Due to improved cost factors I have been able to lower prices for the 3rd Dutch Biennial in 2014.
I have also made a differentiation in the costs for members and non-members of the CKI.
The prices are now 45,00 Euros for non CKI members and 35,00 Euros for CKI members.
In this price is included a catalogue which will be handed out during the opening of the exhibition.
Please find attached the new entry form for your info and participation.
Hope to see on the opening day.
I was born in 1952 in Canton, Ohio. When I was 10 years old, my grandparents bought me my first paint by numbers, followed by real oil paints and one year later I was enrolled in painting classes.
When it was time for college, I entered as a fashion design major. Growing up in rural Ohio and being involved in a 4H club, sewing and quilting was a natural for me. I lasted until my sophomore year and left due to a professor who was brutal in critiques and my ego did not have the strength to survive.
I bolted for Kent State University and enrolled in premed and nutrition. In 1974, I received a degree in nutrition, followed by a year long dietetic internship at Shadyside Hospital/University of Pittsburgh,Pa. I married, had 3 three children and worked as a registered dietitian specializing in cardiovascular nutrition and diabetes, followed by a stint in prenatal and perinatal health counseling. All the while, my interest in fabrics continued, and I created my own quilting business.
In the 80’s, my husband and I started a business called “Folk Woods” creating custom colored, limited edition wooden primitives that we designed and sold through home parties.
In 1994 tragedy hit my family in a head-on collision in which my husband died and my three children and I were critically injured. The physical recovery took about three years, but our souls took longer, and my soul realized it needed to be fed a high energy emotional food. I enrolled in Cleveland Institute of Art as a painting major and took a metals class on a dare. I fell in love with metals, but as it is limited in palette and I am a painter, I found it didn’t meet all my expectations. I took enameling as a minor, and one class lead to another, then another, and after graduating in 2001, I took another. When I finally could afford my own kiln, I committed to incorporating enamel in at least 75% of my metal work. I now bounce back and forth between sculpture and jewelry using as much enamel as I can to tell my stories.
While I was in school, Harlan Butt stopped by en route to another engagement and presented to my enameling class. Unbeknownst to Harlan, he has been my muse ever since. It is his expertise in the field that I chase. I am also drawn to the works of Linda Darty, Jan Harrell and Martha Banyas.
"Gingko Letter Opener"
While I’ve taught three- dimensional design and sculpture for eight years at college level and introduced my students to many mediums, it is metal and glass fused together that holds me spellbound as an artist.
About two years ago, I began painting with enamels adapting the Limoges technique to my own aesthetics. Although I still use cloisonné, it is the color edge of the contour line achieved with Limoges that gives me the greatest reward. For me the challenge of shading as one might in oil paintings is fuel and when I feel I have achieved my goal, the feeling is pure euphoria. My pieces are in the kiln upwards of thirty to forty times to get the desired results and I am immersed far beyond my ability to watch the clock. With enamels there is no end to the challenges but neither is there an end to learning or to the fun of fusing them.
Although tragedy touched my life in significant ways, it has been my lust for learning and art that has pulled me through some very, very rough years.
MINIATURE ENAMEL ICON ARTIST
Thanks to Jonathan Pageau, Orthodox Arts Journal, and Evgeny Baronov for permitting me to share his interview and photos of his magnificent work.
What brought you to enamel work and to iconography?
My mother was an economist and my father was a livestock specialist (zoo technician) – so they always wanted me to choose some useful and pragmatic job as they’d chosen for themselves. And actually they were not very happy when it came up that I wanted to become an artist.
But one day, I suddenly followed my friend to the entrance exam of an art college – and tried to pass it, just for fun, because seriously there was no chance. For example, to test our painting skills they wanted us to produce a still life picture in watercolor technique – and, in fact, it was my very first experience of using watercolors. Somehow, fortunately I passed exams. Despite the will of my family, despite my awful health (my right eye is almost blind and the left one has a high myopia of -8 - I just faked documents about my health), I began studying in the Fedoskino Miniature Painting School as an “(Rostov) enamel artist” in 1981.
