Feats of clay
The Emergence pendant by Gordon Uyehara (above) is of kiln-fired silver clay, with a pounded sterling wire piece soldered to the back for attachment to a necklace. 48.4mm x 109mm x 13.2mm. Image by Gordon Uyehara.
Mystic Bezel ProjectCarl Stanley shows you how to make Bell Earrings using metal clay in Step by Step.
A decade since metal clay was introduced to the United States, modern metal clay artists are making a dent in critical resistance.
The use of metal clay in the hotels interior
The use of metal clay is possible not only in decorations, but as interior elements in hotels, such as mirror frames, designer handles and lamps. That is, the prospects for using the material are impressive.
However, it can be used to create beautiful and unique pieces that can add a touch of elegance to any room. In fact, many hotels are starting to use metal clay in their design schemes. One of the great things about metal clay is that it can be used to create a variety of different pieces. For example, it can be made into tiles, wall hangings, or even lamps. This allows for a great deal of creativity and flexibility when it comes to design. Another benefit of metal clay is that it is very durable. It can withstand a great deal of wear and tear, which is important for a material that will be used in a public setting. In addition, metal clay is easy to clean and does not require a lot of maintenance. Overall, metal clay is a great material for interior design. It is versatile, durable, and easy to clean. This makes it a perfect choice for hotels and other public venues.
Although metal clay is mostly used for the manufacture of jewelry, there are prospects for using the material in interior decoration, which is interesting and will attract the attention of tourists. For example, when someone decides to stay at a Bed and Breakfast and notices an interesting detail, it may interest them to explore the possibilities of this material. It is a versatile material that can be used to create a variety of different designs.
Artists' retreat in Bed and Breakfasts
There's nothing quite like retreating to a beautiful bed and breakfast to get away from the hustle and bustle of city life. What's even better is retreating to a bed and breakfast that doubles as an artist's retreat. Whether you're an experienced artist or just starting out, these retreats offer the perfect opportunity to focus on your art in a supportive and inspiring environment. Many bed and breakfasts that offer artist retreats provide everything you need to get creative, from studio space to easels and paints. Some also offer workshops, critiques, and other artist-focused programming. And, of course, there's always time for relaxing in between creative sessions, enjoying the company of other artists, and soaking up the beautiful surroundings. So if you're looking for some time out to focus on your artwork, or you're looking for a creative vacation destination, consider retreating to an artist's bed and breakfast. You'll be glad you did!
Bed and Breakfast Portland, Maine
A bed and breakfast Portland, Maine, provides guests with a comfortable, intimate setting in which to stay while enjoying all that the city has to offer. The innkeepers at a bed and breakfast are typically knowledgeable about the area and can provide guests with tips on where to eat, what to see, and how to get around. In addition, a bed and breakfast often offers breakfast each morning, giving guests a chance to chat with the other guests and get to know the innkeepers.
Red Stone Inn Moab
Red Stone Inn Moab is a historic inn in the heart of downtown Moab, Utah. This beautifully restored building is now a charming bed and breakfast inn, complete with eight guest rooms and suites, a gourmet kitchen, and inviting common areas. The inn is your perfect base camp for exploring Moab and the surrounding area, with easy access to biking and hiking trails, rafting and kayaking on the Colorado River, and world-famous Arches and Canyonlands National Parks. Start your day with a cup of coffee on the inn's wraparound porch, then spend the day exploring everything this incredible area has to offer. When you're ready to relax, come back to the inn and enjoy a glass of wine in the courtyard, or take a dip in the hot tub. Whether you're looking for a place to stay while exploring Moab and its amazing surroundings, or you're just in the mood for a relaxing and charming bed and breakfast getaway, Red Stone Inn Moab is the perfect choice.
Bed and Breakfast Stillwater MN
There are many bed and breakfast establishments located in the city of Stillwater, Minnesota. Most are situated in historic homes or buildings, and offer guests a warm and inviting atmosphere in which to relax and enjoy their stay. The bed and breakfast experience is a unique one, and guests can often find themselves sharing meals and conversations with other guests and the innkeepers. This is a great opportunity to learn about the city and the surrounding area, and to make some new friends. In addition to a comfortable bed and delicious breakfast, guests can also expect to find a variety of amenities offered by bed and breakfast Stillwater MN. These can include Wi-Fi, parking, laundry facilities, and more. So if you're looking for a unique and charming place to stay in Stillwater, be sure to check out the local bed and breakfast establishments. You're sure to enjoy your time there!
