Levitating Phallic God (vetiver, opoponax, licorice root, black tea, lemon peel, and cashmere wood) Earthy and rooty at the opener, like the wheelbarrow crawling with uprooted aloe vera plants that is currently danking up our garage with scents of soil and clay and rock, deeply disturbed from the digging. It perks up, so to speak, as the fragrance blooms on the skin. Pillowy, musky woods and a mysteriously sweet, herbal powderiness that call to mind the golden notes of wild fennel pollen round this out to a velvety dream of a skin-scent.
Since There’s No Help (silver-frosted white musk, juniper, and cade with bitter carrot seed, lemon peel, davana, and white tea) Interesting! This is described as “a cold scent, a severing” and as I am wearing it I can’t help but think it would be perfect for a sweltering summer afternoon. The bracing juniper and tart lemon, combined with a bitter, tannic fruitiness, conjures ice-cold, dripping glasses of sweet southern tea, and it is suddenly a glorious June evening, post-apocalyptic blazing sunset, pre-eerie electric streaks of heat lightning.
Cacao, Lime Rind, and Coconut This smells exactly like the chocolate-covered coconut bonbons that I always used to pick out of the Whitman Sampler box that my grandmother perpetually had lying around when I was a little girl. The lactonic tropical sweetness of creamy, flaked coconut and the luxurious aroma of cocoa butter is such an amazing confection of a combination that I just want to eat it out of a trough with my face. Which I can do because I am an adult now!
Dragon, Rabbit, and Snake (blue cypress, butterfly jasmine, green tea, black orchid, and white champa blossom) This is a soft, lovely floral fragrance given some earthy depth with the vegetal, grassy green tea and enlivened by the mildly licorice-like, balsamic aroma that I am guessing is from the cypress. It conjures the prettiest imagery of watercolor botanical illustrations.
Peach Vulva(sweet apricot, sugared amber, frankincense, golden cardamom, rice milk, and golden peach) I had to try this one a handful of times before it spoke to me, and when it finally did, it was a tale of the most wildly gorgeous fruit salad orgy: lychee and mango and pineapple and condensed milk and palm sugar. Even sweet corn got a last-minute invite, couldn’t leave that weirdo out!
The Elephant Is Slow To Mate(deep burgundy musk, red labdanum, smoked rose petals, opoponax, 17-year aged patchouli, blackened vanilla bean, dried black cherries, blackberries, and tobacco absolute.) What’s the word for bombastic but wearing a bow tie of gravitas? For the cartoon image of someone having their mind blown, their eyes all wide and googly, their hair frizzled and electrified and pointing straight to the sun? This is the reddest fruit of the painter’s palette, juiced and syruped and concentrated so that it’s the most extra version of itself, spices that I can’t pick apart but which are very potent, and *dramatic* resins. This is a big, bold personality that you just feel more interesting and special being in the room with, the kind that everyone gravitates toward, and when they look at you, you feel like the only person who exists. It’s A Lot. Wow. I love it.
We Must Love One Another Or Die (white rose, muguet, white sandalwood, ambrette seed, vetiver, and smoke) This combination of notes, creates the impression of summer berries in a fancy antique silver compote dish. There’s the plushness of soft fruit flesh and a glamorous metal tang and it presents as a deceptively simple and thoroughly elegant fragrance that somehow makes me think of this painting.
Honey, Black Lilies, and Gardenia Petals In the first moments, a plummy-jammy scent, and then, a viscous, vicious dark amber-honeyed slithery undercurrent of something sinuous and sinister. This scent is the creepy-crawly that shows up in the exquisite still life painting; there’s the velvet table cloth, the artful bouquet of somber blossoms, the requisite skull or pile of dusty books, and –HEY WHAT THE! There’s a SNAKE oh my god what the hell! This is a “THAT’S A FUCKING SNAKE Y’ALL!” of a scent.
