I'm guessing I made most or all of the pmc beads[1] and I certainly made the floral vessel. It was a pest, because I had to put layers and layers and layers of bullseye powdered glass on the bead: BE “opaques” are more translucent than effetre anyway, which can make for some truly lovely effects, but the lack of saturation is not ideal for powder—to this day I wish the folks at Thompson Enamels had truly developed a properly compatible line for BE. I think it would be a great hit.
Glass, silver. photographed 16apr2006. Location unknown: Page reports to me that piece was stolen. [2]
But they didn't, so the colors have a soft, translucent effect, which Page echoed in the semiprecious stone beads she chose for the necklace. The touch of gold and matte textured metal accents, as well as the free-floating rings, are all trademarks of her fantastic design sense. Even the asymmetrical styling of the piece reflects her sensibilities.
While I'm glad she's enjoying metalwork and encaustic, I really miss our time designing beadwork together. We made some fantastic pieces together.
Chickadee 1.5" lentil bead pendant. 01dec2021
Page designs another lovely necklace featuring one of my BE floral vases. Collects together all the PMC posts, both finished jewelry & components. 15apr2014
This luscious green and purple necklace is full of all the things I love:) It also currently collects together the multistrand pages. 03oct2012
My friend Margaret makes a lovely necklace for a friend featuring a bronzclay focal & seed bead rope.
Faux Ametrine necklace featuring hollow lampwork and PMC. 22jul2006
Moss Necklace originally posted 19jul06 . Private collection. 19jul2006
We celebrate spring 2006 in pink and green. first posted08mar06 08mar2006
The highly textural experiments arising from my first pmc workshop. Originally posted 21jan06. 21jan2006
...and Celie Fago's keum boo technique . Originally posted 19jan06. 19jan2006
Ever so slowly, my pieces are mutating away from Ivy Solomon and Celie Fago's. Originally posted 20jan06. 20jan2006
For example, we tried playing with variable patination... . Originally posted 18jan06. 18jan2006
About a year later I took a second, ultimately more successful workshop, this time using forms (marbles) and stamps, thereby making a considerably more production oriented set of items. Originally posted 16jan06. 16jan2006
Another reason I stuck with pmc this time around was that several of the ivy workshop participants started a sig to foster our development . Originally posted 17jan06 17jan2006
[1]They're kind of randomly stamped for Page's taste—but I could be totally mistaken, too...
[2]Update, 1jul23: this particular story has a happy ending: the piece was not stolen! Which is not to say theft from artists’ booths doesn't happen; it absolutely does, and it sucks, Thus, my sentiment stands: [t]his always struck me as really low. I get that people shoplift to feed their families or whatever from faceless big-box stores, including ones you could argue that deserve it cuz their customers and employees overlap, and they steal from their employees, and thus their customers. But artists? Without even a gallery—though gallery owners aren't doing much better—to provide a fig-leaf of Cost-of-doing-business rationalization? I mean, I don't suppose the people that read this blog and art-thieves overlap, but, hello allow me to rant a tiny bit here, you do realize you are wearing a piece of our souls around your neck and yes I'm an atheist but I don't know how else to phrase it, and ewwwwwww I wouldn't want that miasma of bad feeling and guilt round my throat!
Unless otherwise noted, text, image and objects depicted therein copyright 1996--present sylvus tarn.
