R Cubed Jewelry

PHEW! I made it!

2011-08-15T12:15:00.000-04:00

It's been a VERY busy three days, but I made it through - thanks so much to everyone who came out to the shows, especially those who trekked out to Guilford - which was moved indoors given the unpleasant weather. We also raised a bundle of money for the kids and staff of Nkoaranga orphanage at The Small Things through your contributions with the paper necklaces - thanks so much! The absolute highlight of the weekend - getting to see the gorgeous Grace and her mom Jean, who was my dorm mother in my sophomore year of high school, when Gracie was born! She's grown up a bit since then...

In Clinton on Saturday

For the future, I highly recommend both shows - the Shoreline Jewish Festival was well organized and managed to transfer inside on a few hours notice, no small feat for such a big event. The Clinton Summer Fair was fabulous, with live music, an auction, great food, tons of people, interesting vendors, a train, moonbounce, face painting and art projects for kids! In addition, the organizers were out of this world and went the extra mile to make sure everyone had a good time, including the vendors - truly good people doing good work.

Also, I highly recommend the work Susan Canarella is doing in Uganda through her organization Beads4dreams, which buys paper beads from women in the vicinity of a particular hospital in Uganda, and uses all the proceeds to continue to support that hospital and the surrounding community. Beautiful work, beautiful project, gorgeous kids.

Looking forward to doing the shows next year, if I'm on the continent!

Feminist jewelry

2011-08-15T12:10:00.000-04:00

I've been alerted to the existence of another very interesting source for anyone interested in body politics and jewelry - disappointed I didn't have access to it prior to writing my own book! By Susan Cohn:

RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, technology and performance; and academic writing across a number of fields. The thesis concludes with a discussion of how these interests came together in a single show, Black Intentions. However, the span of work covered extends through my career in jewellery to provide a basis for future directions.

Thanks to Christopher Hardwick for the heads up.

R Cubed Jewelry in Clinton and Guilford this weekend!

2011-08-11T22:26:00.000-04:00

Please come check us out on the First Church of Christ in Clinton on Friday and Saturday and the Guilford green Sunday - featuring a brand new paper bead line to benefit The Small Things.

Clinton: Friday 11am - 9pm, Saturday 9am to 7pm

Guilford: Sunday 12am - 6pm

Rain or shine!

The Small Things Featured

2011-07-18T20:10:00.003-04:00

The Small Things is very lucky this week to be featured in the blog of Randolph Sellars, of Real Girls Kick Ass, which in many ways has the same goals of raising healthy and confident children of both genders. He has excelled in that in raising my wonderful friend Meghan, an early reader and special fan of Simoni stories. Take a look!

Orange CT, MEET THE ARTISTS AND ARTISANS!!

2011-06-18T13:57:00.000-04:00

Come see me next weekend, June 25th and 26th, at the nationally acclaimed "Meet the Artists and Artisans" show's debut in Orange, Connecticut.

MEET THE ARTISTS AND ARTISANS JUNE 25 & 26 PREMIERS ITS AWARD WINNING JURIED FINE ART AND HANDCRAFTS SHOW AT THE ORANGE CT. FAIRGROUNDS @ 525 ORANGE CENTER ROAD (RT 152)10-6 FREE ADMISSION & PARKING. Exhibitors are chosen for their unique, creative artistic expression, and accompany, discuss, and demonstrate their original work.

Three sculptors feature metal & stone life sized animals, kinetic garden selections. Three author/illustrators present & sign their children’s books. “The Worms Eye” introduces natural stone, mosaic and inlaid marble tables, and unusual lamps. Ted Demers creates elegant furniture from CT. forests. Watercolors of lighthouses, ocean liners, sailing ships on nautical charts by Philip Chagnon. Nine fascinating photographers. Architectural aquarelles of New Haven-its landmarks, parks, villages by Mary Lou Horan. Bruce Dumas -realistic acrylic portrayals on canvas of New England’s coastline, harbors, quiet refuges. Local/ historic vintage maps by the Murphy’s of Orange. Shore birds emerge from blocks of wood while you watch Mike McCarthy carve on site. Hand painted scarves, clothing for adults & children Unusual and exotic woods are “turned” into kaleidoscopes, writing instruments, jewelry boxes, vases and vessels. 12 participating jewelers include hand forged-sterling silver with semi precious gems, lamp worked glass, wire weaving, miniature books, dinner ware set segments, “art to wear” demo. “Fire Witch” embeds peacock feathers and quivering jewels in fantasy stoneware, functional pottery and ceramics. Mail boxes designed for you. Sumptuous floral arrangements tremble in warm breezes. Tim Payson plays keyboard classical jazz on location. The Orange Historical Society presents historic publications about Orange, the Orange Garden Club sells plants and gently used gardening books.

