers Department in the fall. She also travels, giving workshops and lectures.

What is your work about?

Metamorphosis, mutation, otherness, comfort and building a place to belong are concepts that are prominently featured in my work. I primarily show these ideas through unconventional adornment. Many of my works include vibrant colors and low-brow materials like craft glitter and spandex. These ideas and materials are powerful ways of creating a spectacle and creating perceived value. Both the objects and the wearable pieces that I create allow both the viewer and the wearer to step into my place in this world. I use both humor and irony in order to create a push-pull feeling between the viewer and the pieces. In my current work, I try to show how our experiences can consume and change us into something that we never knew we could be.

What are you looking forward to most about Amsterdam?

I'm really looking forward to seeing what the European art jewelry market is like in person. (Photographs just aren't the same as the real thing.) I'm also looking forward to talking with other people who are knowledgable about art jewelry.

What artists inspire you?

Otto Kunzli, Manfred Bischoff, Ernesto Neto, and Caroline Broadhead

What's the best advise you were ever given about being an artist?

In the first art class I ever took in college, the professor looked at us on the first day of class and said, "If you can do anything else, be an accountant or something, and do art as a hobby, then leave now, or stay and change your major. This is one of the most difficult careers you can choose and most of you won't make it." About half of the class got up and left.

Any final thoughts on Sieraad?

 Jillian and I have put a lot of hard work into this: the planning, curating, campaigning, organizing, finding a place for all ten of us to stay together, etc. I am really excited to see this happen after all of our hard work. I'm so happy that our group members are stepping up to help out -- we never expected our group members to help out but we did hope that folks would. I'm really excited to showcase what Jillian and I feel is an enormous range of art jewelry that is happening in the US right now, and I can't wait to exhibit a new body of work that I currently have in progress.

Rachel is one of the masterminds behind out fundraising campaign. She helped design the Jackalope logo, and did the digital work for the 3D printed thank you brooch. Check it out here! Thanks Rachel, for all your hard work and for participating in the interviews!

Check back next week, where Rachel and Jillian will talk about their curating process and how this whole idea came about!

Jackalope Collective: Satomi Kawai

I'm headed out of town for the weekend, so I thought I'd run a two for one deal on interviews this morning. First up, Satomi Kawai!

Education: BA in literature at Kyoto Notre Dame Women’s College in Kyoto, Japan
                  MFA in  Metalsmithing and Jewelry Design at University of Iowa

Lives/Works: In her home studio in Iowa City.

 What is your work about?

 My jewelry speaks about my environment; both inner and outer environments. I observe every solid surface among materials surrounding me and fundamental physical matters both from macro and microscopic points of view. In addition, I view the mixing patterns of gas and liquid, including changing shapes of clouds and their flow patterns. It is fascinating to witness these changes with phase transitions: surface pattern and color changes. I see a resemblance of patterns between microscopic tissue and outer environmental images. These are the things that happen in my daily life. I visualize these moments from my everyday life in the form of jewelry pieces.

What are you looking forward to most about Amsterdam?

I am excited to meet with enthusiastic people in the community of art jewelry, and not limited to Amsterdam, but also from all over Europe.

What artists do you admire?

There are many jewelry artists I admire. They include Ruudt Peters, Attai Chen, Sebastian Buescher, Tarja Tuupanen, and Yasuki Hiramatsu. Specifically, I want to mention about Hiramasu. When I saw his work at a SOFA show in Chicago in 2001, I admired his simple work and his attitude to materials, which showed his warmth and charming character. Other artists I admire are Eva Hesse, Kiki Smith, Ann Hamilton, Rebecca Horn, and Cai Guo Qiang.

What's the best advice you were ever given about being an artist?

 Hiramatsu taught me that metal is not a cold or rigid material, but a warm material. He said not to fight with the metal. He added that the only thing I need is to talk to my metal, like I do to my loved ones. I have adapted this philosophy when I make jewelry pieces. My application is not limited to metal but extends to all other materials. I do not try to enforce the material I work with, but I ask the material on its possibilities.