Cedar Gables Inn
The Cedar Gables Inn is a historic inn in the town of Saxtons River, Vermont. It was built in 1853, and is one of the oldest inns in the state. The inn is a three-story brick structure, with a gabled roof and clapboard siding. It has been used as a hotel, inn, and restaurant since its construction. The Cedar Gables Inn was listed on the National Register of Historic Places in 1978.
Eureka Springs Bed and Breakfast
The Eureka Springs Bed and Breakfast is a beautiful place to stay while in the charming town of Eureka Springs. The B&B is located in a renovated Victorian home and is furnished with antiques and period pieces. It has six bedrooms, four bathrooms, a formal living room, a library, a music room, a sun porch, and a gourmet kitchen. The property also features a garden, a wraparound porch, and a rooftop deck. Guests can relax in the garden gazebo, snuggle up by the fire in the library, or listen to music in the music room. The Eureka Springs Bed and Breakfast is the perfect place to stay for a romantic getaway or a special event.
Bed and Breakfast San Antonio
If you're looking for a place to stay in San Antonio that feels like home, look no further than a bed and breakfast. San Antonio has a wide variety of bed and breakfasts to choose from, each with its own unique personality and charm. Whether you're looking for a place with luxurious accommodations and all the amenities, or a more intimate setting with fewer frills, there's a bed and breakfast San Antonio that's perfect for you. Some of the best bed and breakfasts in San Antonio are located in the city's charming and historic neighborhoods. If you're looking for a place to stay that will allow you to experience all that San Antonio has to offer, consider staying in one of these neighborhoods. From the River Walk to the Alamo, you'll be right in the heart of the action. If you're looking for a more peaceful and rural setting, there are also a number of bed and breakfasts located outside of the city. These inns offer beautiful views of the Texas Hill Country and a more relaxed atmosphere. Whether you're looking for a place to stay for a weekend getaway or a week-long vacation, there's a bed and breakfast in San Antonio that's perfect for you.
Zoders Inn and Suites
The Zoders Inn and Suites is a popular hotel in downtown Vancouver. It is a modern hotel with stylish rooms and a great location. The hotel is close to many restaurants and shops, and it is within walking distance of the Vancouver Convention Centre. The Zoders Inn and Suites is a perfect choice for business and leisure travelers alike.
Bed and Breakfast Hot Springs
There are many bed and breakfast Hot Springs AR. They offer a unique and comfortable experience, unlike a hotel. Most bed and breakfasts are operated by the owner and provide a more personal touch. Guests can typically enjoy a delicious breakfast in the morning, prepared fresh by the owner. They can also expect a warm welcome and a cozy atmosphere. Many bed and breakfasts are located in historic homes or buildings, providing guests with a glimpse into Hot Springs' past.
Dubuque Bed and Breakfast
There are a number of bed and breakfast options in Dubuque, Iowa. Most of these establishments are located in the historic district of the city, and offer guests a unique experience. Rooms are typically decorated with antiques and other period pieces, and many of the properties have been in operation for decades. Some of the Dubuque bed and breakfast include the Lockwood-Mathews Mansion Museum, the Julien Hotel, the Hotel Julien Dubuque, and the White House Inn.
Santa Barbara Bed and Breakfast
Santa Barbara bed and breakfasts offer guests a unique and personalized experience. Many of these establishments are located in historic homes or buildings, and guests can enjoy a breakfast that is either served in their room or in a common dining area. Some bed and breakfasts also offer afternoon wine and cheese receptions, as well as evening desserts. Whether you are looking for a romantic getaway or a place to stay while you explore all that Santa Barbara has to offer, a bed and breakfast is a great option. You can relax in a comfortable room, enjoy a delicious breakfast, and take in all the sights and sounds that this charming city has to offer.