The food pavilion hosts Constantinou-Grecian Delights, Thai Taste, Maui Wowie-smoothies, Faddys-hot doughnuts-ice cream, lemonade, Huge baked potatoes with toppings, Breakfast sandwiches and coffee, Rita’s Italian Ice, Di Roma sauces & olive oils of Italy. The Orange Boy Scout troop serves Grilled American Fare.

The town of Orange welcomes its first nationally acclaimed Meet the Artists and Artisans Show, a legend in CT for the past 49 years. The Town Officials, the Boy Scouts and local leaders are all in agreement that offering this type of Art & Handcraft celebration is beneficial for students, families, art lovers, craft aficionado’s, and visitors to acquaint them with the beauty and history of Orange, and to meet national award winning artists in one of the top Best 100 Fine Art show productions in the U.S. To informally advance visual and literary creativity in this cultural and civic celebration. HELD WHATEVER THE WEATHER!

Directions

Pictures from Milford

2011-06-17T14:16:00.000-04:00

Milford was a fabulous show, especially when the lovely Karla and Melba of the Guevara clan came out with their men, Mark and Vincent, respectively, in tow. Day one was painfully, painfully windy, but day two was as close to perfect as I've ever seen. Here are a few shots of the new setup!

Come see it all in person next week in Orange!

Fair on the Green!

2011-06-02T07:05:00.000-04:00

Come see me at Milford's 40th annual Fair on the Green, Friday June 3rd and Satuday June 4th! All new display, several new styles, and, as always, pieces from the everyday to the extraordinary.

Directions:
From Interstate 95 North or South take Exit 36 (Plains Road).
From North exit make a right at the end of the exit ramp.
From South exit make a left at the end of the exit ramp
(follow the Hospital signs).
Proceed straight to the end of the road (8/10 mile).
At the traffic light before Carvel Ice Cream make a left onto
Bridgeport Avenue.
Pass the Milford Hospital and continue straight (road becomes
Broad Street)
Church is on right, immediately past Peoples Bank.

For more info, http://www.mtm-umc.org/fair.html

Feminist Jewelry Collection Part I

2010-06-13T17:37:00.003-04:00

Click through to read about these pieces from my collection of feminist jewelry featured in "Gender and Jewelry: A Feminist Analysis."

"Adam's Soul Echoed Lilith"

"Eve/Mother Tongue"

Eve and Lilith: A Collection of Feminist Jewelry

Over the course of the past several years, I have been working on a collection of narrative jewelry that addresses issues of gender and sexuality entitled “Eve and Lilith: A Collection of Feminist Jewelry.” The work itself is hand constructed of silver and gold with precious and semi-precious stones as well as nontraditional materials such as thread and leather. It employs a range of theorists' work in fields as diverse as cinema, religion and, especially, feminist and queer theory. Several pieces come directly out of the use of Eve and Lilith as female archetypes bound up with ideas about evil and knowledge and submission, archetypes that weigh heavily and begin to speak about societies' attitudes towards women, and women's attitudes towards themselves. Others employ gender paradigms implicated in the myths, like the virgin/whore dichotomy, as they are experienced in modern society. Another category of work utilizes narrative for dual purposes, to reclaim feminist genealogies and to impart subjectivity to traditionally disenfranchised subjects by actively telling their tales. A final group of pieces relies more heavily on structure, both to queer the narrative around socially normative experiences and to amplify the interaction between access to jewelry and access to the female body.

