[Jewelry making - Article 00042] - Re: [Orchid] Looking Back to the Future

[Karen Christians Metalwerx]

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Richard,

>     Second, I think you completely missed the major point of my post." 

    I didn't' miss the point, but I don't think I articulated it well. I
    don't have the Michael Zobel book, only a few pictures here and
    there, so it's difficult to comment. But I do understand what you are
    saying. 

>     I personally feel that it can be a touchy subject to bring up, as
>     many are faced with the dilemma, as in, after you take a class from
>     someone, how do you take the technique you learned and create work
>     that does not look like the work of the person you study with." 

    It's good to discuss them in the open. That's what this forum is
    for, but you are right on this point. Fold forming and corrugation is
    a classic example. All of a sudden I see tons of work in these two
    processes and there are only a handful of people who teach this
    technique. So when you see the work by a student of theirs who do you
    think of, the person wearing the work or the teacher that taught
    them. Personally, if you make a spiral fold form in Charles Lewton
    Brain's class and put jump ring and hang it around your neck, I don't
    find this at all original. Now if you take the form that you learned
    in class, manipulate it, change it slightly, add a stone or two into
    something that is suggestive of Charles' work, is it your own or only
    a derivation? 

    This is a tough subject for all of us that make work and teach. I
    teach photo etching and resin inlay. For me, it's a processes that
    takes 10 minutes to learn and two days to play. What you do with the
    colors, how you combine them is up to you. Right now I am looking at
    Lalique (funny how that came up in another post), whose work I find
    inspiring, thinking how I can adapt the fluid style of one of his
    brooches by using resin inlay, instead of vitreous enamel, how
    instead of using the enamel color of green, of what natural materials
    are out there that are green. I do like the profile of the woman. The
    piece is an enameled brooch, with two profiles of women with their
    hair as greenish/bluish chrysanthemum petals. 

    Sometimes we design things that we think are so unique. I was
    working out a design in keum boo with perfect squares in a round
    brooch where there was a negative space between the squares. In the
    middle of the brooch, the squares begin to separate and fall to the
    bottom to imply movement. Last night I was looking at Daniel Brush's
    work, and lo and behold, there was the same concept. I hadn't seen
    the book in a year, but somewhere it stuck in my mind that it was
    cool. 

    As we are visual people, I think we can't help looking at others
    work and incorporate it into our own. The important part for me is to
    acknowledge where I saw it first. 

-k

M E T A L W E R X
School for Jewelry and the Metalarts
50 Guinan St.
Waltham, MA  02451
781 891 3854
www.metalwerx.com
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