Snake Smut (Snake Oil and Smut with leather accord, cardamom, and 7-year aged patchouli.) With all the woozy boozy musky sugary spices, you’d like this would be the kind of scent that would make your eyes pop from your head like a sleazy rat in a cartoon when a gorgeous dame crosses his path…and yet. It’s not the sort of thing to make your skirts fly up or your pants tent impressively or insert whatever over-the-top horny synonym you like here. It’s actually more subtle than you might expect. I smell all sorts of deliciousness; sweet, sugared black tea, a warm, gooey spiced and iced dessert, densely chewy vanilla candied things…but imagine if you were to take all concept of foodishness out of those things. What do you have left? A deeply sensual scent, dark and delectably textured and utterly enticing, but rather than wanting to eat it, you’re content to wear it.
Honey Marzipan begins as the chewiest, most decadent brick of sweetened almond paste, then almost immediately acquires that lovely cherry note intrinsic to so many almond fragrances, and then before you can blink it swiftly shifts to a honeyed-heliotrope-apricot fairytale storybook princess of a scent where it lives out the remainder of its days in a spun sugar and spring stone fruit syrup château. From start to finish, it’s an intense and rapid progression, but at every stage in its evolution, it’s absolutely enchanting. P.S. Honey Marzipan + Snake Smut is an amazingly over-the-top evil queen + blushing maiden battle royale of a scent combination.
Unsubtle Euphemism (milk bread, amaretto, star anise, almond cream, and cardamom) It’s interesting that milk bread is listed among the notes; by coincidence, I have just recently become obsessed with making fluffy, sweet, marvelous milk bread and I’m a little peeved at myself that I didn’t start my bread experiments with this one several decades ago. It’s just impossible to go wrong, and with all that sugar and full-fat milk and butter, even if you did somehow manage to screw it up, I bet it would still taste fantastic. Straight from the bottle and on my wrist, this Unsubtle Euphemism is an onslaught of saltiness, with nutty nuances, and something with a flaky, burnished, and crackly crust. There’s an eventual subtle sweetness, like a sweet paste of scant sugar and egg yolks more than of something milky or creamy, and it makes me think of treats like deep-fried sesame balls, or cured egg yolk buns, and as the scent settles in, even egg custard tarts.
Cacao, Black Pepper, and Khus don’t judge this by how it smells in the bottle, it’s unfortunately a tad reminiscent of unwashed stockings– not that anyone remembers what those smell like anymore! On the skin, it’s a bar of earthy, nutty artisanal chocolate with peppery, grassy nubs of woody-herbaceous marjoram leaf. Which is a weird-sounding combination, right? I’ll answer that. Yes. It totally is. And it also totally works. Surprisingly, Cacao, Black Pepper, and Khus is my second favorite from this collection For my no.1, see Levitating Phallic God, above. Pun intended.
Discarded Sandal (beeswax, hinoki wood, Japanese black pine, juniper, tolu balsam, and muguet) The cypress and pine is at the forefront of this scent, but it’s a gentle incarnation of what can sometimes be austere and astringent notes with prickly, camphoraceous, insect-repellent aspect. These woods, however, have reached the highest levels of self-actualization and they are the most spiritually uplifting lemony and resinous evergreen best versions of themselves. An hour later the golden nectar of honey has emerged, and it too is a soft and tranquil embodiment of what can sometimes be a note that is too cloying, too sticky. If you’re looking for a suggestive aphrodisiac from this collection, I’d say Discarded Sandal is the way to go, although it’s more a perfume of desires sated than libidos feverishly spiking. The discarded sandal, a witness to lascivious sights and exquisite sighs, waits patiently. It will whisper these secrets to its mate, later tonight when they are reunited.
While I love all flowers equally for purposes of viewing and daydreaming about and thinking upon with a goofy, gauzy sigh, “gosh, isn’t it grand that flowers are a thing that exist?” I will admit to a fondness for a certain kind of floral in terms of my wardrobe and personal adornment. Which…I think is no secret to anyone at this stage in the game but I always feel like I have to give these things an intro, so consider yourselves introducted at this point. Gloomy, moody florals, I like ’em!