The Fedoskino Miniature Painting School was the only school of enamel painting in the entire Soviet Union. It was the best school not only because it was the only one: all the classrooms and workshops were brilliantly equipped with a full set of possible instruments and all the existing soviet enamels and paints. Our teachers and mentors were all masters of the “Rostov enamel” factory, historical center of Russian enamel painting. Unfortunately this strong and successful connection between the art college and the factory collapsed as soon as the Soviet Union collapsed in 90s. But in the 80's everything was brilliant: training course started with everyday tasks to copy this or that of the best known realistic paintings: from intimate portraits to complex multi-figure compositions. But practically no word was spoken about iconography – only a few articles of “Art History” briefly looking at Andrey Rublev.
During my years of study I was never really interested in enamel art. Mostly I was excited about watercolor and graphic art, which gave me more emotions at the time. Enameling didn’t look impressive, and may be even seemed boring.
Eventually, I missed almost all my enamel classes and had no experience in enamel painting, but made huge progress in graphic art and water-color. At that time enamel painting didn’t make any sense to me. What did an enamel artist have to do in the USSR in the middle 80s? The Rostov enamel factory massively produced brooches and earrings with faded flower compositions and souvenir jewel-cases with boring ethnic landscapes. Can it really be interesting and thrilling for a young artist, who has started his career at the age of 18 and is thinking about great and magnificent works? Of course not! So, in my first years I did only “big paintings” – I painted theater set design, drama posters, made wall paintings and stained-glass windows. I was the first professional artist in my family.
PERESTROIKA was running those years and small privately owned businesses were growing fast. Many of them dealt with jewelry and souvenir production. I noticed how many colleagues were making good money sitting at home and commercially painting giant amounts of flower compositions on enamel – replicas of “Rostov finift”. They made good money doing that. I decided to try the same – fortunately enamel oven and materials were very cheap. At that time I realized, that I have skipped enamel classes and didn’t have enough skills to do commercial enamel painting (To be successful that time you needed to produce about 100 pieces a day.).
So, at the end of 1980s I started with hand posture and enamel technique. I did not know a lot of theory about it, so I decided to invent my own technique. After a couple of years I’d made good progress, not in the art part, but in skills – I could make enormous amounts of enamels with basic paint – up to 400 pieces a day!
The political situation in USSR was changing every day. State boundaries were opened and the market was slammed by cheap bling-bling from Turkey. Women with a lack of foreign goods took notice. In a moment they turned away from Rostov jewelry. In the spring of 1993, demand for enamel so tragically decreased, that many artists had no job and money for a long time – I had no orders for 6 months and tried to sell my reserves somehow.
Then fortunately a miracle happened – Greek merchants came to Russia. They needed traditional enamel. Artists immediately woke up – they had orders, they had work – they again were able to earn something. Greeks seemed strange at that time, because they needed icon painting and those artists with a lack of money and orders jumped in. After years of the Soviet Union there were no good literature and art albums about icons. Some artists tried to make replicas from small pictures at the backside of the pocket calendars, where they could hardly recognize details and texts. So they imagined some missed details by themselves! But Greeks (regular re-sellers) did not know the ropes about icons either and took almost every thing, especially they were interested in the cheapest pieces.
Then a very remarkable change happened in my life: I was baptized. I became the only Orthodox Christian among all of my relatives, including even my grandmother, who was religious, but Lutheran, not Orthodox. I started attending church, fasting and collecting rare books related to Orthodox art. Then one day I came upon an album of excellent quality reproductions, and it was the collection of works of Archimandrite Zeno. The art of Orthodox icon was revealed to me in all its beauty and grandeur, once and for all I lost interest in any of other arts. Icons have given me both spiritual fulfillment, and an enormous aesthetic pleasure. I knew what I wanted to do next. I wanted to draw icons, but smaller… and on enamel.
There was only one problem: it was totally unclear how to put such a complicated picture as an icon onto such a complicated surface as enamel.
…After the revolution in 1917 and the civil war all the production of church plate (liturgical objects made of fine metals) in Russia was terminated for political reasons and since 1917 there were only two ways to paint on enamel legally in USSR. The first one – works of “high style a. k. a. capital style”, painted by the graduates of the St. Petersburg Academy of Arts in a realistic manner, relying on the picturesque scenes of classic paintings of Europe. Another one – works of “national style” formed in province by masters without classical art education – they were engaged in mass production of church plates, often copying and processing Western European prints.
