SNAG Pin Collection

Time is running out, so I think the SNAG pin collection ends here.

SNAG pins 2013

SNAG pins 2013 - details

The Value of Working Fast in a Series

After the prototype proved plausible, I decided to attempt to make at least 20 pins for the swap. I did modify my process a bit because of fit issues with the stones and the tubing, but overall it's still a quick and dirty approach. So I hope anybody who really trades with me doesn't judge me too harshly!

Playing with color has been my favorite part of the project, making me really want to rethink how to introduce color more frequently into my regular jewelry. I've also enjoyed the return to my fiber roots and including the occasional piece of glass. I need to devote thought to how to combine media more effectively.

Working in a series is so invigorating. The basic process is easily set down:

1. cut tubing lengths
2. set the stones
3. reduce the tubing with the rolling mill and then shape
4. cover with fabric and thread scraps
5. add a feather and any other embellishments
6. add the fibula

But within that process, there are lots of places for variation. I work the first three steps with sets of 5-6 pins, then I work the next two steps individually. Finally, I will do the fibulas all at the end.

I find that as I'm working on one pin, I have an idea for another. Since I  know there are more to come, I feel no anguish over what to do with the current variation. I just make a quick decision and move on. The process moves faster because I'm not over thinking.

Inevitably, the process itself starts to feel a bit limiting. I begin to crave a break out into a new direction.

SNAG Pin Swap

This year I will venture into a new world - the annual SNAG (Society of North American Goldsmiths) conference held in Toronto next week. I'm looking forward to an exciting education as the program unfolds with presentations and demonstrations. The offerings range from new to old: digital jewelry photography and CAD to historical context of jewelry and tools, sustainable materials to roller printing, sawing and riveting.

One of the most highly touted events is the annual pin swap which occurs on the first night of the conference as a way to meet old and new friends. I've experienced similar events at other conferences, such as bead exchanges at the Gathering or charm swaps at a PMC conference, but constructing a fully wearable (although minimalist) piece of jewelry certainly takes the idea to a new level. I really didn't have any inspiration that would guide me to produce "20, 40, 60+ playful, clever, and inexpensive interpretations of the diamond."  

Then Bob Ebendorf's workshop gave me an idea. I decided that maybe I would take his suggestion for turning my fiber wrapped wire/tubing into a simple brooch. But how to incorporate the diamond theme? Should I go for shape? Should I glue on CZs? Then I remembered a coil of 1/4" copper refrigeration tubing stashed in my studio, a box of 50 5mm CZs in a drawer, a technique demoed by Ronda Coryell to quick set stones with a flex shaft, and a new rolling mill begging for work.

I quickly cut a short length of tubing, cut the seat for the stone and set it in about a minute, then used the mill to step reduce the tubing size. Finally I wrapped with some of my quilting scraps, stitching on a feather and a steel fibula. Now, can I set up an assembly line to make a collection of these in some reasonable time? The part I really enjoy about this idea is the possibility to make each one totally different. Wish me luck.

Bob Ebendorf Workshop

Bob Ebendorf is renowned for his teaching skill, so I jumped at the chance to take a short workshop titled "A Brush with Creativity" at the Cos House in La Villita, sponsored by Equinox Gallery. Based on a collection of found objects provided by the organizers and enhanced by anything we brought along, our assignment was to construct one or more artist brushes.

My first attempt was a simple wrap of coque feathers tied around a butter knife with a scrap of reclaimed silk ribbon. Bob characterized it as very Indian in feel, which seemed appropriate as I have some trace Indian ancestry. It reminds me of an Indian implement in my collection that has green feathers and wraps of white rabbit skin and fur, so this will complement it beautifully.

I also made a pair of brushes based on porcupine quills that I scavenged along a roadside in Italy. Both have feathers, one as the brush itself and one as embellishment, and the bristle brush is enhanced with a copper electroformed cicada wing.

Finally, while rounding up odds and ends to work with, I thought of these tubes that I've stashed for years. Wrapped with quilting scraps and thread ends, they provide a colorful handle for simple marabou  brushes. The curved brush has two handmade glass beads scavenged from the bead reject bowl.

During the discussion, Bob suggested that I consider winding the long metal tubes into a spiral and forming the brushes into brooches. I was reminded today while gathering fiber and glass bits to combine with metal that I love all my special media and should give some serious thought to combining them as I move forward. There were many amazing brushes on the table to inspect. It's fascinating to see what attracts and motivates individual artists.

Robert Ebendorf Opening at Equinox Gallery

This weekend I had the pleasure of attending both a show opening and a workshop with the legendary artist Bob Ebendorf.

