beady confusion
laura
about my beadwork.
I've only been working with clay and beads since last winter, and I don't
have any experience in crafting beyond this, and with visual arts I've been
doing computer graphics for about five years and don't have any formal
education.
In a sense, beading and working with clay is something I've wanted to do in
order to get back in touch with the tactile-creative me that I set aside
when I was a kid. I always had music, but that came really easily to me,
and the computer is great fun but it isn't exactly working with my hands.
So now I find myself making stuff, and there is so much I want to explore.
I can't do it all in the ways I want to do it all at once, and I'm confused
about what I really want to do.
Sometimes I think that I really "ought" to be looking at this as a way to
explore that happy childhood I didn't have when I was an actual child-- so
I'll make something whimsical and bright and unrefined. Sometimes I think
that I really would be happier if I had something at the end of the day that
I could be really *proud* of-- something that looks sleek and well
finished-- so I'll make something small and conservative and well-formed and
more refined.
Then sometimes I think that I don't want to work with clay at all-- that I'm
really not any good with it. So I'll go and buy beads and make jewelry that
I can't afford to make without selling, and then I'll feel bad about not
selling it :) Then I'll think that's not really the point, and I go through
the whole cycle again of going back to the clay and trying to find my voice
there.
Am I nuts or do other people who are new to crafting go through similar
things? I feel like this is part of my struggle to find my own personal
voice and medium, but I get frustrated with not being able to more
intuitively sense where I am really going with this all the time. Anyway,
there's my current confusion-- and it's even on topic! Thanks for listening
:)
Laura
Barbara Forbes-Lyons
I'm going through a similar thing right now. I've had a moderate amount of
success with name bracelets and other jewelry, but I can't seem to get the
ideas in my head onto the design board. Very frustrating. So, I made a
decision this past week - I'm going to go through my huge bead stash and
liquidate stuff, then I'm going to go through my years of magazines and pick
out projects that highlight techniques that I need/want to learn and only
buy new beads to complete those projects. I think that in my case, if I can
hone my technical skills, the design aspects I so long to perfect will come
naturally. In the interim, I am content creating things with the skills I
have now and look forward to the day when my mental image and the finished
piece are one and the same!
--
Barbara
www.penguintrax.com
eBay: pnguintrax
Justbeads:penguintrax
<0
/O\
<><>
"laura" <lauras_wo...@excite.com> wrote in message
news:bgdubj$mumf1$1...@ID-159112.news.uni-berlin.de...
saucy
a decision about two years ago about what I wanted to do. First and
foremost I want to quit my day job and support my family with my art work.
In order to do that I had to decide if I wanted to try everything I saw or
if I was going to stick to one or two mediums.
For me I decided to stick with my oil painting (my first art love) and with
glass. I've only been working in glass for a year or so now, but I've been
painting since I was a child. I love the instant gratification of the glass
and that's why I chose it as my second/third medium. I have been making
fused work and now I'm starting again with the lampwork.
I see so many things on television and at art shows and think that would be
fun. However, all those crafting supplies cost money to start up. I now
have beading supplies, glass, kiln, and the torch. Then all my oil painting
with a touch of acrylic supplies. It's too expensive to start up something
new for me and therefore I made a commitment to myself to keep it down to a
few loves.
You have to do what is best for you. Think about what you want to do. I
can totally understand your feeling to make something with your own hands.
There's nothing like it in the world! I can sit at a desk all day,
negotiate contracts, blah blah blah, but I don't feel alive unless I'm
making something. That's why I'm going to hate to be back at work. That's
almost 10 hours a day I could be working on my stuff and not making or
losing money for someone else.
"laura" <lauras_wo...@excite.com> wrote in message
news:bgdubj$mumf1$1...@ID-159112.news.uni-berlin.de...
Deirdre S.
valid.
Part of your confusion, IMO, comes from our culture's way of imposing
value on things from the outside, instead of letting it emerge from
the inside. Doing something because it has meaning for you, because it
is healing, because you feel the need... doesn't go over very well in
a lot of circles.
Leaves us with the feeling that we have to somehow -justify- what we
are feeling called to do, instead of feeling free to just do it and
see what it is all about after some kind of bigger pattern emerges in
it. And it's really hard for most of us to let it find its own place
in our lives without reference to other people's evaluation.
