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.

Polymer at PMA Craft Show 2022

I got my first real look at polymer back in the stone age at the Philadelphia Craft Show at the 23rd Street Armory in Philadelphia. That’s where I first saw the the work of City Zen Cane. I bought two pairs of earrings at their booth: a pair for me which I still have, and a pair for my mother-in-law. She later confessed that she lost one earring and was so upset, she threw away the other one. That’s alright. I got her son.

I joined my friend Patty for the 46th annual Philadelphia Museum of Art Contemporary Craft Show at the Philadelphia Convention Center recently. The show was less crowded than I remember it, probably because of the pandemic, and it was easy to take pictures of work with your cell phone. But there’s a danger in doing that. If you want to remember something, you’re much better off going to the artists’ websites, and everyone has one nowadays. They pay a lot of money to have their work professionally photographed in the best possible light. Still, I could not resist taking some pictures of the venue itself

City Zen Cane, now known as Ford and Forlano, were at the craft show this year with their distinctive work that has evolved greatly from their early days.

But this year’s show will be their last one. Now, we’ve all heard things like this before. How many farewell tours has Cher and The Who had? Don’t even mention Tom Brady. Still, there’s a lot more money to be made from stadium rock concerts and professional football than polymer clay, no matter how innovative and visionary it is. I am sure their work will still be available on their web site.

I had never met Wiwat Kamolpornwijit, but he proved to be a friendly and affable guy who loved to talk about his work. He looked like he was having a good show. Go to his website to take a look at his jewelry.

I have admired Genevieve Williamson‘s work for years. I love her muted and understated palate and her commitment to recycling clay and materials. Great earring cards!

Follow Genevieve on Instagram here.

Last but not least is Bonnie Bishoff, who was showing work with her husband and collaborator J.M. Syron. Bonnie will be this year’s guest artist at Clayathon.

Check out their website here and Instagram feed here. Drop me a message in the comments section if you want to learn more about Clayathon.

School Pictures at the Wilma Theater

I am interrupting my regularly-planned blog posts to post a review of a play I saw this week at the Wilma Theater called School Pictures. It’s unlike anything I have ever seen: a one person performance by playwright Milo Cramer, who portrays a number of middle-school students they worked with as a private tutor in the City of New York before the pandemic. To take on all these parts in one play is quite an undertaking, but there’s more. Cramer sings all the parts in a high-pitched voice while accompanying themself on various musical instruments: a ukulele, a toy piano, a regular piano, and a portable organ. Sometimes they sit on the floor. Sometimes they sit on a chair. The set is sparse, an almost bare stage with minimal props.

Sound weird or tedious? It’s not. Cramer’s performance is engaging, well-paced, and entertaining. Nothing drags. You get drawn in to the personal stories of the students which are a combination of comedic, poignant, sad and illuminating.

Towards the end the play, Cramer wheels a tall blackboard onto the stage and resumes the role of teacher, instructing the audience about the institutional inequalities that plague the New York school system. There’s no preaching. Cramer’s arguments are all the more compelling because they engage in a dialogue with the audience, and lets everyone draw their own conclusions.

School Pictures will be at the Wilma Theater until November 20.

Philly on a Fall Day

Halloween is over. The Phillies won’t be going to the World Series. We have reset our clocks. This means the Fall season is upon us. I don’t think a lot of people really liked the paintings of dead rats that I posted last week, but I always suspected there was a reason that I never had a future as a highly-paid blogger and influencer. No matter.

One of my favorite activities is walking through the different neighborhoods of Philadelphia. This week was the ideal time for it. As always, I take pictures on the way.

Swann Fountain. I always thought it was called Swann Fountain because of the Swans. Come to find out, that’s Alexander S. Calder’s pun. The fountain is a memorial to Dr. Wilson Cary Swann, founder of the Philadelphia Fountain Society. Those Calders were full of jokes. Read this about Alexander Milne Calder’s joke on Philadelphia from the top of City Hall.

Speaking of City Hall,

Here’s a shot of City Hall Tower from inside the courtyard. Billy Penn is up there making mischief, but you can’t see him in this shot.

And here’s a picture of City Hall Courtyard with a repainted compass and map of the original City of Philadelphia in the center.

Here’s the recently-installed I Heart Philly sign in Love Park. The heart was originally bare. Now, it’s covered with stickers of flags from around the world along with messages from people who have stopped by.

And what would a visit to Philadelphia be without stopping at the Love Statue? Except there’s something fishy about the above photograph. You probably can’t tell what unless you’re from Philadelphia. Maybe even then you can’t.

Here’s another shot which reveals the answer. The Love Statue sits at the start of the Parkway looking northwest towards the Philadelphia Museum of art. The picture that shows it with Philadelphia City Hall in the background has been flipped around. Which is why you should remember that things aren’t always what they seem.

