Collecting Art

Vase: April Schwingle, Woven Pine Needle Basket: Clay Burnette, Bird paintings: Diane Kilgore, Landscape Painting: Annie Koelle

When I try to picture an art collector in my mind, I see a wealthy foreigner and his severe-looking wife strolling into a highly intimidating art gallery wearing their finest furs. They gesture towards a huge abstract painting and say “I must have dis”, then they wire the 80K from their elite offshore bank account.

I don’t know where that visual came from, if it was in some bad movie, or just floating around in my brain with other ridiculous caricature stereotypes I don’t actually believe (but keep around for my own amusement).

Felted Bunny Heads: Sarah Mandell ;-) , Assemblage: Jon Andrews, Landscape Paintings: Annie Koelle

The truth is, many of us, in one way or another, are art collectors. We may not describe ourselves as such, but if you peek into our homes, you’ll get all the proof you need. Anyone can be an art collector, regardless of what it is they favor, and you don’t have to be filthy rich, follow trends, or do it all in one weekend. When it comes to collecting art, there really aren’t any rules, other than buy what you love / what’s beautiful in your eyes / what makes you feel something.

Bird Block Print: Kent Ambler, White Paper Bird: Cara Harris, Landscape Painting: Annie Koelle, Felted Cactus (by me) in Wood Turned Bowl (by Matt Tindal), Mini Buzzard Painting: Canvas Dove, Mini Bunny Painting: Once Upon a Time Co., Illustration prints: Elizabeth Mayvile, Water Tower Mixed Media: Paul Flint, Paper Cat: Jordan Grace Owens, Rabbit Portrait Watercolor: Rachelle Elevingston, Bird Paintings: Diane Kilgore, Abstract City Scape Painting: Jersey's Freshest.

Art is important to me, and I want to be surrounded by it always. I first got the bug when my husband and I married in 2005, and we needed something to personalize the renter’s-white walls in our apartment. However, we didn’t have 80K sitting around in our elite offshore bank account to invest in original paintings, so we found some affordable reproductions and prints, and they made our living space “ours”.

Clay Rabbit Mask: F. Gleason, Assemblage: Jon Andrews, Hanging Terrarium: Amazon.com, Reclaimed Boards: Asheville Hardware

Since then, we’ve found ways to buy original art (guess what, we still don’t have an 80K art budget), and have invested in many pieces we love that range from woodblock prints, to assemblages, paintings, ceramic arts, and much more. Buying smaller pieces and displaying them as collections has worked well for us, because we can always add or rearrange. Buying small because of budget reasons has actually changed my taste in art. I prefer smaller pieces right now, I gravitate towards something I can hold in my hands, and find connection with on a more personal tactile level.

Block Loom: Mary Hamby, Section of Original Wood Block: Kent Ambler, Clay Houses: Crave Studio

Everyone is different, and that's what makes collecting art so fascinating. While I may prefer groupings of smaller works for my own home, I still find a single large room-dominating piece to be just as pleasing elsewhere. As we all know, art is a very subjective subject, but that makes it all the more interesting!  

Bee Block Print: Sunny Mullarkey Studio, Bird Print: Sharon Lorenz, Ceramic Bird; West Elm, Carved Pottery Vase: Unknown 

When starting your own collection on a budget, here’s some things to keep in mind:

• Shop local: support artists in your town (student work too!) by visiting craft shows or gallery openings. Most of us probably can’t afford the work of a world famous or historically significant artist, but honestly, there’s incredible work available in your very own zip code, and at a fraction of the price.

• Buy small: you CAN afford original art if it’s what your heart (and wallspace) desires. Look for smaller scale work that fits your budget, and build a multi-piece collection a little at a time. Things can get pretty cool after a few years of buying smaller work and creating interesting groupings, and it’s easier on the bank account doing it one piece at a time.

Mini Bird Paintings: Diane Kilgore

• There’s nothing wrong with prints: I’m still a huge fan of prints, and this is by far the easiest way to bring artist’s work into your home. There are tons of amazing prints for less than $100.

