The scene: you have a glass marble; a vintage photo of a raceing car; a piece of fired metal clay formed from a silicone mold you made of a Monopoly piece; a broken bicycle tail light and a carnelian cabochon. All these need to be combined with sterling silver to form a bracelet and of course, be as durable as possible. You could just hang them from a chain. But - you also want to make sure that the way these “precious” elements are combined forwards the idea you want to express in the piece.
In this very useful and extensive workshop you will explore ways of attaching almost anything to almost anything else and enhance the message in your work and increase your creative choices as an artist.
We will delve into a broad spectrum of materials including epoxies, concrete, polymer clays, Faux Bone™ and paper pulp mache as well as a full range of cold connections to use in tandem with these materials. Though these may seem familiar, we will use them in very different ways to build a matrix of material, process, and procedure, allowing a much greater freedom of expression. We will collect and use all sorts of found objects from the area and will have a soirée/swap meet as part of our time together.
All the techniques, materials, and processes can be used in conjunction with artist’s books, journaling, polymer clay, non-traditional and traditional metalworking, as well as the various types of metal clay. This is a very practical workshop with applications to book artists, sculptors, and jewelers alike. You can expect to finish the week with at least several finished pieces and/or lots of elements to work with in the future. |
$1500 to include 5 days of instruction, 6 nights lodging in double occupancy room,
breakast daily and lunch Monday through Friday, workshop days.
Trip insurance is strongly advised. |