April’s installment of eyeball fodder is brimming with beauteous botanicals, a gallery of fabulous, fantastical florals to thrill and delight! Both art and flowers are forever a balm for my soul, and to this end, I have gathered a splendid bouquet of blooms and blossoms to admire and inspire, below.
Ok, so I don’t know who even wants or needs this, or what possessed me to create this, but I have put all of the reviews that I have written over the past 6-7 years for limited edition, seasonal scents from Black Phoenix Alchemy Lab into a sort of janky PDF (I’m not a publisher or a designer, ok?!) for your downloading and perusal and so on. I have written reviews going much further back than that; they are scattered between the BPAL forums and places like MakeupAlley, but I didn’t start assessing my thoughts and writing them up to share in a serious way until about 2014-2015 or so, and those and the reviews going forward are the ones I am happiest with.
This is really not a super-edited affair, so it’s possible you’ll see some spelling errors and grammatical mistakes. And it’s an ongoing project, so no doubt it will change and grow over time. Right now, for example, I am sampling the Lupercalia 2021 collection, so it’s not recorded in there yet, but it may be included when you check in next.
When I was conducting image research for The Art of the Occult, I quite by accident stumbled upon the sumptuous, spectacular still-life botanical drama of Gatya Kelly’s oil paintings. And if there’s anything I love to rest my gaze upon more than artworks infused with mystical, magical imagery …it’s a painterly depiction of a beautiful flower!
Perusing this artist’s lush, gorgeous portfolio of blooms and blossoms was such a balm for my eyes when they needed a quiet rest during that period of time, but as luck and wily circumstance would have it, I soon fell upon an imaginative series of her works incorporating and exploring alchemical themes, and, A-HA! Epiphanies were had, connections were made, and, as it turns out, such discoveries were meant to be…and if you have peeked inside the pages of The Art of the Occult, you will no doubt recognize the featured image of this post as painted by none other than Gatya Kelly, herself.
I could not let the opportunity pass to nose about and ask some questions, and so in the following interview, artist Gatya Kelly and I chat about the personal nature of her work, the influence and thrilling inspiration of light and color on canvas, and how every flower is beauty, sex, and death, all furled up into one perfumed package.
The Magnolia Bride, 2018
S. Elizabeth: You remark in your artist statement that, “What I try to do is to explore myself in terms of paint. It’s personal.” I LOVE THAT. “It’s personal.” There’s just something so thrilling about an artist you admire coming right out of the gate, making no bones about it, stating that as an absolute. And because your art is so personal, I don’t want to put words in your mouth. To get us started, how would you describe your style?
Gatya Kelly: It’s my natural style – it’s the way the paint comes off the brush when I don’t think about it. I have painted all my life, although there have been gaps of decades when I haven’t picked up a tube of paint. Part of the reason it took me a long while to get serious about my art is that I have been so resistant to painting this way – because representational art is uncool and still life is really a bit embarrassing. I tried experimenting with all sorts of other techniques and approaches, searching for a way to override my natural tendencies. In other words, trying to paint like someone else. I had to get over that to be able to put the work out there.
Many people think my style is photographic or hyper-realist because they only ever see the images on social media. But most of the works are quite large and if you get up close you will see the brushwork is loose. Get really close and it’s practically abstract. Still, part of my personal struggle is to reign myself in, to keep the marks fresh and not get lost in the minutiae.
RAPTURE, 2019
What influences and inspiration do you draw from in your daily art practice? What, if anything, do you consider to be your greatest source of inspiration?
My practice is influenced by my circumstances. I travel and move house a lot. My studio space might be the corner of a dark room or the whole floor of a disused butter factory. Right now I am in lockdown on Corfu Greece painting in a bedroom. Parts of the studio setup are cobbled together with fishing line, driftwood, and smooth round stones from the beach. Sounds romantic, doesn’t it?
Still life works for me because wherever I am there will be something to relate to and use in a composition. Out walking, a flower or rock or seed will catch my eye and I’ll bring it back to the workspace. It won’t necessarily become a painting but it might spark an enquiry. This happened with weeds when Covid began in the UK. They were so delicate and lovely in the fields, yet they seemed to reflect the uneasy uncertainty of the times.