Traditional orthodox iconography had been rediscovered near the very end of the 19th century, and by the beginning of the 20th century it had not significantly developed, when soon it was shut down by the new Soviet government for 60 years. The true rebirth of traditional iconography happened in early 90s. Orthodox churches were re-built and repainted, murals and iconostasis were reestablished and fixed up. The traditional icon began to shine again in Russia in all its power and glory, but how to put orthodox icon onto enamel – that was the question. I took plenty of hikes and tours to ancient faraway temples, where original traditions and techniques were still safe, and I saw many “live” icons there, contacted many painters. At the same time well-illustrated books of orthodox iconography started to appear more and more, getting better. Even tracings of icons were recovered in one series of books. Thanks to all of this knowledge, tempera icon writing became much clearer for me, but it was still a total mystery how to put such pictures onto an enamel surface. Tempera is chemically very different from enamel paints. As the Church became stronger – more and more artists tried to produce icons on enamel. I even teamed up with fellow enamelists to solve the problem. And, of course, there was all the free time at home I spent writing copies of my favorite icons on enamel. Everything became much easier when some companies started to import in Russia high quality enamel paints produced by foreign manufacturers. And when I was admitted to the icon-painting section of the Union of Artists of Russia, I finally got the chance to immerse myself in the necessary environment of great the masters of painting. It became possible to get their friendly consultation and advice, to take part in interesting meetings and joint exhibitions.
How do you create your icons?
Hot enamel in jewelry is made by fusing powdered glass, colored by metals salts and built up on the metal base by firing. Enamel can be both – transparent and non-transparent. Drawing is made by brushes and paints for the porcelain. By burning in an enamel oven at a temperature of 750-800 degrees, paints penetrate the enamel base. The image is made in several steps, each step is fixed by burning in the oven. The way artists put the paints differ from master to master.
I work with miniature enamel drawing and I use highly sharp needles to put the paints. This is a very laborious method, which involves special experience, gained by years of willing mind and hands. One miniature enamel pieces takes about 100 hours of work.
What are some of the commissions and expositions you are most happy about.
One day, we got the order for the great presidential stamp of former president Yeltsin. Unfortunately I was asked to do the design without my favorite iconic scenes. But I nonetheless managed to put four Holy Mother miniatures there. I was even able to justify them ideologically. Various icons of the Holy Mother had the heraldic meaning of protection – each for East, West, South and North. My sketch was examined in the Heralds’ College, and they confirmed the feasibility of my idea. The product was created.
The First Panagia for Patriarch Alexy II I designed and wrote was with an enamel miniature of “Our Lady of the Sign” in 1998. Another order, also for Panaghia Patriarch Alexy II has an interesting story. I was ordered iconic miniatures for a Panagia. It was a birthday present for the Patriarch. I had to draw miniature enamels of Saint Michael Prince and Saint Queen Helena, iconic images. These also had to be similar to the parents of His Holiness (I received archive photographs for that). At first I was hesitating, but found the solution. Оn the honorable day of signing the Act of unity with the Foreign Orthodox Church, Aleksy II was with his parents in the Panagia… probably his most triumphant day.
The Patriarch with a Panagia designed and made by Evgeny Baranov
Photo of the Patriarch's parents which were to resemble the icons on the Panagia.
I was lucky and good enough to take part in a wide variety of very important exhibitions of Orthodox art, up to the exhibitions in the administration of Putin/Medvedev in the Kremlin/the White House. My masterpieces were marked with diplomas of various exhibitions. I’ve got the Silver Medal of the Union of Artists of Russia for “Contribution to the decorative arts of Russia”. During the last year, I was awarded by the Honorary Medal of Franz Petrovich Bierbaum (this medal was established by Memorial Foundation of Faberge).
How do you see the state of Orthodox arts in Russia today.
The situation with the Orthodox religious art changes nowadays, and I can see these through changes in my team. In the 90s we had some bohemian, riotous atmosphere, and the range of products manufactured by our company consisted entirely of secular jewelry. Then, today, we produce only orthodox religious works. The team gradually cleansed it-self of those artists who are no longer interested and bored. Due to close connections with the Church during the last years no longer smoke or drink alcohol near our workshops, as it usually happened in 90s. Lenten menu is surely presented in our canteen. And our CEO is the first one to attend Liturgy.