Deirdre
Dr. Sooz
encounter confusion, too, and I've been an artist all my life (first published
piece: age 4).
>I thought I'd toss a few ruminations out here wrt how I'm currently feeling
>about my beadwork.
~~
Sooz
-------
"Selective deafness, it's a wonderful thing." ~Kathy N-V
ESBC
~ Dr. Sooz's Bead Links
http://airandearth.netfirms.com/soozlinkslist.html
~ Bead Notes: Beading information A - Z
http://www.lampwork.net/beadnotes.html
Louis Cage
Blah, blah, blah.
Go with the mood that strikes you that day. But if you want to get good,
practice something everyday. As a musician, you know that.
Don't worry about "ought". Joseph Campbell once said the goal in our lives
was for each of us to slay his/her particular dragon. And written on the
scales of the dragon are the words "Thou Shalt."
--
There are no mistakes, only unexplored techniques
"laura" <lauras_wo...@excite.com> wrote in message
news:bgdubj$mumf1$1...@ID-159112.news.uni-berlin.de...
laura
"Barbara Forbes-Lyons" <pengu...@penguintrax.com> wrote in message
news:bge0nr$pa3$1...@news.utelfla.com...
> I think that in my case, if I can
> hone my technical skills, the design aspects I so long to perfect will
come
> naturally.
Yes, this is one part of the problem I have. I can't just think it done-- I
have to do it, and my hands don't know what to do, sometimes.
Laura
laura
"saucy" <sklopma...@cox-internet.com> wrote in message
news:vilb347...@corp.supernews.com...
>
> I see so many things on television and at art shows and think that would
be
> fun. However, all those crafting supplies cost money to start up.
Yup. One of the big issues I have is the money. I'd love to be able to
just do whatever I want, but money is tight. That's one thing that drew me
to the clay, initially. It seemed an inexpensive way to do something
creative. Beads are another story :)
Laura
laura
"Deirdre S." <deir...@nospamatt.net> wrote in message
news:24glivkrvt9s2ivho...@4ax.com...
> I'd say all of those different things (and a bunch more) are perfectly
> valid.
>
> Part of your confusion, IMO, comes from our culture's way of imposing
> value on things from the outside, instead of letting it emerge from
> the inside. Doing something because it has meaning for you, because it
> is healing, because you feel the need... doesn't go over very well in
> a lot of circles.
>
> Leaves us with the feeling that we have to somehow -justify- what we
> are feeling called to do, instead of feeling free to just do it and
> see what it is all about after some kind of bigger pattern emerges in
> it. And it's really hard for most of us to let it find its own place
> in our lives without reference to other people's evaluation.
A big part of the draw in this, for me, is in the doing. The paradox is
that when I am finished, I would like to have something that somehow conveys
a sense of that experience back to myself, or to whoever I might share the
thing with. Obviously, you can't just put a moment into a box and trot it
out like that. But that's what I want to do.
I think maybe it's my own attachment to trying to quantify or define what I
want the thing to be or convey that's causing this angst-- that and my own
level of inexperience, which is a thing more easily remedied, given some
time.
I used to just be happy to have three dozen necklaces hanging around, and a
bunch of beads that I made for no reason in particular. It's when I
started trying to refine or make some sense out of what I was doing with all
this end-product stuff that it started to get confusing for me. Maybe I
should just give all of it away and start fresh again.
Laura
laura
"Dr. Sooz" <diva...@aol.compuppies> wrote in message
news:20030801155645...@mb-m11.aol.com...
> I found your outlook utterly fascinating, Laura. Thank you for sharing
it. I
> encounter confusion, too, and I've been an artist all my life (first
published
> piece: age 4).
Well, I'm glad to hear that I'm not alone in my confusion :) We'll sort it
out, I expect... and then probably get confused for some other reason :)
Laura
laura
"Louis Cage" <lc...@bellsouth.net> wrote in message
news:4qDWa.21448$f%2.3...@fe05.atl2.webusenet.com...
> Well, you can't do everything at once. You can't run before you walk.
> Blah, blah, blah.
> Go with the mood that strikes you that day. But if you want to get good,
> practice something everyday. As a musician, you know that.