Phoebe Murer at POST

I know mixed media artist, cartoonist, painter and printmaker Phoebe Murer from Fleisher Art Memorial where we both serve on the student advisory committee. So I jumped at the chance last month to tour her studio which was on this year’s Philadelphia Open Studio Tour, sponsored by CEVA, the Center for Emerging Visual Artists.

Phoebe’s work can be startling for those expecting portraits, still lifes and studies. Yes, there are some of those because she is a formally-trained artist. But, as a self-described person “on the spectrum,” she has had to navigate the sometimes brutal institutions and bureaucracies that occasionally seem to do their utmost to suck whatever is unique and creative out of us. If you are not on the spectrum, but are even a little bit different, you surely know what I’m talking about.

Phoebe takes these experiences and makes art out of them. She uses conventional art materials and mixes in a healthy amount of wit, humor, truth, love, and perspective. The emotional kind.

A self portrait

More Self Portraits

I learned that when Phoebe was in high school, she made a collage at the end of each year. Later, she made paintings of some of the collages

Phoebe keeps rats as pets, and they are very important in her life. (Before meeting Phoebe’s friends, the only rats I had ever met were in my kitchen late at night, or in the crawl space beneath my old house. ) She has a little rat cemetery behind her house and paints a sleeping beauty portrait of each furry friend after they die. Rats live about six years, so there have been many rats in Phoebe’s life.

A “mask-ini” rendering of an imaginary bikini made from COVID masks. A humorous reaction to the difficulties mask wearing can cause for some on the spectrum

Screen prints

Water scene.

To see more of Phoebe’s work, go to her website here, and her Instagram feed here. Read an article on Phoebe’s work at Fleisher Art Memorial here.

Some words about this year’s POST tours.

I didn’t go to many other art studios this year. Why? Read on. The way POST works is that art studios in certain neighborhoods, like South Philadelphia or West Philadelphia, are open to the public on a given weekend day. In the past, CEVA provided easy access to the addresses of art studios that were participating on a given date. So if I wanted to visit several studios that were participating on, say, October 15 in South Philadelphia, I could find their addresses together on a list and plan my route.

This year, CEVA provided a link to a poorly-designed interactive map which was extremely cumbersome to use on your phone. I was not the only person who had this problem. There were brochures that listed the addresses of which studios were open on a given date by area, but they were scarce to the point of non-existence, (although someone at a South Philly studio cheerfully told us we could pick up copies at CEVA’s office in Rittenhouse Square, a mile and a half away. )

There were booklets that gave the addresses of the studios, but these were listed in alphabetical order by name of the artist and not grouped by date or part of the city. The QR code in the booklet inexplicably took you to the same thing. It should have taken you to a downloadable PDF with the addresses for each studio participating in each neighborhood on a given day. I truly hope CEVA does better next year. POST is a wonderful program.

West Craft Fest in the Woodlands

I made my way to West Philly last weekend to meet my friend Patty for West Craft Fest in the Woodlands. The Woodlands is actually a cemetery with some notable Philadelphia personages buried on its grounds. It was the perfect day for an outdoor craft fair.

I ran into my friend Nicole Rodrigues there. Nicole is a print maker and ceramic artist. See that honey in the above picture? Nicole’s father keeps bees and put up the honey. I went home with a jar of it and can’t wait to try it.

There were an abundance of artists selling candles and prints this year. Not of particular interest to me. But the work at the Barbaric Yawp Workshop stopped me in my tracks. Kasidy Devlin, who runs Barbaric Yawp with his wife, Natalie Kropf, gave me a short explanation of the mask making process. The masks, he told me, were made of vegetable-based leather which is wood fiber which is soaked and treated to form the masks. There is obviously a lot more to it than that. These are not your ordinary masks. These are works of art that you can wear or display. If you want to learn more about these incredible masks or buy one, click here. The Etsy site is here, and the Instagram site is here.

Looking for Inspiration

I’m back in the pottery studio this week. I plan to revisit the tar paper technique for hand building. Preferably with some interesting surface designs. Here are some pictures of a vase in progress.

Diálogo 365: New Rhizomes

Art-based community engagement has always been a cornerstone value of Fleisher Art Memorial. 360 Culture Lab is an example. In this program Fleisher teams with local Venezuelan and Indonesian cultural organizations to mount cultural exhibitions and arts experiences by lending resources, gallery space, and expertise, so these organizations can share their culture and traditions with the larger community.

Diálogo 365: New Rhizomes, a collaboration with Casa de Venezuela, showcases the work of 19 artists who have roots in several Latin American and Caribbean countries. The artists use a variety of mediums to connect the viewer to the places in their lives.