Today I meet a lot of serious craftsmen of religious art. Together we usually perform mutually beneficial cooperation: an open exchange of experience and technology, mutual enrichment with professional details and secrets of methods and technologies. And such cooperation certainly reveals new unimagined before colors and shapes for orthodox jewelry pieces
To see Jonathan Pageau's carvings click on:
Goldstone Enamel - was a popular Japanese semi-translucent brown enamel used in cloisonné, with silver or copper particles, or dust embedded in the enamel. It gave a brilliant 3 dimensional effect to the enamel object.
PROFESSIONALS AND STUDENTS
2015 NICHE Awards Guidelines
Entries for the 2015 NICHE Awards will be accepted from
April 14, 2014, to August 18, 2014.
The NICHE Awards competition is open to professional craft artists ages 21 and older who reside in America or Canada and are actively involved in the design and production of craft work supplied to galleries and/or craft stores. All work must have been made and finished in the United States or Canada. Work produced or finished in secondary studios in other countries may not be submitted.
The NICHE Awards Student competition is open to any craft student attending an American or Canadian undergraduate, graduate or certificate arts program, and the work itself must have been produced in the United States or Canada while the student was attending the arts program. Student artists may enter as a student for up to one (1) year after graduation; however, the work submitted must have been produced while an artist was still a student.
The 2015 NICHE Awards competition seeks NEW WORK in all categories, whether student or professional. Submitted work must have been designed, produced or introduced afterOctober 1, 2013 to be eligible. Work previously submitted to the competition will not be accepted. All work must be designed and made by the artist or a collaboration of artists, with all collaborators identified.
and the WINNER IS.............
JUDY STONE - Burnt Offerings - Hermione 3
and... the Finalists
LIKE THAT TREE
Chaya Caron - Eastern Star Flower w/Stand
SARAH PERKINS - Red Moss Container
CYNTHIA MILLER - Stormy Seashore in 12 panels
I would recommend to everyone to click on the link below and look at all the fabulous artists in so many different medias. Its mind boggling!!!
The Saul Bell Design Award for 2014 is a jewelry design competition that challenges jewelry artists to push the limits of jewelry design and imagination. Choose from among seven categories and create a piece that tells a story, states your vision and encompasses the depth of your skill. Innovate. Play. Entertain & surprise us all!
1st Place Award in Enamels
MERRY LEE RAE
2nd Place Winner
Ekaterinburg, Russian Federation
Luminous Ring- Mandarin Fish
To view all the metalsmith artist winners just click here:
In 2010, I had the good fortune to attend my first conference and their second by the International Council of Museums Committee for Conservation at the Frick Museum. (for further reading about that experience you can go to our Library and click on Trivet Articles.
I learned a great deal about restoration of glass on metal and met some extraordinary professionals in the field of restoration.
I have just received an announcement of their upcoming event along with a slide show of restorers working their magic on all types of antiquities.
I invite you to click on the link and enjoy the show!
Please give the slide show a minute to download - the enamel wall in Barcelona will pop up and then you can press the arrow to follow the slide show.
It is our pleasure to announce the 5th Expert’s meeting on ENAMEL (joint meeting of the ICOM-CC Working Groups Glass&Ceramics and Metals), to be held at Ranger’s House in London.
During two days, 12 lectures and 2 posters will present current research and work on history andtechnology, deterioration and conservation case studies related to the field of enamel on metal. A visit to the Werhner collection of enamels at Ranger’s House is also scheduled for Thursday 17th (see programme here).
Registration fees (not including taxes)
Cost of registration includes coffees, lunches and preprints of extended abstracts. Travel costs
are not included. To register please click here.
Looking forward to seeing you all in London!
Organizers: ENAMEL network leaders
Registration management: COREBARNA S.L.
Contact: Agnès Gall-Ortlik firstname.lastname@example.org
5th ICOM-CC Experts’ meeting on Enamel on metal conservation
Ranger’s House, London, 17-18 July 2014
Member artist extraordinaire, and my good friend, Mary Chuduk, (Arizona) blew into New York City this weekend with a vengeance!
Her agenda: to see and do EVERYTHING!!
and WE DID!
The first stop was the Metropolitan Museum of Art to see the "Pre-Raphaelite Exhibition of British Artists", then my pick, "The Designer Gown Exhibit from the 40 & 50's," topped off with a "Contemporary Jewelry Artists Exhibition."
and who did we see???