The light is an influence too, and that is reflected in the painting. In Australia, the light is quite harsh and bright. In Europe, especially in winter, it’s softer and the colours are more subtle. So the work will have a flavour of a place. I guess my greatest source of inspiration is always what’s right in front of me and the way I’m feeling about it. I try to follow my intuition and not analyse the situation too closely.
PAPILLON, 2019
Much of your work features vivid florals and fruits. I’ve read your statement that you’re not literally painting those objects, but rather, “the emotions they create … balance, truth, serenity.” I suppose my question then becomes, what is it about blooms and blossoms and fruiting things that are so compelling, that evoke these feelings in you?
Not just in me, in everybody. I think an attraction to the natural world is hardwired into our DNA and it has been a fascinating part of the still life journey to observe this through viewers’ reactions. Before the mind kicks in with judgments about whether it’s good or bad, whether you like it or not and so on, there’s this primitive, uncontrollable response of Yum or Ahh. That’s the response I am interested in working with, seeing how far I can push it. We seem to have a universal deep-rooted attraction to certain things, regardless of our gender, age or background. That’s really fascinating because it demonstrates our basic common human connection.
Pear Valentina, 2018
Maybe this is a silly question, but I would love to know! Is gardening a part of your artistry? Do you grow the beautiful peonies and other flowers in your still life painting?
There are no silly questions! I used to garden, mainly fruit and veg, but not at the moment. One day. Mostly I pick blooms from friends’ gardens, sometimes I nick them from over a fence or knock on a stranger’s door, and very very rarely I buy them from a florist, but I don’t much like doing that because it feels a bit impersonal. And I need lots to choose from to get the right shapes and sizes in the compositions.
Hydrangeas and biscuit barrel, 2018
I just read the most fascinating essay about floral motifs in art in which the author posits, “…what is stunning about the flowers is that, though they are not us, there is something about them that we recognize in us.” I’m curious as to your thoughts on this, what is there of the flower that you recognize in yourself? Here is a link to the essay, if you would like to read it! http://www.cerisepress.com/04/10/the-flower-artist/view-all
A beautiful essay with so many rich ideas. I think this relates back to what I said earlier about the hardwiring and the connectedness of living things. There’s no escaping or denying it no matter how many layers we build around ourselves. What do I recognise personally? It always comes back to the same thing, mortality. This is the allure of the vanitas genre of paintings too. In a flower there is youth, beauty, fragility, vulnerability, sexuality and death all contained in one scented package. It’s the ephemeral nature of flowers that I find irresistible, almost tragic.
SEDUCTION, 2019
I believe that you paint predominantly in oils; have you worked in other mediums besides oil? If so, why have you chosen oil to be your primary medium?
I have dabbled in other mediums but for me it can only be oil. I did my first oil painting when I was 10 years old and fell in love. The smell, the texture, the slow drying times, the history, the pigments, I adore it all. I think it’s the romance with the paint itself that excites me every morning I walk into the studio. Just looking at the tubes is heavenly.
RADIANCE, 2019
As someone who is just now starting to appreciate colors again (I had a 25 year-long “all black everything” phase!) I am struck by the luminous hues on your canvas. I think your use of color is absolutely breathtaking. Do you have a favorite shade to work with or a color palette to work within?
Colour is so important and I give it a lot of attention. It drives me crazy sometimes. Just the slightest shift in one area can change the way a whole painting looks. And of course the colours look different under different lighting, which can be frustrating. I try to work under controlled artificial daylight to keep some consistency whenever I’m at the easel but it’s not always possible.
I tend to plan the colour palette out before I start and try to keep the colours in a fairly limited range as far as possible. The luminous quality is one I particularly want to achieve. It’s not brightness or high chroma. I don’t really know what it is, but I know it’s there when the painting has presence. One minute it’s all a bit flat and uninteresting and then suddenly it’s as if a being has inhabited the canvas. Thrilling. Also I want the painting to still look good in very low light levels, say in a darkened room. It should glow in the gloom. I’ve had a longish affair with red and play with blue contrasts. I do like neutrals though and I can’t stand green, which is why you see so many dead leaves from me.