Untitled HenryBermudez
Henry Burmudez Untitled
Untitled HenryBermudez(detail)
Henry Burmudez Untitled
Patricia Patzi Armor Propio
Patricia Patzi Armor Propio
Patricia Cazorla One Walk (detail)
Patricia-c=Cazorla-one-walk-detail
NancySalmeNoMoreNoisySilence
Nancy Salme No More Noisy Silence
Lina Cedeno & Pedro Ospina Untitled(2)
Lina Cedeno & Pedro Ospina-untitled
Kalena Marshall Arroz y no Gandules
Kalena Marshall arroz y no gandules
Idalia Vasquez-Achury 12,980 Masque
Idalia Vasquez Achury 12,980 Masque
Gallery
Doris Nogueira-Rogers Amazon's Genesis (2)
Doris Nogueira-Rogers Amazon’s Genesis
Doris Nogueira-Rogers Amazon's Genesis (1)
Doris Nogueira-Rogers Amazon’s Genesis

Press here for more pictures from the 360 Culture Lab project.

Polymer Clay in Tokyo

I recently rejoined the International Polymer Clay Association after letting my membership lapse for a few years and I’m glad I did. The IPCA is sponsoring a host of online activities, including regularly-scheduled Zoom meetings, weekly letters from dynamic President, Amy Brown, and a Design Lab series where members can have their work critiqued and evaluated. A couple of weeks ago, Amy wrote about her experiences in Japan while she served the US Navy as a segway into an introduction to the Japan Polymer Clay Association. This really took me back, so I would like to share some polymer-related Japanese memories of my own.

Kaz Yamashita was one of the artists whose work was featured in Nan Roche’s The New Clay. Kaz was living in the Washington D.C. metro area, when the book came out, and splitting her time between the D.C. area and Tokyo.

Around the same time, my husband wrote a book that they really liked in Japan. So a Japanese business group offered to fly him and some other business consultants and writers to Japan to address a gathering of their organization in Tokyo. And here’s how I know how much my husband loves me. He traded his first class ticket for two tickets in coach so I could go with him.

Needless to say, I didn’t know anyone in Tokyo and have a hard enough time with English, much less Japanese. But I had heard there was a polymer community in Japan and I did some Internet sleuthing. That’s I found out about Kaz, who by this time was called Kaz Kono. I emailed her out of the blue, and even though she didn’t know me, she answered with her contact information, and an invitation to look her up when we got to Tokyo.

We met up with Kaz and one of her students before my husband’s conference started. They gave us the grand tour of Tokyo and we ended up in the family restaurant run by the student’s sister. The kind with paper screens where you kneel at a table, drink Saki, and the waitresses wear beautiful kimonos. It was quite an experience. When we got home, I mailed the sisters Navajo pendants I’d bought in an Albuquerque pawn shop as a thank you. I wanted them to have something that was truly American.

At that time, Kaz was teaching in Japan and in the Philippines. She also started a Japanese polymer clay group.

Kaz had an exhibit in a gallery and asked me if I was interested in seeing her work. Was I ever! But she was leaving on a flight to D.C. the next day and couldn’t go with me. So she wrote out directions to the gallery from our hotel. In Japanese. My job was to take the Tokyo Metro to a certain station, head in a certain direction, stop people on the way, show them Kaz’s instructions, and have them point me in the right direction. I am not sure about now, but in those days, the Tokyo Metro system had signs with station names in English, but not much else. And not a lot of people on the street spoke English. And it didn’t really help to have an address, because of the way the streets were laid out. Buildings were numbered in the order in which they were built and not their physical location. The first building erected on a block was numbered 1 no matter where it stood. Number two might be somewhere down the block. There was no GPS. None of this really bothered me, because I have a terrible sense of direction and have grown quite comfortable with it. Odd, but true.   So I had to rely on gestures, and the accuracy of Kaz’s directions. And the kindness of strangers.

My walk took me down side streets and twisty little alleys. I didn’t know where I was going, but I soldiered on, asking (gesturing really) for directions as I went.

Then I came to a dry cleaning shop, and showed Kaz’s directions to the woman behind the counter. I still remember her big smile. She even spoke some English! She asked me where I was from and how I liked Tokyo, and then led me out of the store, and walked me a half block to the gallery. As we parted, she called, “Have a nice day!” The one time when someone’s said that to me where I really believed they meant it.

I bought this pendant at the gallery.

I also got Kaz’s cane pattern book. I have never seen it for sale anywhere else, so I’m glad I snagged a copy when I could.

A few years later, Kaz visited Philadelphia with a couple of her students in tow. I asked Ellen Marshall to join us for lunch, and for a tour of the neighborhood which includes Isaiah Zagar’s Magic Gardens just down the street. I had never met Zagar and the Magic Gardens weren’t open yet, but we just waltzed right in and he gave us a personal tour. The world’s smaller than you think.

A gift from Kaz’s students on their trip to Philadelphia

Be sure to check out the IPCA and click here to join.