• It takes time: time to save up, time to figure out what you like, time to find that certain piece you can’t bare to leave behind.

I really enjoy curating my own collection, and rearranging what I already own. It’s truly a eureka moment when you find two pieces that don’t have much in common actually work well together!

Rabbit Print: Cory Godbey, Crowd of People Print: Janina Ellis, Mountains Print: Sara Gibson

Here’s some quick tips for curating your very own collection:

• Group pieces by color, even if the subject matter is unrelated. Or...group by subject matter or style, even if the colors are unrelated. You’d be surprised by what “goes” together!

• A focal point doesn’t have to be right smack in the middle. Experiment with layouts that are asymmetrical but balanced.

• Matching frames can help tie in assorted pieces so they feel more connected, but mixing in a wide variety of different frames can add interest too. A unified collection is just as cool as an eclectic collection.

• Before you start putting holes in your wall, make a quick to-scale sketch on graph paper, and plan where each piece might hang, then adjust as needed. Keep in mind room for growth.

• It’s YOUR collection, so buy what you love, display it how you want, and enjoy the hell out of it! When you step back and look at your walls, and it makes you feel happy, or excited about what your next piece might be, then you’ve succeeded as a collector.    

Books Books Books (My 2015 Goodreads Challenge)

I'm a little late posting this, but I finally curled up with a cup of tea and my Goodreads dashboard this morning to see how I did in 2015, rather than finishing either of the two books I'm currently halfway through. I didn't meet my Goodreads challenge for last year (which was 35 books), but I really enjoyed just about everything I read. The majority of the books I spent my time with were fiction, and I'd say over 75% of them were audible books (my favorite way to read while I'm at work in the studio!)

Below is my Year in Books. I couldn't decide on a favorite this time. It's a tie between Althea & Oliver, and My Heart and Other Black Holes. Both VERY good, and I'd definitely read them again in the future. 

For 2016, I'm setting my goal at 24 books. I feel like 2 books per month should be doable, so we'll see how it goes! What are you planning to read this year? I'd love some recommendations if you have any.

If we're not already connected on Goodreads, lets change that! Find me here

Tour My Workspace(s)

My work is a huge part of my life, and my home is where I work. The spaces in which I create are linked to my ability to get work done, be inspired to try new things, and ultimately make a living. Working from home is ideal for me, because I can bounce around from making leather earrings, to needle felting, to laser cutting wooden pendants, to photographing new products, all without having to go anywhere. A lot can be accomplished in just one day!  

Today, I’m inviting you on a virtual tour of my many workspaces. Each room is home to a different part of my process, and is the birthplace of a variety of handmade items. When you make a living making things, it can change your whole lifestyle, and your home ends up becoming more than just a place to live.

Come on in, welcome to my home!

The Workshop: this is the first stop on the tour because it’s where my husband / operations manager and I have spent the most time renovating and improving lately (lighting, ductwork, wood paneling, etc.). The unfinished basement is about 900 square feet and is where a lot of production work occurs. All the things that make big messes (like the lathe, sanders, saws, laser cutter, etc.) live down here.

The Laser Room: In an 8x10 side room, a room that was once used as a children’s play area when we hosted a Bible study / small group a few years ago, is now the the “laser room”. I recently upgraded my 40 watt hobby laser cutter to a humongous and awesomely powerful 90 watt pro model. It’s pretty friggin’ cool! We could barely move this new machine into the house, it cost as much as a used car, and requires serious ventilation, but it was well worth it. My jewelry designs (done in Illustrator or AutoCad) are intricate, but the laser can handle it. I could never dream of doing these cuts successfully by hand, so by adding this high tech tool, I’m able to remake my designs over and over, which allows me to do large orders and keep my prices reasonable. Having a machine like this changed my whole business model several years ago when I took the plunge and bought the original laser. In this room, I also keep some leather, wood, and tons of supplies. We’ve got a small tabletop CNC router on order so that will be a welcome addition very soon.  

