What a Faberge Egg Can Teach Us About the Value of Polymer Art

What characteristics might a Faberge Egg share with a work of finely-crafted polymer by an artist of the caliber of Ford and Forlano, Jeff Dever, Kathleen Dustin, or Dan Cormier? Much more than you think as it turns out.

We consider some things to be intrinsically valuable. Many people think that gold, for instance, is intrinsically valuable because it has been prized since ancient times. Others argue that gold’s value is a social convention, and that there’s nothing about the nature of the material that makes it any more or less desirable than, say, silver or granite. I’m not going to argue the point here.

But I do have another point to make. A few years ago, an unidentified man bought a golden ornament at a jumble sale. He knew the item was genuine gold, and he was hoping to sell it for scrap and make a $500.00 profit. And, had the ornament been sold for scrap, the man would have gotten a respectable return on his original investment, and would have walked away with a few hundred dollars. Because that’s what the materials in the tiny gold ornament were worth.

Only the ornament was a genuine Faberge egg, which the man discovered when he typed the word “egg,” and the letters inscribed on the tiny clock housed inside the egg, into Google on his computer. Of course, he had to have an expert evaluate the egg, but in the end it was, in fact, a genuine Faberge egg that had been missing for years. It was worth millions. Or, at least, that is what the appraisers predicted someone was likely to pay for it. You can read the whole story here.

Antiques expert Kieran McCarthy, who evaluated the egg, had this to say:

“[The man] didn’t look upon [the egg as] a work of art at all. He saw that it was pretty and it was nice, but he was buying on intrinsic value. … The essence of Faberge’s work is craftsmanship. It’s the beauty of design and the conceiving of that object. . .This is what that object is about, this craftsmanship and demonstration of skill. If you’re not looking for it, you won’t see it.

The man knew nothing about antiques or fine craftsmanship. He estimated the value of the egg’s materials correctly, but vastly “underestimated its value as a work of art.”

Which brings me back to polymer. Yes, polymer is only plastic. It is what the artist (like those mentioned above and many others) brings to it that gives it value. So the next time someone devalues polymer work because it’s “just polymer,” don’t whine about it. Tell them the story of the Faberge egg. And then tell it to yourself, and work on your craftsmanship.

O Canada!

     The wait is over.  Canadian artists Dan Cormier and Tracy Holmes (pictured above with their son Griffin)  finally have their beautifully designed website  up and running.  Dan’s work can be whimsical or serious,  colorful or monochromatic; it is always sophisticated and masterful.  Press here  to see polymer clay like you’ve never seen it before.   I am hoping to see some work from Tracy soon.   We might have to wait a few years for Griffin.  Don’t forget to  check out the blog and sign the guest book!

Mann Beside Himself at Synergy

   

  Ok, so that’s a bad joke.  But there were a lot of new and interesting products at the Synergy Vendor Fair.  Jeweler Thomas Mann was there with his Studio Flux products. Eberhard Faber brought  Efaplast, a microwavable modeling clay that looks very intriguing. I got to examine some of the cured stuff. It seems buoyant, almost cork-like and they say you can carve it and paint it. They recommend you use a dedicated microwave for this product.

  Polymer Clay Express was there with their new Bracelet Angle Jig Kits. Wilma demonstrated making bracelets for six hours!  Ann and Karen Mitchell were there displaying products for Amaco and had a new pendant roller that I’m definately going to get.

 Dan Cormier was there with Cutting Edge Peelers and new tools he developed to expand  your Skinner Blend repertoire.  Kato PolyClay was there with new liquid clay colors I don’t see on the website yet. Robert Dancik sold Faux Bone and a neat beveling tool to cut it with. I bought one and am going to try it on cured polymer clay. 

Here are a few pictures from the fair.

More Pictures from Synergy

The only problem with claiming that you took more than 300 pictures is that not all of them turn out.   But never mind.  There are some more pictures of old friends and new acquaintances all having a good time at Synergy.   And I still have more to come. But someone is going to have to tell me who that is sitting with Melanie West.  It’s a great picture of Melanie and I forgot who the other gal is!

Philadelphia Area Polymer Clay Guild

I have been a member of the Philadelphia Area Polymer Clay Guild for over ten years.  Joining the Guild is one of the best deals around.

Aside from offering an extensive library of books and videos, clay days, field trips to Polymer Clay Express, and loads of good people ready to enable your clay adiction, the Guild has a twice-yearly newsletter, The Clay News, a Blog, a Flickr site, and our  yearly retreat held in May, Polydelphia.

During the time I have been a member, I have taken guild-sponsored classes with Gwen Gibson, Maggie Maggio, Lindly Haunani, Elise Winters, S.L. Savarick, Donna Kato, Grant Diffendaffer and Dan Cormier and Tracy Holmes.

And don’t forget the Guest Artist Program,  the only one if its kind.    Nationally known artists give classes  on a Saturday to Guild members who  pay tuition.   The  the artist attends the regularly scheduled Sunday Guild meeting and teaches and demonstrates for the entire Guild.  Or maybe the teacher comes to the meeting only, as a guest teacher.  The artist fees come out of member dues and Guild fundraisers.  How cool is that?  To learn more about this great program, click here, and read the story in the September 2007 issue of The Clay News on page 4.

If you want to join us, check out our web site.  Dues are only $30.00 a year.  At that price, how can you afford not to join?