Cynthia Tinapple and Blair Davis, Red Stripped Bowl
2013, 10 1/2" diam x 6" D, polymer on-lay and Ohio Walnut
In the spring of 2014, Diane Levesque, wearing her Assistant Professor of Studio Art hat, taught the first full semester class on polymer technique at Carthage College in Kenosha, WI. This was a major development in polymer education, as polymer technique had never before been integrated into a college curriculum. In order for this to happen, Levesque wrote a proposal advocating the value of polymer as a means to teach color theory and presented a complete curriculum, which then had to be approved by college officials. Students from the spring 2014 polymer class were enthusiastic about the class, which bodes well for future enrollment. After polymer class has been taught twice more for a total of 3 times, it will achieve a permanent position in the art department’s studio offerings.
Levesque’s initial inspiration was the Terra Nova Exhibition at the Racine Art Museum in 2011. After seeing the show Levesque became intrigued by the potential of
polymer and took it upon herself to learn more. She enrolled in a polymer workshop taught by Lindly Haunani for some “hands on” experience and attended the IPCG Synergy 3 conference in 2013. Ultimately, Haunani and Maggie Maggio’s book, Polymer Clay: Color Inspirations became the textbook for Levesque’s class.
In conjunction with the introduction of polymer into the Carthage art department class rotation, Levesque, donned her hat as the Director of the H. F. Johnson Gallery of Art at Carthage College and scheduled an exhibition of polymer art. As the curator, Levesque invited 25 artists to send recent or significant artwork for display in a show entitled: A-Revisioning: New Works in Polymer. The exhibition opened on September 9, 2014 and ran through October 25, 2014.
Laura Tabakman, On the Trail, 2014, variable installation size, polymer, steel wire, wood
The well-designed exhibit, installed in the white-box, on-campus gallery space, contained a wide range of works. Several stellar pieces were placed to spark attendees’ interest immediately upon entry. While these pieces might have been placed in the foreground as highlights, the depth of the show continued throughout the room.
The amount of distinctive, museum quality artwork was stunning in a show of this size and diversity. Many of the artists sent examples of high quality jewelry art, but the most innovative work in the show was not the jewelry. Read more ›
Maggie Maggio, Temptation, 2012 14 x 14 x 5 inches, polymer
photo: Courtney Frisse
(in)Organic at Racine Art Museum
A small gem of an exhibition, “(in)Organic” is now open at the Racine Art Museum, in Racine, Wisconsin (Oct 12, 2014-Feb 1, 2015). Curated by Lena Vigna, the show features work by a range of artists who investigate the interrelationship of the natural world and humans. Their varied, mixed media artwork is innovative, colorful and offers plenty of visual richness for the eye. Artist’s concerns touch upon social, historical as well as environmental issues as they relate to nature. Approaches include manipulating scale and materials in unexpected ways. Read more ›
Not only has our appearance changed but the scope of this site has broadened significantly, inspired by discussions at the recent symposium, Polymer 2.0. Read more ›
The Conference Center at Wingspread
Wingspread…………..a single word that both names the venue and describes the accomplishments of our October symposium, “Polymer 2.0: The Field at the Beginning of the 21st Century” in Racine, Wisconsin. Three years ago we were here celebrating the fact that polymer art had become a medium of choice for entry into the permanent collections of major museums across the country. This year 67 participants celebrated another breakthrough; Read more ›
Gwen Gibson, Kabuki II Bracelet, 2002
Polymer, Lazertran image transfer, gold acrylic paint
Gwen Gibson’s contribution to polymer art was deep and far reaching as an innovator, teacher and accomplished artist. Gibson was a pioneer in the evolution of surface techniques as related to polymer. Her background in painting and textile arts enabled her to apply many of the skills and techniques from those fields to her polymer work. As one of the early explorers of paint and polymer, Gibson initiated many to the process of silk-screening. Her “tear away” etching technique enables a shadowy image transfer that can be highlighted with pigment.
An unerring sense of design and attraction to strong graphic patterns quickly became distinctive elements of Gibson’s style. Her aesthetic influences often derived from ancient cultures. Ethnic and Asian motifs are often present in her work. Jewelry as well as larger objects such inro style containers and wall hung layered panels were all part of her artistic repertoire.
As a teacher and friend to many, her gentle, funny and creative spirit was a continuing inspiration. She will be much missed.