* Favorite things about this space: the workbench with “paint store” that my handy husband built for me, and my way-cool splatter paint carpet that’s fun and light, but hides everything (because let’s face it, it’s not clean, and some of those paint splatters are actually paint splatters).

The Studio: From the basement workshop, walk up two flights of stairs and you’ll find my studio. This is the room where final assembly, finishing touches, photography, and packing orders occurs. All of the hand-cut leather jewelry is made here, since I still have have a number of designs that use basic hand tools rather than high tech machines. In the closet, there’s shipping supplies and about a dozen articles of clothing. Not my clothes. Clothes I got at thrift stores and intend to chop to pieces and turn into jewelry. I love to repurpose leather and will buy just about anything, as long as the color is right.

* Favorite things about this space: My “leather drawers” ;-) The leather scraps in these drawers are organized by color, and I get inspired just by looking at all the bits and pieces and all the possibilities they bring.

The Office: Go back down one flight of stairs, and you’re in the office. It’s funny, the workshop, studio, and office are all in the same exact corner of the house, so the views are identical, just at different levels. The office is shared with my husband who works from home, and is where I do all of my correspondence, Etsy shop maintenance, photo & video editing, blogging, and accounting. Since I don’t have a physical brick & mortar store, and in-person craft shows are only seasonal, I end up doing the majority of my business from this spot in the house.

* Favorite things about this space: being near my husband. We “bother” each other a lot, but it’s actually a huge blessing. There was a time back when we lived in the DC metro area when we only saw each other about 2-3 hours a day during the week. It sucked. We have a completely different lifestyle now and I wouldn’t trade it for anything. Also, his title of “Operations Manager” is 100% accurate - he keeps the biz up and running, so it’s nice having him nearby.

The Couch:  Not kidding! I spend several hours a day needle felting on the couch with some sort of nature documentary, depressing indie film, or audio book going in the background. The living room may pass for fairly normal at first glance, but if you look closer (like in the bins under the couch, the basket under the end table, in that dark wicker hamper sitting discreetly in the corner), you’ll notice there’s a whole flocks’ worth of sheep’s wool all around you. I have my roving in containers organized by color, so it’s easy to find what I need. Besides (a lot of) wool fiber, there’s really not much else needed for needle felting. I have a 2” thick foam pad that sits on my lap while I felt, a variety of needles, plus a portable work light, and that’s about it.   

* Favorite things about this space: being able to learn something new / think about something else unrelated to my work, while I work. My hands may be felting, but at the same time I can be learning all about the Altiplano in South America and the fascinating flamingos that call it home, or reading / listening to The Electric Michelangelo by Sarah Hall for the 50th time.

So there you have it. The spaces where everything is handmade, by me, under one roof!

Architecture Meets Jewelry

Architecture and jewelry have a lot in common: form & function, balance, personal connection, and materiality, just to name a few. It’s no surprise the A & D industry has contributed to the jewelry world, and vice versa. Recently, I was commissioned to make a small contribution of my own, and the experience was the ultimate collision of my career and small business.

My background is in commercial interior design. When I’m not running my handmade jewelry business Once Again Sam, I’m working as an interior designer part time for LS3P, a major architecture firm in the Southeast. I’m part of the Worship Studio, which consists of a dedicated group that helps design traditional and contemporary churches all over the country. Interior Design and Jewelry Design influence each other in ways I never imagined. I have designed floor tile patterns that became leather cutout cuffs, and I have chosen wood veneer for pendants that ended up appearing on feature walls. Design is design, oftentimes applicable beyond it’s intended application.

Women in Architecture of the Upstate recently commissioned me to create a special gift for their upcoming event, to be given to the speaker, Kate Schwennsen. Each year, they feature a different artist, and have commissioned a variety of work that ranges from painting, to film, and fine jewelry. I was glad for the opportunity, and a little curious how the design committee process might go.