Bob Ebendorf
Keep It in the Can Brooch with White Costume Bundle
Mixed Media
4" x 3" x 1/2"

On Friday evening, I journeyed to San Antonio with Lori Magno (visiting from Boston to attend her scholarship class at Jewelry Studies International) and Ronda Coryell (JA Master Bench Jeweler and co-founder of JSI) to see the opening of Bob's solo show, "Keep It in the Can" at Equinox Gallery. Alejandro Sifuentes opened this gallery in La Villita on the Riverwalk, then brought in Laura Wood to assist. Together they have quickly promoted Equinox to an outstanding gallery showcasing art jewelry in a wide range of materials.

Bob exhibited a body of work based on the metal cans that he collects on his daily walks, visualizing the round rims of the cans as bezels to hold other found objects in a jewel-like setting. There was also a collection of found object earrings, including a roadkill bird claw that I added to my collection of bird inspiration.

Kathryn Osgood

Finally, there was a  tribute board of pins made specifically to honor Bob by 75 artists whose careers he has touched over the years. It included works by many of my favorite artists, including my current obsession Kathryn Osgood.

I enjoyed meeting Bob and many other artists whose names and work I knew well, but whom I hadn't met in person. ff

Components

I'm rethinking my process for making jewelry, trying to get my head around the idea of components. This week I've whipped up a collection of small bits that I regularly make with the goal of making molds and casting them in Argentium for further use.

sterling components after first stage firing

These dull gray components just finished their first stage firing in the kiln to remove the clay binder.

dirty kiln

You can see I don't bother cleaning my kiln very often of the black dust that spalls off the stainless steel container. Flat items are fired on a fiber shelf, while curved pieces are supported in a bowl of vermiculite during this first firing. Notice the leaves already attached to a sprue built from clay.

sterling clay loading into carbon for firing

Next the items are buried in carbon to provide an oxygen free environment for the second stage firing where all the tiny silver and copper particles sinter together to make solid sterling. On the far right you can  see a treetop brooch going in for a third round of firing to finalize a repair.

treetop brooch being repaired

Shown here on the blackened container lid, the brooch originally broke at a thin spot where I impressed the sun in the upper right corner. Despite building the leaves over the break and adding more on the back, the crack opened during the first carbon firing. Here, it has already been through a first round of repair with more clay added to fill the gap that opened. I've filed down some excess and added more in certain areas, and I'm sending it through again before I file the edge smooth and do the finishing work.

Fauna and Flora - Spring

Spring is in full swing in Austin. My garden is looking totally fabulous and I'm really enjoying all the fauna coming to visit the flora.

stock tank pond looking diagonally across yard

I've cleaned up the stock tank pond, and now I must wait for the repotted dwarf papyrus and water lilies to regain vigor. The winter was so mild that my tropical lily, not usually hardy here in zone 8b, is already rebounding. The Wanvisa and Colorado hardy water lilies are quickly responding to the fertilizer and warmer weather.

Louisiana iris in the stock tank pond

I should have repotted the Louisiana iris in the fall, but failed to do so, and now I will wait until after its bloom. It has so overgrown its two gallon pot that it is totally unbalanced and required rope to anchor it after repeatedly dousing the gorgeous purple blooms.

leopard frog resting amongst the iris

The central area of the iris provides the perfect resting spot for a leopard frog or two, who have seeded the pond with huge floating egg sacks attached to the water lily leaf stems just below water level. The eggs hatch into a myriad of tiny black tadpoles which slowly disappear, probably as goldfish food.

blue heron fishing at the stock tank pond

So far this spring I've spotted all four comet goldfish at one time, but haven't seen any sign of the poor single slow fantail. I had worried that all the goldies might have fallen prey to my visiting blue heron over the winter, who came again yesterday. Luckily for the goldies, the water is very green from a spring algae bloom. I know I haven't seen them at all since I fed the water lilies (excess fertilizer causes the green).

bluebonnets, Autumn sage, Knockout rose, and yellow bulbine

Meanwhile, the blooms are amazing. The bluebonnets I planted last fall are very happy on their rocky slope, and hopefully will spread next year. They are nestled below autumn sage and a young Knockout rose, next to yellow bulbine, which is seeding like mad up to 10 feet away.

The birdfeeder is a hotbed of activity. Today I spotted a painted bunting, and two days ago my husband saw a Prothonotary warbler there. Titmice, goldfinches, house finches, chickadees and cardinals, as well as lots of sparrows, are all busily emptying the larder. The squirrels, grackles and mourning doves are totally puzzled by the new feeder that has a grid that lowers with their weight. I've also spotted golden-rumped warblers and cedar waxwings in the treetops viewed from my second story studio windows.