Alchemy: Arcana, 2016
Alchemy: The Apothecary, 2016
Your paintings, full of beautiful objects paying tribute to the natural world, are, you share, “an invitation to step back and reconnect with who we are.” In “Alchemy Alchemia” which you graciously permitted use of in The Art of the Occult, we observe a still-life tableaux, glowing with otherworldly incandescence and which evokes a mysterious branch of philosophy. This mystical/metaphysical setting and series seems a bit of a departure from the more earthly/terrestrial tone of your other works, and I am wondering what it was that you yourself connected/reconnected with when creating these beautiful, alchemically-inspired paintings?
The Alchemy works emerged after a month-long artist residency in an Australian gold rush ghost town. In the 1800s the area was thriving but today the population is around 70. I had a month to myself in an old house that once belonged to a famous artist and really started to feel the history of the place – the hopes and aspirations, the pain and failure, the relentless searching for the mysterious, immutable material that is gold. I got quite lost in this contemplative realm of the imagination.
On my daily walks I found objects to use in the compositions. Kangaroo skulls, fragments of ceramics, various vessels. The bottle in Alchemia is an old ink bottle I found half-buried at the back of the house, still with dried-out chunks of ink inside. I felt a sense of lineage to the old artist when I dug it up, and back to the gold miners too. I think it’s very valuable to take yourself away from your known environment and to look with fresh perspectives. I would like to continue exploring the metaphysical theme. It’s a bottomless pool of inspiration that resonates with me.
Still life, after Herman Henstenburgh No.02 , 2013 by Hiroyuki Masuyami
A gathering of death-related links that I have encountered in the past month or so. From heart-rending to gut-splitting (sometimes you gotta laugh, you know?) from informative to insightful to sometimes just downright weird and creepy, here’s a snippet of recent items that have been reported on or journaled about with regard to death, dying, and matters of mortality.
This is maybe the vainest thing, ever. But. HELLO FROM ME AND MY NO LONGER SNAGGLEDY TEEFS.
I had braces for five years when I was a teenager because my teeth were so bad. And then I fucked everything up when I didn’t wear my retainer, so they got even worse. I was SO self-conscious about my mouth and my teeth and my smile for YEARS. So when I had the means to fix it, I decided to go for it. Because of the pandemic, it felt like I had Invisalign for approximately 5 million years, but they finally came off today. I had to pay out of pocket. If I’m being totally honest with you, that’s what I used the advance from The Art of the Occult for.
Did I harness the power of the mystical arts for purposes of vanity? Maybe so!
Do teeth need to be perfect, or straight for a smile or a person to be beautiful? Absolutely not, I don’t believe that at all. But did fixing my janky mouth make me feel better? You bet your muffins it did. No regerts.
Today at Unquiet Things, a gallery of art that has lately captured my imagination. I initially began sharing this “eyeball fodder” in my Instagram stories as a daily practice, a ritualof art therapy for myself, back in 2019 or so. From there, I gathered these collections into a weekly series that I shared on the haute macabre blog, though we all know it was never actually a weekly occurrence. And I thank you for never calling me out on that! I just couldn’t think of a better name for it.
Going forward, these galleries of visual phantasmagoria and fantastical ocular flotsam can be seen on my personal blog, and with the more fitting honest title. Whether for you art is a source of fascination and inspiration, or therapy and healing, or any combination of modes of self-expression and self-awareness, I hope you’ll be surprised and delighted anew each time you peek in on Intermittent Eyeball Fodder .
Sometime in 2020, I came to the realization that I wanted more color in my life. This could have been a pandemic-prompted compulsion, or maybe the middle-aged yearnings of an individual recalling some beloved jewel-toned fairy tale illustrations of their childhood, but whatever it was, I was feeling done with my #allblackeverything phase (although I reserve the right to step right back into it whenever the urge strikes me!)
