Year: 2010

International Art World Takes Note

Jeffrey Lloyd Dever, Blossoming Radii, 2006

Today’s front page of features an announcement about the Racine Art Museum’s collection and its upcoming exhibition, Terra Nova: Polymer Art at the Crossroads and the companion book. This prominent placement, along with photos, represents an unprecedented level of international media coverage in the art world for both polymer and RAM.  Art professionals and art lovers alike look to Art Daily, the first electronic newspaper about the arts, for the latest information on the global art scene.  For us, the placement of this coverage with photos, represents an important third party validation and acknowledgment of our project.

Polymer Breaking New Ground at RAM

Lindly Haunani, Sushi Platter, 1992

This press release just in from the Racine Art Museum: The Racine Art Museum (RAM) in Racine, Wisconsin, is pleased to announce the museum’s recent commitment to establishing a permanent collection of polymer jewelry, beads and sculptural objects. As part of this resolution, the museum is organizing a large group exhibition opening the Fall 2011. Terra Nova: Polymer Art at the Crossroads will open at RAM on October 21, 2011. On display through February 5, 2012, the show emphasizes the development of polymer as an expressive medium for artwork in recent decades. A book is currently underway to support the

A Seminal Clearinghouse


While researching her essay for the upcoming RAM exhibition catalog, Rachel Carren has encountered lots of interesting historical material too detailed for that volume.  One example is this story of Marie Segal’s first encounter with polymer and the business which she and her husband Howard started in the early 1980’s. Before the Internet, there was one “go-to” source for information on how to handle polymer.  That was the Fimo Factory. When we artists had technical questions about polymer or when we had discovered something new, the recurring refrain was, “Call Marie and Howard.” It would be hard to underestimate the

Keep on Stackin’: Mokume Gane – Part 3

Celie Fago, Mokume Gane Cuff

Just as Tory and Lindly built upon Nan’s original concept of polymer mokume gane, others followed and added their own variations to the process.  The approach to “stack and distort” kept evolving. Celie Fago combined Tory’s and Lindly’s techniques.  Celie used slightly tinted translucent polymer layered with metal leaf,  which was adapted from Lindly, as well as layers of black and pearl opaque polymer, but then pushed down into the stack from above as in Tory’s approach.   Her results achieve a fluid, organic look.

Mokume Gane’s Next Ripple

Victoria Hughes, Dory, 2008, 2.25″ x 1.5″

For a time in the early 1990’s Nan Roche, Tory Hughes and Lindly Haunani were all living in the Washington, DC area. Shortly after the publication of Roche’s The New Clay, Tory Hughes and Lindly Haunani each developed their own version of the mokume gane technique.