In his own words....
"I cannot underestimate the role that migraine headaches play in the conception of some of my best work. I suffer migraines quite frequently, but during the recovery period, which is wretchedly painful, I think and conceptualize very clearly, and have often been inspired during these times with some of my deepest ideas for my work."
Harper learned the ancient art of enameling while training as a painter in the mid-1960's. By the 1970's he was recognized for his enamel work for which he primarily used transparent enamels in a cloisonné technique to give structure to his jewelry. William Harper has revitalized this antique method by incorporating natural material, such as shells, insect exoskeletons, and found objects, including teeth and burial cloth, into his enamel works.
Homage to Cy Twombly & Joseph Cornell, 1994
Brooch: gold cloisonné enamel on silver and gold, 14K gold, 18K gold, and 24K gold, silver, coral, opal, pearl, tourmaline, agate
Fabergé Twins, 1993
14K gold, 24K gold, gold cloisonné enamel on fine silver, sterling silver, tourmalines, pearl
Magic Beads, 1984
14K gold, 24K gold, gold cloisonné on silver and gold
The Third Fake Maharajha - 1986
14K gold, 24k gold, gold cloisonné enamel on silver and gold, sterling silver, citrine, tourmaline, pearl, mirror, plastic
William Harper received his BS and MS degrees from Western Reserve University in Cleveland. His work has been shown in solo gallery exhibitions from New York City to Trondheim, Norway. His jewelry was prominently featured in the recent book "One of a Kind: American Art Jewelry Today" by Susan Grant Lewin. His work is in the collections of the American Craft Museum, Boston's Museum of Fine Arts, the Cleveland Museum of Art, and the Metropolitan Museum of Art. Harper is also represented in the Vatican Museum and the Victoria and Albert Museum in London.
Thoughts from William Harper....
Where do you get the ideas for your work?
I essentially get my ideas from anything and everything around me - especially music and color, myths and the history of art, cyclical changes and odors. I have a tendency to work in series, so as one piece progresses within a theme, the next ones suggest themselves. Sometimes other artists have inspired me to do homages to their work - Jasper Johns or Cy Twombly or Fabergé, recently, or the choreographic movement of Twyla Tharp! My work is becoming increasingly autobiographical - a long series of self-portraits in which I assume metaphorical roles related to Art, personal health, religion. Dichotomy and opposites - male/female - dark/light - beautiful/ugly - wit/cynicism - are usually apparent to these to take the time to decipher my iconography.
Do you work alone on your craft, or with others
I work along and am responsible for at least 95% of my work. I am blind in my left eye, and have no depth perception, so certain very intricate soldering operations are too difficult and tedious for me to see well enough to do properly - for these, I have help from another jeweler, a former student who knows how I want things to be.
Do you ever teach, or take on apprentices?
What's the most exciting part of creating your works?
The most exciting part of my work is conceiving it, making it, seeing it come to completion and surpass my original intentions.
What's the most difficult part of creating your works?
The most difficult part of my work is during that part of the making process where I hit a wall - either technically or conceptually - and have to resort to "creative problem solving." I do no preparatory sketches or drawings for my work - "I see it in my mind" - its essence. I am constantly making changes in the pieces as they develop. When things go wrong or are not aesthetically right, I must make decisions about how to save the work - this period is exasperating, but extremely important and often some of my most inspired work is done at this point!
What sort of technology do you use in your work? Has the technology of your craft changed dramatically over the past 100 years?
I am a very low tech craftsman. My most important tool is my mind, and the ability to change it. The only changes that I can see in the past 100 years is the availability of electricity, and how that has changed kilns, power tools, etc., for ease of working. Also the quick availability of raw materials - from refined metals to hundreds of enamel colors to expertly crafted tools make doing this kind of work so much easier that it was for artists/craftsmen of the past. It makes their work all the more inspiring.
Do you have any advice for somebody just starting out?
To anyone starting out in any art form, I suggest becoming as much of a Renaissance person as your intellect allows. Do not waste your youth and your education. The art of any time that will last is that which is most grounded in intellectual depth, not in just the craft of making it. Read, look, observe, listen, experience deeply, and assimilate everything through your own individual personality filter. Only then is the craft of working able to transcend to ART.
