Wearable Art Blog

Jewelry with a Message by Shirley Bar-Amotz

Here's some new work by Israeli jewelry artist Shirley Bar-Amotz. Not only are these pieces eye-catching, but they're also designed to be a commentary on conditions in contemporary Israeli society.

The works shown here are from her 2012 "Happy Days" series of sterling silver brooches, where she combines traditional and synthetic materials with readymade objects.

The animals are partially covered by brightly colored epoxy resin and acrylic paint and surrounded by pearls and zircon gems. They appear to be trapped in a morass of color.

Bar-Amotz grapples with questions of identity and social values in her "Happy Days" series. Under the guise of playful animals and colors, she shows how some Israelis are stuck in difficult political realities that surround them.

 
Bar-Amotz lives in Kibbutz Ma'abarot, where she teaches in the kibbutz studio, which she founded. She also lectures in the Department of Jewelry at the Bezalal Academy of Art and Design in Jerusalem.

Bar-Amotz was awarded the 2012 Andrea M. Bronfman Prize, which is designed to serve as a showcase for Israeli decorative artists. You can see her work online or in person at the Tel-Aviv Museum of Art through October 31, 2012.

 

 

Edinburgh College of Art Degree Show

Every year, the Edinburgh College of Art showcases select creations made by its undergraduate jewelry & silversmithing students.

As I Iooked at the pieces from the 2012 students, I was so impressed with the artist statements that I decided to present excerpts from them. It's clear from reading them that creativity is something that comes from a deep place within us that's hard to define and not always obvious.

Trina Earrings by Ciara Bowles.

"The jewelry I make is designed to make a statement. My aim is to fascinate the viewers of my jewellery, to create objects whose aesthetics and tactility are exciting, compelling them to take a closer look."


 

Murray Bangles Set by Laura Templeton.

“I approach each piece as a miniature construction....I have taken inspiration from various types of steel framework including bridges, cranes, stadiums, building sites and scaffolding...."

 

White Basket Pendant by Rebecca Vigers.

"My jewelry is informed by the desire to explore color, texture and form...I take this primarily from my research drawings and photography which focus on....subjects that depict an interesting construction and a timeworn appearance."

 

Coral Brooch by Mari Ebbitt.

"Rather than finding stones to fit my jewelry, they inspire my designs. I study their textural structures and shapes and create my own gemstones through drawing, model making and casting."

 

 

Seed Ring by Mia Hayes.

"I am drawn to the organic and irregular patterns of plants and seeds, the way they repeat to create intricate and delicate structures."

The aim of this show is to have the students create personal pieces of work that push the boundaries of traditional jewelry. Do you think the students achieved the goal? 

You can see more at the Edinburgh College of Art Degree Show site.

 

Hand Stitched Photograph Dresses by Gwen Samuels

Gwen Samuels is a Los Angeles-based artist who is known for her dresses that she creates out of plastic sheets. What's also unusual is that she prints digital photographic images onto the plastic sheets and then creates striking visual patterns that she hand stitches together.

Here's an excerpt from Gwen's artist statement that sums up her approach: "My garments and quilts are newely made from imprints on plastic sheets. I work with the unimportant and thrown away; plastic, wire, cut-up felt, tape, used dryer sheets, teabags, and other found objects....The pieces reflect my love of the handmade, mended and discarded."

Intrigued? Read my interview with Gwen Samuels to learn more.

How did your love of the “handmade, mended and discarded" begin?

I have always loved the handmade. When my kids were growing up, I was an arts and crafts counselor in camp, taught art in elementary school and then went on to instruct teachers on how to teach the creative process. 

I have been making things my whole life and have always appreciated work that is made from unexpected materials transformed by the artist.

Your bachelors degree was in textile design.  What led you to create garments out of plastic sheets?

Textile design developed a way of seeing for me. My eye became trained to see things in repeat patterns. I liked creating compositions with objects in relation to other objects.  My earlier work began with some antique lace that I bought at the flea market, laid on the xerox machine and printed. The lace patterns reminded me of my love of garments and I began to piece the sheets together to create dress shapes. Using architectural details in my work came later.