Any final thoughts on Sieraad?

I feel extremely lucky to be a part of this group to participate in this international art fair. I appreciate Jillian Moore and Rachel Timmins who included me in the group. Going to a European art fair is a good opportunity for us to know how American contemporary jewelry art will be received in Europe. I like this participation as a group because I can share experiences in Amsterdam with my colleagues and we are able to pass our experience to other American jewelry artists. I think we can become a new bridge between European and American art jewelry communities. It is a big challenge for us economically, so that any encouragement and support to us is essential for our success.

I've been a long time admirer of Satomi's work, and I can't wait to see what she brings to Sieraad! To help her get there, please check out our fundraising campaign! Thanks so much to Satomi for her interview!

Last Looks

Here are a few shots of my last week in Columbia. We got some really spectacular sunsets on the water.

Jackalope Collective: Laura Wood

I'm so excited to present Laura Wood as today's interview. Laura and I went to grad school together at ECU and I'm so excited to be sharing this adventure with her!

Education: BFA Jewelry and Metalsmithing at University of Georgia
                  MFA Metal Design at East Carolina University
 Currently Lives/Works: Atlanta, GA where she is currently setting up her studio practice. For the past 2 years she lived and worked in San Antonio, TX gallery manager for Equinox Gallery. She will continue this curatorial work for Equinox from GA.

What is your work about?

My work blends familiar jewelry icons with unexpected materials and forms. I enjoy working within the format of adornment and creating work that challenges the idea of what jewelry can be. In my most recent series of work, I combine simple forms and pair them with repurposed jewelry, industrial materials, precious stones, and paper.

This combination of materials allows me to create identifiable pieces that offer a variety of connotations. Metal is transformed into an ambiguous surface and found jewelry is concealed beneath hand-made paper, simultaneously disguising their value while also embracing the value of disguise. Much of what I use is recycled, breathing new life into objects that have experienced one or more already. The pairing of traditional and modern aesthetics creates new vocabulary in the ongoing dialogue about contemporary jewelry.

What are you looking forward to most about Amsterdam?

I am filled with excitement as I prepare to participate for SIERAAD. This is an opportunity to exhibit alongside artists from all over the world. I am also looking forward to experiencing how the work is received from an international audience. Being a part of this group of emerging artists is very special to me and I enjoy knowing that we will be sharing this experience together.

What artists inspire you?

My time at UGA, ECU, Southwest School of Art, Equinox Gallery, Penland School of Crafts, and other communities have all introduced me to some of the most hard working and determined artists. This inspires me. Making work and accessing the creative takes discipline and commitment, but understanding how to make a living from this can be very complicated. At this point in my career I am looking to these folks and I’m hoping I can follow in their footsteps.

What's the best advice you were ever given about being an artist?
Three quotes from three wise people come to mind:
“There is room for everyone, we can all have a piece.” – Alejandro Sifuentes
“Figure out what you do best and be the best at it.” – Jim Cotter
“Get down and dirty with it.” – Bob Ebendorf

Any Final Thoughts on Sieraad?

The indiegogo fundraiser for this group is a supplement to our financial commitment, As the 10 of us have already made the decision to participate. It is important to note that this campaign goal of $7500.00 just covers our booth fee and not the entire trip. This financial assistance would be of great help. We are all emerging artists that are hoping to grow from this experience. When Rachel and Jillian contacted me about being a part of this group if selected by the juried process, I did not hesitate to apply. Our art jewelry community has always been an example of a supportive network. I plan to share my experience at SIERAAD after we return and I hope it might be of interest to others who might want to participate in future exhibits. Please consider supporting us!

To support Laura and the rest of the Jackalope Collective, please check out our campaign. Thanks so much to Laura for her participation!