Saturday, December 3, 2016

Colin Blakely

“Overlook, Grand Canyon”

“What a great view!”

How many of us have exclaimed these four words on one or more occasions? Probably most of us. How many have stopped to think about what specific aspects of the scene we were standing in front of inspired the comment in the first place? Probably fewer. Yet chances are, there were many similar qualities in what we were each responding to. It was probably an outdoor scene. We probably were able to see a far distance with few obstructions. We were probably in an elevated position that allowed us to “survey” the landscape in front of us.

“Yosemite (After Bierstadt),” Pigmented Inkjet Print

We tend to assume that the qualities that make a scene a great view are self-evident, somehow innate to human perception. They are written into the structures that dictate so much of our interaction with the landscape, from the most popular spots at National Parks to the ubiquitous roadside “Scenic Overlook.” Despite how ingrained these views are in our collective consciousness, they are not innate, but carefully constructed and written into the landscape to engender particular ideologies that are tied up in national identity as well as a host of commercial and individual interests.

“Topographies 1,” 4 Pigmented Inkjet Prints

The landscape is ultimately one of the most politicized entities of our time. It is the backdrop against which so many narratives and other types of power struggles play out. Ultimately, these narratives become inseparable from the place itself. This intersection of narrative and place, in which the lines that designate where one ends and the other begins become obliterated with time, is at the heart of what motivates my work as an artist. What better setting than the Southwest, a part of the country steeped in these land-based narratives, to discuss this? What better place than Yuma? I look forward to seeing you all there! 

See more of Colin Blakely's work HERE

Sunday, February 21, 2016

Rachel Shimpock & Electroformeriffic!!!


It’s what happens when Electroforming and Terrific lie very, very close together! True story!! 

Listen, I know you may know what Electroforming is, but lets talk about home/studio small set-ups shall we? 

From plan ahead-ers to wake up in the morning and plate by the afternoon-ers I got you covered! If you don’t know what electroforming is…come find out!  I will present to you tips, tricks and an informative demonstration including setups, solutions, alternative power sources and bunches of samples to nerd out hard to.   

Shake off your Friday hangover with me, Rachel Shimpock, Saturday morning, and lets MacGyver our way to plating!

Also! My photographer best friend and I will be doing a fun lunch activity for you to enjoy! Look for the Red tent!

Wednesday, February 17, 2016

Kim Cridler : The Descriptive Line

Kim Cridler: The Descriptive Line – Demonstration with lecture 
Trained as a jeweler/metalsmith, but leaning towards sculptural work, I will present the basics of soldering with steel including terminology, material properties, a variety of fluxes and solders, how to color and protect steel, lots of samples, and show my basic way of building symmetrical forms.  I will talk about how these simple processes allow me to build structural forms that become part of sculptural work. The lecture will expand on my formal and conceptual interest in the decorative arts, vernacular art forms, and craft. I will touch on ideas of repetition, beauty, and the essential struggle towards change.
Witness Tree, 2016, steel, mother of pearl, gypsum cement, 58" high x 6" x 56"

Detail, Witness Tree

Thicket, 2013, steel, silver, hematite, bronze, 78" high x 31" x 31"

Detail of bird form in Thicket  

2 Details of building bird form in Thicket using soldered steel wire

See more at

Tuesday, February 16, 2016

Tom O'Day

hope you can join me at 10:50
looking for a few people to help me out

Thursday, February 11, 2016

Laura Wood - Crafting a Community: A Personal Path

Our creative paths will take many turns over a course of a lifetime. The communities that we are a part of are a common thread throughout the journey. In my talk I will share my experience and how the community aspect of my work has aided in both my creative process and professional development. I will emphasize the importance of retaining craft in our culture as a community effort. ​ 

Monday, February 9, 2015

Barbara Minor

I am fascinated with color, surface pattern and actual or visual texture on fabric, natural forms or useful objects. My work has focused on employing enamel color and pattern, precious metals/stones and other materials in jewelry and decorative objects.