After moving from the east to west coast I was in transition and did a great deal of traveling and taking pictures. That’s when I began to frame my compositions in the viewfinder with plans for textile design in my new work…Since I don’t draw, the camera became a way for me to capture imagery and the computer was an easier way to create my repeat patterns. 

Not sure why the plastic sheets became my material of choice. I think there was some connection with my earlier interest in recycled plastic vacuum forms that I collected and collaged. The memory of the encased objects interested me. But the dresses had always been in my subconscious and when they surfaced in my work everything started to fit together.

 
Is plastic your favorite material to work with or is it something else?  What is that?

I’m not sure that it’s really plastic that I love. What I love about the transparencies I work with is the versatility of the material. It has fold memory, doesn’t unravel when cut, it records my images and interacts with light. And that’s all I have discovered so far…

I see that you attended Haystack School in Deer Isle Maine - a lovely spot on the Maine Coast.  What was that like?

Haystack School is a wonderful place to be close to nature and immerse yourself in your art. The accommodations are rustic, the food is great and the teachers are top notch. I have been fortunate to go there twice and both times had an incredible experience. My second time I studied with Marian Bijenga and the techniques we experimented with greatly influenced the way I hang my work with straight pins slightly off the wall.

I read one of your quotes: “My images are a reality of memory.”  What are some of the memories or stories that you have captured and preserved in your garments?

For me, photography is about memory, recording a time and place.  My images remind me of where I’ve been and I use those impressions to create abstract compositions that I cut and piece together. Memory is also part of the way the viewer sees my work because I juxtapose the images to suggest other things and it’s only upon closer inspection that the real image is revealed. For example, a ruffle on a dress is really a flight of stairs sewn sideways…

What/who have been your biggest influences on your work?

Influences is a tough question. I look at everything for inspiration. My early work was in craft and I experimented with: weaving, papermaking, basketry, felting, embroidery, knitting, crochet, needlepoint and quilting. All my interests were hands-on and process oriented. So the artists that interest me are process oriented. I also love artists that work in multiples with unexpected materials. Some names that come to mind today: Leslie Dill, Paul Villinski, Issey Miyake.

What’s next for you?

My materials continue to excite me in new ways. I’m interested in installation, working more in 3-dimensions, creating armatures and stitching my imagery to the forms. I’m also investigating cutouts and layering and how the images interact. And I expect more discoveries as the new process unfolds.

I like that Gwen combines sewing with plastic to create dresses that not only give the impression of being wearable but are also soft to the touch.  As Gwen said, she will continue to innovate with her materials and techniques, which has me impatiently waiting to see what she comes up with next.

You can see more at Gwen Samuels. Also, don't miss seeing Gwen's work at the Architecture and Design Museum Los Angeles (July 12-September 8) as part of their annual COME IN! series. This year's show, Les Femmes, features works of women artists.

Plus, Gwen's work will be shown at the Lois Lambert Gallery in Santa Monica (July 21-September 2).

 

 

Aluminum Mesh Garments by Amy Jean Boebel

 

Since summer's here, let's go to the annual summer COME IN! series at the Architecture and Design (A + D) Museum in Los Angeles. This year's show is called Les Femmes. A + D asked women designers "to take over the A+D Museum with their inspired installations."

One of the featured artists, Amy Jean Boebel, makes sculpted dresses and garments out of aluminum screening. I think of these pieces as her 'undergarment' series. Even though her work isn't classically 'pretty,' it's really inventive and intriguing, and I had to find out what's behind it. Here's my short interview with Amy.

How did you decide to become an artist?

I think I was born wanting to create things; there is something in me that needs to be expressed externally and my best mode for this has always been through art. So, being an artist is something ingrained and part of my nature. 

Early on, I realized that success and making a living as an artist would not be easy, so I always kept being a full time artist as a long term goal. My brief stint in architecture was an attempt to combine my skills in art and math into a viable career. 

Although I have worked in many different fields including running a ballet company, trading commodities, consulting with zoos and as executive director of the San Francisco Parks Trust, I have always had a working studio to go to. Now that my children are on their own, I can devote all my time to making art; it is a privilege and a responsibility that I respect and cherish. 