My body of work draws on and attempts to subvert feminist film critic Laura Mulvey's conception of to-be-looked-at-ness, or presenting oneself to the male or societal gaze. “In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its fantasy onto the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness.”^² Jewelry therefore presents both a challenge and an opportunity to feminists: As a medium, it is inherently and inextricably bound up with the body and social restrictions and conceptions thereof. In this collection, I develop the concept of jewelry for the wearer, intended to subvert this paradigm by giving the wearer both control over access to the piece and a richer experience than that of the viewer. By shifting the power to the wearer, the piece ceases to be a contributor to to-be-looked-at-ness and becomes part of a more layered narrative.

Lilith is a mythological figure that appears in early Mespotamian culture, including early Judaism. Genesis retells the creation of humanity twice in succession, with some significant differences. It appears first as “God created man in his own image, in the image of God created he him; male and female he created them.”^³ This is followed shortly afterwards by the more familiar story of Eve's creation, in which she is taken from Adam's rib. Several rabbinic midrashim, or commentary stories, grew up around this distinction. The tradition says that God first created a pair of humans of dust, Adam and Lilith, but Lilith's independence caused a rift between them. Subsequently, “the God caused a deep sleep to fall upon man, and he slept, and He took one of his sides, and He closed the flesh in its place. And God built the side that he had taken from man into a woman, and he brought her to man. And man said, 'This time, it is bone of my bones and flesh of my flesh.'”^⁴ Lilith is then cast as a demoness, the incarnation of lust, leading men astray, a killer of newborns with her daughters, the lilim, and, in some versions, the goddess of the underworld.^⁵ Two narratives of interest to feminism are invoked here – firstly, the maternal imperative, and the association between unwillingness to submit to patriarchal norms with unnatural womanhood, a mother who kills children. It also recalls tropes within fairy tales: In these more modern myths, “those women who are either partially or thoroughly evil are generally shown as active, ambitious, strong-willed... they are jealous of any woman more beautiful than they.”^⁶ Uncontrolled sexuality, female power, death, and destruction are deeply interwoven.

The title of the piece “Adam's Soul Echoed Lilith” is taken from a poem by Avetik Issahakian, an early 20^th century Armenian poet, who wrote, “Though Adam's lips said Eve, his soul always echoed Lilith.”^⁷ The piece is a silhouette pin with a bas relief effect sculpted out of silver, showing a nude female figure reaching upwards while surrounded by leaves and branches. On the back, away from the eyes of the viewer, is inscribed the text “Adam and Lilith never found peace together; for when he wished to lie with her, she took offense at the recumbent posture he demanded. 'Why must I lie beneath you?' she asked. 'I also was made from dust, and am therefore your equal.' Because Adam tried to compel her obedience by force, Lilith, in a rage, uttered the magic name of God, rose into the air and left him.”^⁸ From the front, it serves as a beautiful, clearly proud illustration of the Eden narrative, defying the shame mapped onto female bodies in and out of the garden. The wearer holds the text close to their skin, aware of the subversion inherent in the narrative glorifying Lilith and able to share that secondary layer of meaning with those they allow full access to the piece.

Eve is a similarly complicated figure. On the one hand is her portrayal through traditional religion, the source of original sin, her role as mother of humanity eclipsed. She is not even permitted the agency of having made a wrong decision – instead, she is held up as an example of the weakness of women, their inability to resist temptation. In the Eve/Mary dichotomy, she represents what women are seen to be by default, sinful, weak, human, while Mary serves as the antithesis, a woman not representative of women, a woman who transcended her very sex. Eve doesn't escape criticism in feminist literature, either.

Lilith is referred to as the anti-Eve, as if Eve were the root of all negative images of women, as if Eve were the problem Lilith came to solve. As feminists everywhere rally to support and reclaim the besmirched name of Lilith, Eve is left abandoned, doomed forever to be attacked from both sides – condemned by the rabbis for her rebellion and by feminists for her submission – for being too bad and too good all at the same time... In a way, then, feminists have bought into the sexist interpretations of the story without questioning them as they did so articulately with the Lilith legend. They fail to see the similarities between Eve and Lilith, married to the same man, rebelling against the same God/parent, destined for the same historical mistreatment.9

As Eve has been cast as the archetypal woman, it is too easy to cast her to the side in reworking the boundaries of femininity. I aim to draw on those similarities, to rewrite the implications of these characters, to use them to talk about gender, and sex, and history, and strength.