> Don't worry about "ought". Joseph Campbell once said the goal in our
lives
> was for each of us to slay his/her particular dragon. And written on the
> scales of the dragon are the words "Thou Shalt."
This sounds like very good advice, Louis. It resonates, and I think I will
take it very much to heart. Thanks for taking the time :)
Laura
Dr. Sooz
>have to do it, and my hands don't know what to do, sometimes.
I so totally recommend taking classes, Laura, if you can find them anywhere
near you (or even reasonably far away). You pick up much more than the basic
skill covered by the class -- little tips and tricks you'd find nowhere in any
book. Taking classes in a few things completely changed my world of
jewelry-making.
Dr. Sooz
>that when I am finished, I would like to have something that somehow conveys
>a sense of that experience back to myself, or to whoever I might share the
>thing with. Obviously, you can't just put a moment into a box and trot it
>out like that. But that's what I want to do.
It sound to me like you should be doing collage -- or at least collage jewelry.
Because that's the art form that gets closest to that experience for me.
Dr. Sooz
>Well, I'm glad to hear that I'm not alone in my confusion :) We'll sort it
>out, I expect... and then probably get confused for some other reason :)
Christina Peterson
skill. That exposes you to a whole new set of feelings and intentions and
attitudes to beading.
Tina
"Dr. Sooz" <diva...@aol.compuppies> wrote in message
news:20030802125411...@mb-m05.aol.com...
Deirdre S.
kind of "right" way, and experiment until you get something you find
aesthetically pleasing that is also strong enough to hold together.
Those are really the only two 'rules' that apply, IMO.
On the other hand, on the road to those goals, some things will either
need to be redone, or will finally have you shaking your head saying
"Well, THIS didn't work ... what else can I try?"
Deirdre
Deirdre S.
Could you explain how something that has been quantified or defined is
different from something that isn't?
And I do think that art -is- one way that we seek to capture a moment
in a concrete form that evokes something beyond its purely physical
nature, and takes in some of the feelings and atmosphere and context
around it.
Maybe it never includes -all- the feelings, atmosphere and context...
but it is as close as we are likely to get without Vulcan Mind Meld.
Deirdre
laura
> I'm not sure I understand what you mean by "quantify or define"...
>
> Could you explain how something that has been quantified or defined is
> different from something that isn't?
I suppose I could have used the word "predetermine". Or perhaps I could
have said that what is getting in my way is attachment to a belief that art
needs to have a purpose or a justification beyond just being done, if that
makes more sense.
Talking strictly about the end product, maybe there isn't a quantifiable
difference. It is only what it is when it's finished, anyway. I think the
difference is in my own approach to the process.
Laura
(giving myself headaches :)
laura
"Dr. Sooz" <diva...@aol.compuppies> wrote in message
> >A big part of the draw in this, for me, is in the doing. The paradox is
> >that when I am finished, I would like to have something that somehow
conveys
> >a sense of that experience back to myself, or to whoever I might share
the
> >thing with. Obviously, you can't just put a moment into a box and trot
it
> >out like that. But that's what I want to do.
>
> It sound to me like you should be doing collage -- or at least collage
jewelry.
> Because that's the art form that gets closest to that experience for me.
This is odd, because I looked at some collage links last night and thought
"that looks pretty cool" :)
Laura
laura
"Dr. Sooz" <diva...@aol.compuppies> wrote in message
> >Yes, this is one part of the problem I have. I can't just think it
done-- I
> >have to do it, and my hands don't know what to do, sometimes.
>
> I so totally recommend taking classes, Laura, if you can find them
anywhere
> near you (or even reasonably far away). You pick up much more than the
basic
> skill covered by the class -- little tips and tricks you'd find nowhere in
any
> book. Taking classes in a few things completely changed my world of
> jewelry-making.
This sounds like a good idea, too.
Laura
Deirdre S.
Do you wire things together? Glue them to a base? Solder them to each
other? What is the methodology?
Deirdre
On 02 Aug 2003 16:56:05 GMT, diva...@aol.compuppies (Dr. Sooz)
wrote:
Deirdre S.
creating your own headaches, maybe.
How about experimenting with *un*justified, undefined art for a short
while, and seeing if you can feel or see a difference between that
approach and the one you describe as needing a purpose or
justification?