Wandering Pearls   
Pin--transparent enamel on formed fine silver/copper bimetal, 
Smithsonite, pearls, fabricated sterling silver
1.5" x 1.5" x .25"

  1. Triangle with Rectangles 
    Pin/Pendant--transparent enamel over fine silver foil rectangles 
    on formed fine silver, fabricated sterling silver
    3" x 3" x .25"

  2. Red Sticks  
    bowl - transparent enamel over 24 kt. gold foil and 
    underglaze black on raised copper, bone, glass, 
    carnelian, onyx, fabricated sterling silver 
    6" x 6" x 4"
Barbara will demonstrate and show examples of decorative vitreous enameling techniques that quickly yield colorful, exciting and complex looking enameled surfaces.
Dry screen printing and found/made stencils yield vibrant/detailed patterns, illusions of texture and individualized designs.
  1. Tendrils 
     pin - dry screen printed image in enamel on copper, brass, nickel silver 

  2. Four Leaves 
     pin - stencil design in enamel on copper, nickel silver
Drawing on etched enamel surfaces with various “fire-able” media allows for development of personal images by adding details and spontaneous marks.

- graphite drawing fired into white enamel 

Quick inclusion of repeat designs, realistic images or a lustrous surface is accomplished using a variety of decals suitable for firing.
  1.  Flora 
    pin -- iron oxide decal fired onto white enamel, nickel silver 

  2. Golden Spiral  
    pin -- gold overglaze decal fired onto enamel on copper
Barbara began enameling during graduate school and continued enamel process exploration while teaching at SUNY Geneseo. During this time she began enameling on formed metal, creating enamel jewelry, sculptural objects and narrative reliefs. 

Flight from Water to Water 
sculpture -  enamel on copper, brass, silver 
5” x 5” x 4” high

series of pins
enamel on copper, sterling silver 
2” x 2” x .25” 
J.M. Meets S.R. in Mexico
 wall piece -- enamel over 24kt. gold and fine silver foil on formed copper, shells 
12” x 12” x 1” deep 
Barbara now lives in Baton Rouge, Louisiana, where she focuses on producing her colorful enameled jewelry, enameled beads and small sculptural objects that have been widely exhibited, marketed and collected. 

Egg and Sphere Beads on Chris’s Cables
transparent enamel over 24 kt. gold and fine silver foil on formed fine silver,
sterling silver – smallest = .5” diameter x 1” / largest = 1” diameter x 2.5”

Head, Heart, Soul – pin
- transparent enamel over formed copper/fine silver bi-metal, Smithsonite,
pearl – 3” high x 1.25” wide x .25” deep 

Golden Spirals 
bowl - transparent enamel over 24 kt. gold foil on raised copper, fabricated sterling
silver, lime jade, brass – 4.5” diameter x 4” high 
“in 2011, I began using minimal enamel color on formed, pleated, folded and gathered copper screen, copper foil and steel. My methods involve learning fabric and paper techniques for creating volume, translating and applying those methods to manipulation of very thin sheet metal or screen and creating a metal forms suitable for enameling. These explorations are resulting in jewelry and objects that emphasize the form and surface over applied color/pattern.” 

  1.  Screen Floral – pin - enamel on copper, copper, glass, brass – 3.5” square x .33”deep 

  2. Twisted Pearls – Pin
    - enamel on copper, nickel silver, brass, pearls – 3” diameter x .33” deep
  4. Manipulations 
  5. experiments with copper foil, screen and enamel
I am really looking forward to meeting everyone at the YUMA Symposium!!!!

Sunday, February 1, 2015

Jason DeMarte

Hello Yuma!
First of all I am very excited to be attending and presenting at Yuma! After hearing rave reviews from friends and artists I am very eager to take part and see and hear all the wonderful things the symposium has to offer. 
It’s been a busy year, my summer started off with a bang by going straight into a residency at the Vermont Studio Center after my classes wrapped. This was a wonderful experience and led to the start of a whole new body of work, which I will be including in my presentation.

Goldfinch - Pink Cord
40x60, Archival Ink Jet Print
I will also be speaking about the work I have been involved in making over the past several years. With all my work I am interested in a dialog between the seemingly natural world and the simulated or manufactured. I am interested in comparing established idealist utopian ways of representing the landscape to the hyper-perfect way products and modern consumer life are represented in media. I’m particularly interested in the idea of disillusionment through false or misleading representation.

Hydroginated Bounty
43x33, Archival Ink Jet Print

43x24, Archival Ink Jet Print
I work digitally combining images of fabricated and artificial and staged flora and fauna with commercially produced and processed products. I look at how these seemingly unrelated and absurd groupings or composites begin to address attitudes and understandings of the contemporary experience. I represent the natural world through completely unnatural elements to speak metaphorically and symbolically of our mental separation from what is “real” and compare and contrast this with the consumer world we surround ourselves with as a consequence. Ultimately this work is an investigation into the manipulation of truth.  

23x31, Archival Ink Jet Print

Pink Placebo
23x34, Archival Ink Jet Print

23x34, Archival Ink Jet Print