Sophie "Fifi" Rehbinder-Kruse, Sunflowers, 1940s, FIMO, photo: Staedtler
The story of how polymer originated generally begins with Fifi, her mother, Kathe Kruse, and a by-product from oil production late in the 1930’s. Kathe Kruse, a well-known German doll maker, had experimented with the strange new compound in hope of finding something new for her doll heads, but found it did not suit her needs- so it was set aside. A few years later in 1941, Kruse’s daughter, Sofie, rediscovers the discarded substance and began to re-examine its properties. Sofie adds both plasticizer and color to the material and eventually developed an easily workable modeling compound. Read more ›
Ford/Forlano, O'Keeffe pin, 2015, 3"h. x 3" w. x 1/5" d., polymer, sterling silver. Photo: Patina Gallery
Patina Gallery in Santa Fe has been featuring the work of Ford/Forlano this month in a special show called, “The Language of Color”. While Ford/Forlano are long time exhibitors with Patina Gallery, this show dovetails with the city of Santa Fe’s overall focus on a “Summer of Color”. From their earliest step-by-step color modulations as City Zen Cane to their current “painterly” applications of hue, Ford/Forlano’s distinctive use of color has always been one of the defining characteristics of their work. The show is up for a few more days but Ford/Forlano’s work remains a staple of the extensive jewelry selection at the gallery.
On Friday, June 26, at 5:30 PM, Ford and Forlano will speak about their work at the New Mexico Museum of Art, which is hosting a slide show/ lecture titled, “Speaking in Color”. Their talk will address the evolution of their understanding and use of color as exemplified through their artwork over the past 28 years. Ford/Forlano’s thoughtful and direct commentary on their creative work ought to make for a memorable evening. This event is also part of Santa Fe’s “Summer of Color”
Ford/Forlano have been the subject of many PAA posts. You can start here with this list.
For more information on this successful collaborative relationship, please visit Ford/Forlano.
Robert K. Liu, Photography of Personal Adornment
A few years ago, I began to study photography because I wanted to better understand the presentation of any given image. With the arrival of Robert Liu’s book, Photography of Personal Adornment*, my education has been greatly facilitated. These days when our attention is always at risk of being diverted, the power of a strong photograph is of greater importance than ever.
Although this book is a more serious approach than many “how to photograph your stuff” manuals, Liu carefully guides the reader toward taking more professional and striking photographs. What Liu, master photographer, artist and co-editor of the esteemed magazine, Ornament, seeks to do in this densely packed, well-illustrated volume, is explain the intentionality and concepts that anchor the art of photographing objects. His focus is on the full range of personal adornment both past and present, but the information could be applied to shooting other items such as a ceramic teapot, a wooden bench or a basket. Read more ›
Sarah Shriver, Earthy Circus Necklace-3 bead detail
2015, 24" overall, polymer, glass & brass spacers
With the coming of spring, two new gallery shows featuring polymer art will be on view. One show is in winter-weary Philadelphia and the other one in sunny St. Petersburg, Florida, but both will present a diverse range of new pieces.
Read more ›
Judy Belcher, Knitting Missoni, 2013, 25" overall x 2 1/2"w x 1/2"d (max bead)
polymer, sterling silver
Well versed in the realm of numbers, Judy Belcher applies mathematical thinking to her practice of art. Belcher is the author of 2 books on polymer art* and a master educator about polymer in terms of studio practice and public outreach. These accomplishments all draw upon her extensive organizational, communication and business skills. She has been a strong advocate for polymer and other crafts at both the state (West Virginia) and the national level. Belcher moves fluidly between polymer enthusiasts and the larger network of craft organizations. The value of Belcher’s business experience and her capacity to get things done cannot be underestimated.
Belcher’s hands-on practice of her own polymer art has little to do with number crunching or numerical imagery. However, much of her work relates directly or indirectly to mathematics. Read more ›