The piece “Eve/Mother Tongue” looks at the story of Eve and theories of human evolution, specifically the evolution of language. The front shows a slightly abstracted apple in a tree, which when unhooked from the top wire falls down into four panels, bound together with thread. Access to the full piece is controlled entirely by the wearer, leading to a richer experience for the wearer than the viewer. This series shows the regression from a sewing machine, to a needle and thread, to a fig leaf, to a naked woman, looking at the progression of knowledge that has led to something taken for granted in our society, the production of clothing, and tracing it back to Eve. The back features two quotes, the first on women’s, specifically mothers’, role in the evolution of language, the second on the progression of knowledge leading to the idea of clothing. The back is entirely inaccessible without removing the necklace altogether, again defying the traditional conceptions of the gaze. The two together are intended to look at the story of Adam and Eve in a more literal, positive light, with Eve as a representative of all early human mothers who, by developing symbolic language, began the process of knowledge accumulation that has led to modern society. Eve has been reviled from all sides for too long. Emily Apter writes, “the term gynophobia refers first and foremost to a kind of resistance to bearing femininity as a professional liability, performative history, and weight of existence.”^¹⁰ This piece rejects the gynophobia that accepts the repressive narratives imposed on Eve - rather it reimagines the act on its own terms, as a heroic one. It defies the need to transcend femininity to achieve greatness, rather it remaps greatness onto the maligned source of femininity's perceived inferiority.

2 Laura Mulvey, “Visual Pleasure and Narrative Cinema,” 19

3 Genesis 1:27

4Genesis 2:21-23

5 Patrick Skehan, “The Wisdom of Ben-Sirah”

6Marcia Lieberman, “'Someday My Prince Will Come': Female Acculturation through the Fairy Tale,” 197

7Avetik Issahakian, “The muse of Sheerak: Selected Poems of Avetik Issahakian”

8 Robert Graves and Raphael Patai, “The Hebrew Myths,” 65

9Yiskah (Jessica) Rosenfeld, You Take Lilith, I'll Take Eve in “Yentl's Revenge,” 134

10 Emily Apter, Reflections on Gynophobia in “Coming Out of Feminism?” 114

Presenting: "Gender and Jewelry: A Feminist Analysis"

2010-06-13T14:51:00.000-04:00

After several billion years of work, my book "Gender and Jewelry: A Feminist Analysis" is finally available!

Jewelry responds to our most primitive urges, for control, honor, and sex. It is at once the most ancient and most immediate of art forms, one that is defined by its connection and interaction with the body. In this sense it is inescapably political, its meaning bound to the possibilities of the body it lies on. Indeed, the fate of the body is often bound to the jewelry. This book looks at gender and jewelry in order to gain some understanding into how jewelry is constructed by and constructs not just a single society, but human societies. It will explore how societal traditions that have sprung up around jewelry and ornamentation have affected the possibilities available to women across a broad spectrum of social and ethnic circumstances, determining which have served women well and which are constrictive and destructive. It also examines the possibilities for the intentional creation of feminist jewelry, including an overview of the author's own work.

The book includes my own twenty piece collection of feminist jewelry, as well as images of some incredible work by others in the field. I'd love if you'd check it out at Amazon or my Createspace store.

Since I'm terrible at this...

2010-06-13T14:48:00.000-04:00

Since I've been so bad about keeping my old website updated, I've decided to move over entirely to blog format. I'll repost some of the most important information, and from now on expect to see postings of new jewelry here.