Can you share a "secret of the trade" with us--something nobody else knows or that you found out only after years of experience? Put another way--what do you wish somebody had told you when you were just starting out that might have saved you hours of wasted effort?
It is only the so called "hours of wasted effort" that are truly important in terms of forging a personal viewpoint - they are part of the maturation process of creative thinking - to avoid them usually makes one an imitator and not a true visionary!
What are we missing by experiencing your work through the Internet and not seeing/hearing/feeling/smelling/touching it in person?
Is a picture of food equivalent to eating? Are slides of a foreign place like really being there? Is reading a romance novel as exciting as being in love?
Metalwerx Monthly Insider
Tricks of the Trade: How to Keep Tools from Rusting
By Jeff Herman
Moisture and steel. Bad combination.
On my hammers, I use gun bluing then burnish the surface with 0000 steel wool to give it a shine. The bluing helps keep rust at bay, but to insure that my tools remain pristine, I use, sparingly, Butcher's Wax or Renaissance Wax for the final hard finish. In my rather wet basement, my tools rarely rust. When they do, it is on the working surfaces that I forgot to recoat. I also wax my surface plates, heads, stakes, band saw and drill press tables, lathe ways, bench pin, mandrels, scratch brush extension spindle, and other assorted steel tools.
Before bluing and waxing, I make sure all moisture has been eliminated from the tool by heating it on top of a radiator or with a heat gun. My tools need extra protection, for they are all exposed for quick and easy access. Oil and penetrating fluids tend to attract too much dust and abrasive elements that may be planished into a pristine piece of silver. Though most penetrating fluids do a good job driving moisture away, they can be toxic.
Musen Shippo is Wireless Cloisonné
A delicate process by which the cloisonné wires are removed prior to firing resulting in a more fluid transition from one color to the next.
Namikawa Sosuke lived from 1847 to 1910. A businessman and entrepreneur, involved in other types of exports, with no knowledge of cloisonné production had been hired to manage the Tokyo branch of Nagoya Cloisonné Company. He went on to buy the company and re-established it in his name. His talented cloisonné master craftsmen, Tsukamoto Kaisuke and his two sons Jinkuse and Jinkuro accomplished his dream: WIRELESS CLOISONNÉ – known as “MUSEN SHIPPO”
For floral, scenic or pictorial motifs on decorative cloisonné free standing objects, boxes, trays and vases. His designs were heavily influenced by Japanese artists and painters of his era.
Many of the floral and bird paintings, ink studies and woodblock prints used were designed by Watanabe Seitei (or Shotei). Other artists were Kano Tan’yu for his Mount Fugi series and Araki Kamp. Sosuke won many awards and was nationally and internationally recognized as one of the top innovative producers of Japanese cloisonné during the Meiji
Golden era of 1880 – 1912. His studio closed after his death.
SCULPTED WIRE: rare and difficult execution of Japanese cloisonne, using wires of different sizes, widths and shape to emphasize the decorations. Usually achieved by master craftsmen with pure silver wires, silver rims, on a silver metal base vase. Dating 1900-1910
ART JEWELRY MAGAZINE
FROM THE EDITOR: CALL FOR ENTRIES
We're looking for a few great jewelry pieces!
The Art Jewelry staff is hard at work getting three galleries of work together for our next additions to the Art Jewelry Techniques app -- we want to show beginner jewelry makers what results are possible with masterful and creative application of some basic jewelry-making skills. Right now, we're looking at work that highlights the following techniques:
Obviously, these are huge fields -- so there's lots of room for artists who experiment with new ways to produce the results they desire. We're going to narrow the field down to nine select jewelry pieces for each gallery.
Editor, Art Jewelry
FOR THOSE OF YOU unfamiliar with this technique of Enamel Art
PLEASE allow me to re-introduce Master Artist
Mauricette Pinoteau is an enamelist living in Limoges. She specializes in relief technique, she learned this technique at the very famous " Atelier Camille Fauré "in Limoges ,during the 70's .
Mauricette is one of the only two living enamelists that studied with the Masters the secret of the relief technique.
Today she masters this almost magical style of enameling wich seems to defy the logic of enamelling.
She works and sells her work in her own gallery in the same town of Limoges.
Mauricette has provided us with a file to watch how this technique is done.
Also, go to Notebook 1, "Fauré Techniques" to read all about Camille Fauré and his studio.