What first attracted you to creating wearable fashion art?

My years in New Orleans and my love of costuming led me to making wearable garments. I think of them as constructions and sculptures built on the body to enhance and change how a person looks and feels.

Would you please briefly describe how your work has evolved since you started?

I have experimented with many mediums and types of art, printing, welding, bronze casting, photography, polyurethane, clay, glass and neon. Choosing architecture as a career came from my work as a sculptor. Hardware stores with all the various materials, tools and building supplies tend to seduce me and I get lost in ideas and tangents. When I became a full-time artist and wanted to build a cohesive body of work, I decided to pick one material to work with for a year and see how far I could go with it. It has been 5 years now and I still have many ideas to try.

You've lived in both New Orleans and California. Which place has most influenced your work most and why?

New Orleans has been the most influential environment on my art. There is a wonderful tolerance about the city; you see it in the music and celebrations and, unfortunately, in the government, too. Growing up there, I felt free to be an individual and not conform. Plus, my parents were very liberal thinking intellectuals that allowed me to take sculpture, dance and photography courses all through my high school years; I even built a little darkroom in our house. 

I adored costuming for Mardi Gras and being able to transform into someone else; the city thrives on self-expression. The sensuousness of the lush environment and the enthusiasm of the people there fed my creative juices. Choosing screen as my current medium came directly from my experience as a child in New Orleans.

What led you to work with aluminum screens?

Growing up in New Orleans, screen was ubiquitous. Every home had a screened-in porch to keep the mosquitos out and, at the same time, the people in. When I looked around for one material to focus on, it seemed appropriate and it's so versatile.

What do you like best about working with aluminum?

The material is both substantial and elusive at the same time; it can be sculpted and formed but is not rigid and unyielding. Screen also has a diaphanous quality that makes it appear transparent at times even though it is solid. Layering and folding can create multi-dimensional images on a wall when light is added. Because of the gossamer look, it can even be seen as fabric or gauze-like. When people experienced "Billow," I encouraged them to touch the structure; most thought the installation was made from fabric.

You've created aluminum panties and bras and undergarments. And in 2011, you created a Katrina Bra out of materials used during the recovery. Please tell me what's behind your focus on women's undergarments?

Bras and panties are usually hidden and secret, something a woman often puts on just to please themselves. Wearing your under ‘ware’ on the outside is liberating to me and because screen is so gauzy and fabric-like, it expresses so much more than solid cloth.

  
I know that you've created wearable art out of all kinds of materials. What is your favorite creation?

The Katrina Bra (above) is a favorite wearable creation because it expresses the essence of New Orleans and the struggle for recovery. The hurricane was so devastating, yet people could still find humor and express their playfulness amid the tragedy. The bra is made from funnels, blue tarp and caution tape, images and materials we used in the clean up and rebuilding. The orange NOAA hurricane symbols twirl and the small wired king cake babies bounce. I moved back home to New Orleans to participate in the recovery and was inspired by the spirit, resourcefulness and mood of the individuals.

What's next for you?

I would like to work in fabrics, such as silk organza and other "stiff" fabrics and construct/build garments. I also want to go back to the hardware store and continue my exploration of materials to create more experiential installations and sculpture. 

I think Amy's work is a fascinating mix of art and architecture. You can see more at Amy Jean Boebel. Also, don't miss seeing Amy's work at the Architecture and Design Museum Los Angeles (July 12 - September 8) and at The Loft at Liz's in Los Angeles (through September 4).

 

 

 

Shibumi Studio & Gallery

I'm drawn to artists who strive to stay true to their values, regardless of what might be 'trendy' out there. That's what attracted me to the work of April Higashi, the driving force behind Shibumi Gallery. April has a keen sense of design from her early textile studies and from her inventive work combining enamel, stones, and metal into one-of-a-kind pieces. Here's an interview I did with April exploring how she got started, her approach, and her plans.

How did you learn to make jewelry, since your background was in textiles?