Snapshot, for what it's worth

2008-03-04T09:03:00.002-05:00

I am the tough as nails product of an all girls’ school, parents who never called me their little princess, boyfriends who knew I could almost certainly kick their butts. I grew up wrestling with my brother, talking physics with my father, debating religion with my mother, and retreating to the jewelry studio to figure myself out. They call me their changeling; I look like no one but am interested in everything. I am a second wave hippie, third wave feminist, half-Jewish, half-goy atheist, and an inveterate and unrepentant geek. I inhale books on neurology and string theory, economics and evolution, politics and history. I am a babe with a blowtorch, addicted to power tools, with dirt under my nails and cuts on every finger. I am a strange hybrid of left and right brain, paint in my hair and a low cut dress, three books at a time in my injured hand. I am the elephant’s child, full of satiable curtiosity, and I am not ready to settle into a life limited to one dimension. I have too much left to learn.

Feminist Jewelry

2008-03-02T15:25:00.000-05:00

"Because in our culture girls are both the consumers and the commodities in dehumanizing markets that divide them into body parts that can be packaged and redesigned, from your fingernails to your breasts to the size of your thighs. That market depends on institutionalized misogyny and individual self-loathing." -Shapely Prose

The quoted post is discussing something else, but this is at the heart of my struggles with ornamentation and jewelry as a whole, something that is a long term project to try to dissect. Essentially, I want to figure out if it is possible to take jewelry, a medium that has been used to constrain and objectify women more times than not (dowry jewelry, slave piercings, jewelry as status symbol, even engagement rings) and find space for good, for power moving outwards. There are a few angles I want to tackle.

-Overtly feminist pieces: Such as the pieces I've done looking at Eve, or those with Maya Angelou's poetry on them, etc. Pieces that openly discuss feminist issues.

-Jewelry for the wearer: Pieces with hidden messages, that can be worn different ways, that have an altogether richer experience for the wearer than for the viewer.

-Non-binding jewelry: This is just a thought that I haven't explored all that thoroughly yet, but I'm interested in the possibilities for jewelry that doesn't clasp, doesn't lock, doesn't restrict the wearer. It would probably end up being fairly conceptual work, but interesting nonetheless.

-Non-precious pieces: This is complicated, because there are things you can do with silver that you can't do with other materials. But I try hard not to stick gold or stones or anything into a piece that doesn't truly add to it. For instance, I would never use white gold - unless you have an allergy, the color is duller than silver, the only real benefit it has is its expense and accompanying snob appeal. So no huge diamonds, no pieces that serve to simply showcase wealth. Each piece should ideally be beautiful on its own merits, regardless of the materials involved.

I'm sure I'll talk a lot more about this subject in the future, but the quote caught my eye and I wanted to jot down the basics before I forgot.

Mental Health Day(s) and Art/Craft Musings

2008-03-02T09:30:00.001-05:00

It's awful that the way my life is set up right now, the only thing I can afford to miss is my time in the studio, which is also the only thing keeping me moderately sane. By Thursday, I was not feeling moderately sane. I was barely able to function, and I realized I had to go home. I haven't had a break since October, and so I took a few mental health days. It's been beautiful - sleeping 12 hours a night, blobbing on the couch, seeing my family. My grandparents came down, which was really nice, and my grandmother even bought a few pieces. Love that.

I finally submitted my application for the dual degree program last night, meaning that I'll know soon whether I'm doing two degrees or one. It's very frustrating, this school would have been a safety school for me when I applied the first time round, but because I'm now coming from art school, there's this prejudice. I've noticed this all around, that artists are perceived to be less smart, that we're often seen to be either stuck in art as a last resort because we're not smart enough for anything else, or wasting our intelligence. As someone who has always been at the top of her class, 1560 SATs, never had a problem with academics, this is intensely frustrating. But I do sometimes see it in people around me. I think the problem is that people have internalized that attitude, that art is fundamentally different from academics and requires no knowledge of the world outside of personal experience. And certainly some good art comes out of a very limited worldview, some art wouldn't be as good if it weren't from such a specific place. But the upper middle class slackers are often just too lazy to learn, and chose art because they wouldn't be forced to learn there. Like Andy Warhol's quote, "Art is anything you can get away with." You know what? Screw you, Andy. Look, if you've had no new experiences in your life, if you come from a place that's "been done" and have no new insights on it, there's no way to make good art out of that, by my definition. I feel like real art requires either a fresh insight on something personal, OR a connection or reference to something in the world, some new piece of knowledge about how the world connects, some commentary. And for that you need to KNOW THINGS. Read books. Go to other countries. Take classes. Try to understand how and why things are the way they are. Sexism, racism, classism, poverty, hunger, war, mythology, xenophobia, these are the experiences humanity has been defined by. I feel like good art NEEDS knowledge, connection, empathy.