My personal sense is that my best stuff comes from a relaxed rather
than an 'under tight control' state of mind -- sort of a 'nothing to
prove' attitude, where I don't judge or force anything. Gives it has a
chance to speak for itself.
Deirdre
Lee S. Billings
lauras_wo...@excite.com says...
>
>I suppose I could have used the word "predetermine". Or perhaps I could
>have said that what is getting in my way is attachment to a belief that art
>needs to have a purpose or a justification beyond just being done, if that
>makes more sense.
>
>Talking strictly about the end product, maybe there isn't a quantifiable
>difference. It is only what it is when it's finished, anyway. I think the
>difference is in my own approach to the process.
Hmmm... Might I suggest that you read "A Million Open Doors" by John Barnes,
and pay particular attention to the part about the formation of the
Inessentialist movement? The book deals (in part) with an entire society which
insists that everything must have a concrete, measurable value before it can be
worth doing, and the process by which that viewpoint is (more or less)
shattered by politics and circumstances. It's also a whacking good read; I was
a bit disappointed in the two sequels, but the first one remains on my "Desert
Island" list.
Celine
--
Handmade jewelry at http://www.rubylane.com/shops/starcat
"Only the powers of evil claim that doing good is boring."
-- Diane Duane, _Nightfall at Algemron_
Christina Peterson
art/product is a collaboration between the grain, etc in the material and
me. If I do something in tight control, that collaboration cannot happen.
Tina
"Deirdre S." <deir...@nospamatt.net> wrote in message
news:itcoiv40v5h3b2m53...@4ax.com...
Deirdre S.
Deirdre
On 2 Aug 2003 22:16:29 GMT, stard...@mindspring.com (Lee S.
Dr. Sooz
more to validate its existence.
>Or perhaps I could
>have said that what is getting in my way is attachment to a belief that art
>needs to have a purpose or a justification beyond just being done, if that
makes more sense.
Dr. Sooz
than the sum of its parts.
>You also interact creativitely with others in the class, while you learn a
>skill. That exposes you to a whole new set of feelings and intentions and
>attitudes to beading.
>Tina
>
Dr. Sooz
>ideas in my head onto the design board.
You guys *do* sketch these ideas into a visual journal, so you won't lose them,
right?
Deirdre S.
I'm far more kinesthetic myself. I discover what something looks like
when it appears at the end of my physical process.
I've been very close with folks for whom the visual part of their
mental process was really, really primary. They don't always get what
it is like not to 'see things in your head' as a way of processing
them. Can't imagine it is possible to do anything without 'seeing' it
first.
But it is possible. Just involves different things. For kinesthetic
processors it involves: Weight. Texture. Movement. Space. Temperature.
and a host of other tactile, kenetic things.
Deirdre
On 04 Aug 2003 19:26:10 GMT, diva...@aol.compuppies (Dr. Sooz)
wrote:
>>but I can't seem to get the
Christina Peterson
it. I also "feel colors". I don't imagine how something looks but how it
"feels" -- visually and tactilely.
Tina
"Deirdre S." <deir...@nospamatt.net> wrote in message
news:2ddtivsg21nq7d8eo...@4ax.com...
Lee S. Billings
>
>I bought a fossil today because I liked how it felt, yet I had never touched
>it. I also "feel colors". I don't imagine how something looks but how it
>"feels" -- visually and tactilely.
This indicates that you're touch-oriented in the way you approach the world.
It's really interesting how the language has idioms for the same concept in all
of the senses, for example:
"That doesn't look right to me."
"I don't like the sound of that."
"Something about that smells funny to me."
"I've got a funny feeling about that."
"That leaves a bad taste in my mouth."
All the same idea, and the one you're most likely to choose is the one which
best fits with the way you perceive the world.
Christina Peterson
"Lee S. Billings" <stard...@mindspring.com> wrote in message
news:bgne1p$q5d$5...@slb3.atl.mindspring.net...
Christina Peterson
disability for me. It's a qualitative vs quantitative way of experiencing
the world.
Tina
"Lee S. Billings" <stard...@mindspring.com> wrote in message
news:bgne1p$q5d$5...@slb3.atl.mindspring.net...
Deirdre S.
Deirdre