Working as an interior designer means I regularly meet with committees to present concepts and material finishes, and share sketches of potential designs. I’m used to feedback, managing a range of different opinions, and communicating ideas with clients. However, working as an independant jewelry designer and small business owner, I’m used to working alone, having almost no feedback, developing ideas from start to finish with zero outside influence. Designing jewelry with a committee was an entirely new opportunity, a combination of my two skill sets, and the experience ended up being incredibly enjoyable thanks to the wonderful ideas and productive interaction with the WIA group. I’m also thrilled with how the final gift turned out and hope the recipient is too!

This is the final gift set - it includes a mahogany jewelry box with a laser engraved top, and matching leather lining. Inside is an orange laser cut leather bracelet, a pair of bocote stud earrings with orange leather insets, plus a geometric bocote pendant with brass tube detail (the orange is a nod to Clemson’s colors, because Professor Schwennsen is director of The School of Architecture at Clemson University).

So how did we end up here? Where did this design come from? The process went something like this:

The committee shared what they knew about the speaker, her style, what kind of jewelry they thought she’d enjoy. We also wanted to portray an abstract storyline about the “bridge” between an education in architecture and career to inspire the geometry and connections within the jewelry itself.

• We looked at examples of jewelry I had made in the past, so that the group would better understand the kind work I’m able to create, plus we reviewed color and material options available.

• I developed 4 concept sketches showing different wooden pendant ideas, which was our primary piece. Some ideas were similar to pieces currently in my jewelry line, others were 100% new.

• The group provided feedback on the sketches, asked questions, brought up some excellent points, and I made a few templates and prototypes before getting final approval to proceed with an option.

• I began making the final pieces based on a majority vote in favor of option #1 (and had some help from my handy husband making the box to contain the set).

The final gift set was presented at the AIA / WIA meeting on October 20th, following Kate’s talk titled “We’ve Done More than Stir: Celebrating Women Leaders, Creating Cultural Change”. It was easy to see why she’s one of the most admired educators in the USA, and I was really inspired by her message. Women have been making headway in the field of Architecture, which is exciting, but there’s still a long way to go!

Learning Shibori Dying

Getting my hands dirty is something I look forward to. Dying my hands blue….well, that was new for me until recently. I took a Shibori dying class this weekend, and as always, learning something new and unrelated to anything else I’m involved with, tends to inspire me in unexpected ways. Not only did I learn about the historical significance of indigo, but also practical information about working with natural dyes. I can admit this now, after the fact, that I didn’t realize indigo was a plant. I guess I always assumed it was a mineral or chemical compound, but it’s actually a crop, one that’s making a major comeback on American farms. Who knew! Well, you might have known, but I certainly didn’t.

The class was organized by The Maker’s Collective, taught by Catherine Cross of the Summer Blues Indigo Dying Workshop, and hosted at Knack here in Greenville, SC. Our group spent the first hour watching demonstrations of different techniques, learning an overview of Shibori dying, followed by two hours of our own hands-on experiments. We used clothespins, rubber bands, clamped plywood, and lots of other random stuff to resist the dye in certain areas, creating all sorts of interesting and unpredictable patterns on test fabric, and eventually “real” stuff like clothing. I brought some white leather scraps from my studio, just to see if it would work, and was thrilled with the results. It was such a blast!

A few of my finished pieces

Some of my pieces turned out beautifully, but most did not. I couldn’t get the dye to do exactly what I wanted, but it’s nice to give up control sometimes. Here’s why my so called failures are actually good for the health of my creativity:

I need freedom to fail sometimes. I need freedom of process, to experiment with new mediums that may or may not complement the work I do for my handmade business Once Again Sam. My average day is filled with production, making finished items to fulfill orders, all of which have to look a certain way. My business is booming, which is exciting, but I don’t often have time to just dabble and screw around in the studio like I used to. I have to be diligent with my time and make make make, otherwise by business might fail.

The thing is, my business won’t fail just because I took a few hours one Saturday afternoon to go learn something cool like Shibori dying rather than working on orders. It’s healthy to get out once in awhile and try something new, just for fun, just to keep my creative juices flowing. Experimenting with different mediums is how my business started, and I have to step back and remember that, and choose to pursue more of it, because it will help me grow. Afterall, I’m a maker (who currently has blue hands), not a factory.