[Jewelry making - Article 00650] - Re: [Orchid] Article: Minimal Metalsmithing

[Marianne Hunter]

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Hi all...

    just personal experience. A few years back someone sent me a bunch of
    pmc, some tools and a computerized kiln in return for experimenting
    with it and letting her use the images in a book..which was never
    published. I enjoyed the material, made some very different
    pieces..maybe 4 or so of them, which I felt were very successful...2
    of my kabuki Kachina's and 2 abstract all with enamels and stones. It
    has properties which are interesting and useful, especially to
    someone who doesn't cast. I think it needs to be looked at as it's
    own medium. Just as there is jewelry made of glass, clay, wood, found
    objects, feathers etc...It's properties have both gifts and
    limitations. The issue/fact that it may be more fragile than the
    fabricated/cast pieces we make is somewhat akin to the comparison of
    opal (or tanzanite, sphene, or pearl) to tourmaline or diamonds. One
    takes into consideration the properties of the material one is using
    and treats them, both in the work and the wearing, appropriately. The
    reason I haven't done any in the last 2 or more years is that I can
    only spread myself so thin. My enamel bench is where I also did the
    pmc..requires a turn around on that surface and major clean up after.
    I do intend to create with it again, though. The metal clays are what
    they are, what they will become and most significantly, what we make
    of them. Like the medium...use it. Don't like it ? Don't use it. 

    Oh, somewhere in the thread there was in issue of metal clay jewelry
    devaluing our metal smith work in the eyes of the public. I found
    the public, taking a cue from me, fascinated by the concept and
    willing to accept the pieces as equal to my other work. One piece of
    gold pmc, sculpted and enameled was set in gold with 5-10pt diamonds
    and druzy chrysacola and sold for around 8-10,000, if I remember
    correctly. One can set/support the metal clay in fabricated metals.
    It doesn't have to be one or the other. 

    This reminds me of some arguments between fabricators and casters (
    or the resentment towards the fimo folks)...that one is true
    metal-smithing and the other, being mechanical reproduction, is less
    worthy of respect, and a financial threat to those of us who
    fabricate. Do any of you see this as a problem in your livelihood?
    Just as the public can easily grasp those differences and what it may
    or may not mean to them, this will sort itself out. Casting and
    fabricating are valid means to valid ends. If improperly fired metal
    clay means the goods are not durable, it is the metal clay artists
    who will suffer as a result, not the metal-smiths. 

I have no stake ( pardon the pun!) in this argument one way or another.
Marianne Hunter
http://www.hunter-studios.com

 
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