I spied the lovely luminous work of jeweler Alexis Berger at just the right time, then! Don’t you love these cosmic winks from the universe? Beautifully crafted, translucent beads with finishes reminiscent of Art Nouveau and the Belle Epoch, Alexis’ work is utterly imbued with her unique creative vision and I am so thrilled that she has agreed to answer some of my nosy questions. See below wherein Alexis shares all about her love affair with hot glass and her “sparkly glowing fire-melty” life’s dreams of working with this most sumptuous material.
As someone with enthusiasm for the arts but with a marked lack of talent or skill in that area, I am always interested in how my favorite artists got started. When did you know that this was what you wanted to do with your life? How did you know what medium was the one you were interested in working in? Do you dabble in other mediums? Where did it all begin, and when did “your art” coalesce for you?
I came from a very artistic family, both sides of my family were involved in architecture, design, and craftsmanship. My father is an architect. My mother is a craftswoman and worked as a professional seamstress for quite a few years, now she enjoys restoring antique sewing machines.
My paternal grandfather was a painter, musician, and photographer and my grandmother was a professional dancer. My maternal grandfather was also an architect and my maternal grandmother was also a fantastic craftswoman.
I was introduced to drawing and handicraft from a very early age, and from the minute I figured out how to make my hands do what I wanted, I used arts and crafts as an escape, I had a hard time in school so I felt like I wanted to escape a lot. When I announced that I wanted to go to art-school and around age 6? it was met with the hearty joy of parents excited that their kid is going into the family business. I was aware, very early on, that if I wanted to be a SERIOUS artist I needed to learn to draw from life so I was very focused on keeping a sketchbook and drawing ALL the time, that was me being a serious art-school wannabe, but I always did crafts for fun on the side. I loved embroidery, basketry ceramics, and of course making jewelry out of everything I could get my hands on. It was also at this time that I started collecting beads, or rather more accurately, adding to the collection that my mom started and I stole from. But because that was so much “FUN” I didn’t take it seriously, also I didn’t think I could put it into a portfolio to get into a SERIOUS art school.
This is a story of how I mistook my calling as a hobby for years, always learning other skills but coming back to jewelry.
I eventually got into an art magnet high school (Ruth Asawa San Francisco School of The Arts) which was great for me. They are very rigorous about training you to get into a good art-college and you’re around other artsy-fartsy kids who you learn as much from as the teachers. They helped me put a portfolio together which got me into RISD (Rhode Island School of Design) and there I decided to major in Industrial Design (ID) which is designing everything you interact with that gets produced: toys, toothbrushes, cell phones… I still at this point thought, “I need to go get a JOB” and this would major would be good to teach me how to be a serious DESIGNER! Even though that’s not where I ended up, ID was a great thing to major in because it taught me how to think about things in 3D and how to use lots of different materials. I learned about metals and welding as well as woodworking and plastics.
Ironically I never learned how to use glass while I was at RISD, glass was in a whole different department and location on campus and was notoriously difficult to get access to, so I never touched it there. I actually learned about glass for the first time while I was teaching weaving at an arts-camp called Buck’s Rock. They had a world-class glass blowing facility there and that’s where I first saw glass beads being made. I didn’t know anything about how to work with hot-glass and I was transfixed. It was like falling in love, all I wanted to do was make BEADS! I used basically every scrap of time off I had that summer to practice making them at the facilities there and when that summer ended I was completely seduced, from that point on, I was melting glass every chance I got.
When I went back to school at RISD in the fall. I got into trouble for using the metal shop soldering torches for lampworking and over the next summer, I made sparkly sharp messes in my grandparents’ back yard as I melted broken Heineken bottles and Bombay sapphire gin bottles. (which makes excellent blue glass with red copper streaks if you’re interested). My family was very forgiving… but to be fair, I never burned anybody’s house down, just toasted my own fingers a fair amount.
Glass was all I could think about, I had sparkly glowing fire-melty dreams at night and all I wanted to do was Lampwork all day, but I still didn’t quite have the confidence that I could be a glass-artist. I was still on track to become an industrial designer, but I was quickly falling out of love with the slicker-than-snot-super-hyper-masculine look that the department seemed to be pushing and that so many products in the industry seemed to have. Think: tennis shoes, gillette razors, cars, and even air fresheners.