I was working at Espirit and took a metal arts class with a friend, with the idea that we were going to start a jewelry company. Five months later my department was dissolved at work and I asked to be laid off. Eight months later we got a hugh order with Banana Republic and earned enough money to fill the order and take more classes and hire instructors to help us.

After my business partner and I went our separate ways, I worked part time in my studio. I had jars of enamel that had been given to me from a school that had closed its jewelry department that I started playing with. I missed textiles and patterns but continued to take enamel classes. One of the last classes I took was from Jamie Bennett.

How has your work evolved since you began?

Originally, my work was folksy, Latin-inspired and sold to high-end stores, such as Barney's New York and Fred Segal's. After that, it had a flare of filigree with enamel and then later evolved to patterns and textures in enamel. I later expanded my repertoire to work in high karat golds and other precious metals with organic rose-cut stones and diamonds and irregular, rare pearls.

The stone shapes mirror the organic shapes of my enamels. They reflect my overall aesthetic and philosophy that work should be textural, elegant, and organic, without literally matching.

Please tell me about the name of your gallery? What does it mean to you?

Shi-’bu-me n. is a subtle, unobtrusive, and deeply moving beauty cherished by artists and connoisseurs. This word really spoke to me because the clients I respect the most look at jewelry and art from a quiet place and appreciate the small details. My work and the work I show is not for everyone. It is for people who seek out the subtle details. They buy work that speaks to them artistically and not to impress their neighbors. 

What makes Shibumi different from other galleries?

My gallery is focused on mid-career jewelers who have a deep reflection process and have been able to develop a body of work. The artists I show are all makers (not designers) who apply ethical considerations to their materials and processes. I would also say that there is a special effort to focus on minimal. I want the gallery to feel refined, but accessible.

 
How do you select the artists?

The artists I show are usually colleagues or artists that I respect. Because my life and work are so integrated, it is not surprising to know that if I like their work, I like the artist, so we become friends. It is important to me to represent people I truly believe in and whose perspective I respect. I like artists who pull ideas from the depth of themselves and do not just follow fashion trends. It is also important that the artists come from a "making" background and do not just design on paper or the computer.

 

Please tell me about the unusual selection of wedding/commitment rings.

My clients kept asking me to reset their prong set diamonds into something more contemporary.  In thinking about incorporating a ring case into my gallery I realized that what was most important to me was that I give clients a great experience as well as an original non-traditional design. When people come to your gallery or to make a custom ring you become part of their celebration. I want them to have found memories of this part of their ritual. 

Staying true to my aesthetics and vision, I offer wedding and commitment rings that reference tradition and reflect the individuals that wear them. With 15 ring artists, I feel like clients can mix my artists to come up with individualized, custom rings. We have even designed a special case that has counter weights that lower when a couple stands at the case. The door slides up and they are invited to touch and try on the work. 

Shibumi also features the work of your husband Eric Powell, who is a sculptor, along with the work of other sculptors. What creative philosophy do you share?

 

We both love deterioration on metal. The textures and colors show off what happens by chance when something is old or left out in the elements. I also think we share an appreciation for organic elements and asymmetry. Pictured here are two works by Eric Powell. Below is the Chestnut Street Gate that Eric made.

What's coming up for you and Shibumi this year or beyond?

I'm excited about relaunching the April Higashi Jewelry section of the Shibumi website. Because my work is so diverse, it will showcase portfolios of my work and not be divided into such literal categories. I'm excited about this because the current section is eight years old. By this fall, I'm hoping to have a small e-commerce section for my work. 

The gallery continues to show new work and artists. We currently have 5-8 shows per year. In August we'll feature Visual Cadence, by Elisa Bongfeldt and Chris Neff and in November, Light Fiction by Liisa Hashimoto + Anzfer Farms.

Finally, I am excited that Shibumi is slowly and steadily growing. I have a great team of 8 creative people that work for me. It's nice to share my creative process and be inspired by others' creative energy and skills to build Shibumi Studio & Gallery.

I hope you're as intrigued as I am by April's creativity and and the philosophy behind her work. To learn more, go to Shibumi Studio & Gallery.