And what about things that are just pretty? I'm torn. I think at the end of the day art needs to talk about something, speak with its own voice. Sometimes that can be about innovative form, or space, or expressive color, but I honestly feel like then it has to be that much more impressive, that much stronger. I'm sorry, pretty doesn't cut it for me at the end of the day. Does that make me a traitor to jewelry, especially? Maybe. I would restrict the category of art to pieces that talk about something outside themselves. Either narrative work, or pieces that go REALLY above and beyond in how they interact with the body, what they say about space and form. By my own definition, perhaps the majority of my work wouldn't fall into that category. That's OK. I don't feel like a piece has to be "art" to be valuable, either. Craft is impressive, craft is valuable, craft is a language unto itself. And into the category of craft, I would add most representational painting and drawing and representational sculpture. Just because these are older mediums doesn't mean they are inherently more valid.

And why does it matter? The art/craft distinction? I think the dividing line comes back to where I started from - intelligence as it is measured in the outside world. Knowledge, connection, allusion, insights about the stuff of life. Perhaps even in my perfect world, where art and craft are acknowledged and valued separately, artists would still be looked down on by those in academia. But at least then it would be easier to see it for what it often truly is - a yearning for a life they didn't have the courage to grasp. Luann points out in her blog, "As Bruce Baker says so enchantingly, “To ‘normal’ folks, artists are people that ran away to join the circus!” Fair enough. But is it too much to ask that intelligence and insight and real content not be dismissed just because they're found under the Big Top?

New Article up!

2008-02-24T10:40:00.000-05:00

My article on making first craft shows painless is up at Articlebase, check it out.

Twelve hours later...

2008-02-24T10:34:00.000-05:00

I'd forgotten how tiring full, full work days in the studio can be. Yesterday was the first time I've had a chance to really spend a big chunk of time just working on my own projects, not assignments, not academics, just me and the torch and the metal. Beautiful. But 10am - 10pm will get you. I woke up this morning with my back aching from hunching over the torch, my arms hurting from hammering and grinding stones, my fingers still swollen from getting chemicals in cuts, and my hands so dry they look like crocodile skin. And you know what? I couldn't be happier. I woke up in pain but so excited about my new pieces I just wanted to sit and look at them all day. I love this job.

Barely Controlled Chaos

2008-02-22T00:16:00.000-05:00

So here is the breakdown of my life right now. I'm taking six classes, four academics and two studios. I'm trying desperately to get into the studio enough to build up my inventory, since I've been on the other side of the world for most of the last year. I'm scraping the bottom of the barrel of my savings to seriously upgrade my display and pay booth fees for better shows. On top of this, I'm applying for the dual degree program, meaning that I'll be making my life even MORE academically insane, and attempting to have some modicum of a social life. And you know what's strange? I thrive on this. Granted, I barely sleep, I occasionally burst into tears for no apparent reason, and I'm up at 1 am writing on this blog, but when I get into the studio, my hands itch to work. I don't have time to get bored.

I got some gorgeous geodes in today, and I'm starting a whole new series of fused pieces with them, I think they'll be pretty spectacular. It's been a little while since I've done a big conceptual piece, but if I've learned anything in the past year, its that I have to let my art lead me rather than the other way around. I know interesting things pour out of me when I let them. Maybe this weekend I'll camp out in the studio and see what happens. Wish me luck!

In the Beginning

2008-02-21T23:58:00.000-05:00

So what with the new website, the new displays, the new... everything, really, I'm trying to make a go of this as a real business and I need a space to think things through. I'll be posting my inspirations, ruminations, frustrations, and some other "ations" (Get your mind out of the gutter!). I'll also be posting about the stresses and complications of being a college student, business owner, art and academic student all at once. I swear I'll throw in some fun stuff, too!