Everyone wanted to make products that looked fast and angry and maybe wanted to lay eggs in your brain. I also began to look at the kind of life I would have as an industrial designer if I started working at a company…
-I would start as computer-monkey fiddling in a 3D modeling program
-taking direction from a senior designer
-I would be in an office
-I wouldn’t be using my hands to make anything much
-and worst of all I wouldn’t get to be in charge of the designs I worked on…at least not until I had worked my way up to being a senior designer which could take years.
…and ultimately, I didn’t get the tight little shiver of pleasure from looking at a well-designed toothbrush that some of my fellow students seemed to.
But a beautiful pair of earrings? ohhhhh!
Finally, in my senior year, I got to have a chat with one of the teachers and I asked, “Do I have to go work for Bic Pens or Clorox or Hasbro when I graduate?…OR can I go into business for myself? Is that something I can even do?”
And she answered like she was letting me in on a secret. “YES” that one conversation was the permission I needed to begin scheming on how to eventually make jewelry full time.
An engraving depicting a woman blowing a glass bubble to form the basis of an artificial pearl. Dated 19th century.
For those who may not know (me, for one) what exactly is lampwork glass? (And is that the same thing as “flamework”? I think I have seen your work referred to as both?) And what are the rewards and challenges of working with lampwork glass?
That’s right, flamework and lampwork are interchangeable terms. The “lamp” in lampwork refers to the fact that the heat source for this type of craft used to be done on oil lamps that would be stoked with a bellows blowing fresh air across the flame to heat it up enough to melt glass.
The process is melting rods of different colored glass in a torch (much like a bunsen burner) and manipulating the molten glass with different tools and techniques to create different shapes. Layering different colors will give you lots of different patterns and effects but you’d be amazed what you can do with just using gravity and an old ex-ato knife.
The rewards of working with glass are numerous but at the top of the list I’d say it’s immediacy. It takes years to make things perfectly (one of glass’ drawbacks is that it’s HARD and takes lots of practice) but when you sit down to work, you sculpt the piece all in one sitting, and it’s essentially finished. It will need to cool in the kiln but when it comes out it’s all shiny and bright and if you’re lucky, it’s just how you imagined it. If you’re casting something there are so many steps involved in producing and finishing your work. But lampworked glass is created in its final material and form and all the colors and shapes are right there for you to dig into.
While lampworking, it’s very easy to be seduced into covering everything you produce with detail rather than letting the material speak for itself, it’s a balance between showing off virtuoso technique and actually allowing the natural beauty of the glass to shine. There is a temptation to show skill rather than beauty. Metal and gem jewelry is all about using the color and optical qualities of the stone with the metals acting as structure and a “canvas” for the gems. I try to use that sensibility with my work, contrasting optic and reflective components with structural supporting ones. Glass is such an inherently beautiful material that working with it becomes a game to allow somebody to see that beauty in all its aspects without being distracted by too much sensory input all at once. I think this objective is true for many craftspeople who are working with sumptuous materials.
You’ve mentioned that glass as a material, allows you to “paint with light and color in three dimensions, which is critical to making the natural motifs that inspire my art”. Can you share a bit about those natural motifs and why they speak to you?
Nature is the best teacher when it comes to making a design that works, for lots of my work I try to make something that looks like it could have been plucked off a tree or picked up on the beach. Or imitates human anatomy, there is something so thrilling about capturing lifelike qualities in art.
Other than hot glass, what are your favorite materials to work with and why?
As I mentioned before I LOVE fiber-arts and I still incorporate a bit of that into some of my jewelry, I make crochet silk necklaces for many of my pendants. I especially love crochet and embroidery. I’ve been enjoying crocheting lace on my clothes during the pandemic. It’s so soothing and repetitive, you can let yourself go into a trance while binge-watching Star Trek.
You seem to have a thing for EYES! As I mentioned to you in a previous conversation, I shared on my Tumblr page (haha, yes, I still use Tumblr!) a photograph that you had posted to your Instagram of your weeping eye brooches, and that Tumblr post is now at 14K likes/reblogs and growing– obviously, this is a symbol that speaks to other folks as well! Whether it’s the symbolic tears of the mourning eye or an apotropaic talisman to ward off evil, the eye is a powerful and enduring emblem. I’d love to hear about its personal meaning for you.
Yes! Thanks, I’ve been thinking about that for a while, it’s really striking to me how many people are feeling a connection to weeping eyes right now. I think about the last time jewelry with a weeping eye motif was really popular and that was around the Georgian and Victorian era, death and mourning were so present in people’s daily lives and that’s where we are again. We as a society are going through a huge mass-death event and are feeling the appalling consequences of living under a government that couldn’t be bothered to help us. There is so much loss to feel and process, as well as joy and relief as hope sprouts back up to meet us. All of this emotion makes crying eyes feel like the right motif for the moment. I know it did for me.
Part of the job of art is to help us process our feelings and express ourselves, and wearing jewelry is a very potent act of self-expression. Wearing a weeping eye is unmistakable in its message, there is pain here, there is beauty here, and I’m here to feel it.
What does a typical day in your studio look like?
What a fun question!
I get to my studio at the crack of noon most days (I’m not an early bird) and the first order of business is to go open the kiln from the day before. It’s like Christmas every time, I pull out the treasures and turn the kiln on to heat up,(it goes to about 1000 degrees) while this is happening I go make myself a HUGE pot of tea which I will chug continuously throughout the day, I usually spend a few minutes photographing the stuff I made the day before (while the light is still good) then it’s time to light the torch and melt that glass!
I believe I read that you also have a love for music? And cooking! Tell me more! Who are some of your favorite musicians right now? Do you have an all-time favorite album? What is a meal that you’ve cooked lately that you were particularly excited about? Or a favorite go-to comfort meal? If you can’t tell, music and food are two subjects very dear to my heart 🙂
I take after my Grandmother in that I love dancing, before the pandemic I loved ballroom and partner dancing of all kinds, I miss the music I would listen to then, blues, and zydeco music would be what I would hear live most often. But music to listen to while I work is a totally different game. Right now I’d recommend the album Deluge by Anura, it came out recently and it absolutely put my head in the right space to make good stuff. You can get it on Bandcamp from the label “Already Dead Tapes” Highly recommended. It’s a perfect relaxing but invigorating get-work-done album.
As for FOOD! Well, I am a lucky girl indeed because although I’m an OK cook I married a Genius Chef. My husband is an amazing cook who is always inventing and teaching himself how to make new things, he has made sourdough from scratch, pickles, pizza oh boy! But I think the thing he made that’s my favorite as well as being really creative was he made spiced fried chicken with a “breading” made from almond-flour and sesame seeds which just about knocked my socks off.
This is all to say, do I have a passion for cooking? Yes! It just happens to be my husband’s cooking.
Is there a particular bead and/or jewelry artist you admire or who you consider a role model? And/or if you were to draw attention to a favorite designer or artist, who would it be and why?
I am constantly amazed and inspired by my dear friend Anandamyi Arnold who makes incredible floral/fruit sculptures and surprise balls out of crepe paper, they are often so life-like that they are confused about the real thing if you’re interested, I’d check out her Instagram page under the handle @lynxandtelescope
She was definitely a role model for me as she has been making sculptures full-time professionally for years and was a fantastic example to me of how to “make it” and set up your life to work as a full-time artist in the Bay Area.
Is there anything else that you might like Unquiet Things readers to know about your work?
I’d say that I would want people to know that I’m so grateful I get to do what I love for a living and part of why that’s possible is people like you who have made it their passion to curate and proselytize about things that move you and others around you.
So thank you, and thank you to all the people who have read this, I hope you got something out of it. Perhaps you feel inspired to pick up that craft project you’ve been thinking about doing, that would make me very happy to think somebody might go make something because they read this. 😀