Star Inn Cape May
The Star Inn is located in Cape May, New Jersey. It was built in 1840 and is a popular bed and breakfast. The Star Inn Cape May has been featured in magazines and has been voted one of the best places to stay in the area. It has a wraparound porch, four bedrooms, and three bathrooms.
Greenhouse Inn New Orleans
The Greenhouse Inn New Orleans is a bed and breakfast located in the heart of the French Quarter in New Orleans. This charming inn is housed in a historic building that was once a greenhouse. The inn has ten guest rooms, all of which are uniquely decorated and offer private bathrooms. Guests can enjoy a complimentary breakfast each morning in the inn's dining room. The Greenhouse Inn also offers a courtyard which is perfect for relaxing in after a day of sightseeing.
Bed and Breakfast in Watkins Glen
When you're looking for a bed and breakfast Watkins Glen, you're guaranteed a warm welcome, comfortable accommodation, and a delicious breakfast. There are several bed and breakfasts in Watkins Glen to choose from, each with its own unique character and charm. Most of the bed and breakfasts in Watkins Glen are located within walking distance of the downtown area, making it easy to explore all the village has to offer. Whether you're looking for a quiet weekend away or a place to stay while visiting the Finger Lakes wine region, a bed and breakfast in Watkins Glen is the perfect choice.
Cape May B&Bs
If you're looking for a place to stay in Cape May, be sure to check out the area's bed and breakfasts. Cape May is home to some of the best B&Bs in the country, and there's something for everyone. Whether you're looking for a romantic getaway or a place to stay with your family, you'll find a B&B that fits your needs. Some of the best Cape May B&Bs are the Victoria Inn, the 1879 Inn, and the Carroll Villa Hotel. These properties offer beautiful rooms, delicious breakfasts, and wonderful service. They're also all within walking distance of the beach and the town center, so you'll have plenty to do during your stay. If you're looking for a more intimate setting, be sure to check out the bed and breakfasts in the historic district. These properties offer unique rooms and personalized service. You'll feel like you're a guest in someone's home, and you'll get to experience all that Cape May has to offer. No matter what you're looking for, you'll find a great bed and breakfast in Cape May. These properties offer everything from incredible views to delicious breakfasts. So, if you're looking for a relaxing getaway, be sure to check out the area's B&Bs.
Candice Wakumoto’s She Shells, of silver clay, 22K and 18K gold, pink tourmaline, Hawaiian coconut fiber, sterling silver. Photo: Larry Sanders.
Instant gratification.
That’s how artists almost universally describe the appeal of metal clay.
“The metal clays have an extraordinary immediacy to them which allows one to develop methods and ‘sketch’ with them in a way that has not been truly possible in metal before,” says Greenacres, Washington, artist Kurt Madison.
That instant gratification is the source of both metal clay’s growing popularity, and its struggle to be taken seriously as a jewelry material. When metal clay was first introduced in the United States, its hands-on immediacy led to a flood of textured silver pieces, many rather primitive. Jewelers and hobbyists alike were enchanted by the ability to simply press the clay onto a surface to transfer a texture. But that accessibility to those with no jewelry skills — or artistic training — left some in the industry deriding it as little more than Play-Doh for jewelers.
“The traditional metal world is somewhat rigid. A lot of metalsmiths go through a fairly lengthy training process to become a jeweler, and it requires a wide variety of skills that take a long time to develop . . . and then metal clay comes along and I can teach someone to make jewelry in one day,” says Carl Stanley, a metal clay artist in Santa Barbara, California. “It’s just sort of a slap in the face of traditional techniques. [Trained jewelers responded by saying] ‘Anyone can do this, so why should I get involved? There’s no artistry involved.’”
What Is Metal Clay?
Metal clay isn’t a “true” clay: it’s a manmade substance that the manufacturers called “clay” for its working properties, not its relationship to pottery. As Tim McCreight, author of The Complete Metalsmith and a consultant for Mitsubishi, notes, a more accurate name might be Precious Metal Pliable Moldable Substance, but that’s a mouthful! Metal clay consists of extremely fine, precious metal powder, suspended in an organic binder. When heated to a high temperature, the binder burns off and the metal powder fuses together, leaving behind a solid piece of pure silver or gold.
There are two brands of metal clay currently available in the United States: Precious Metal Clay (PMC®) produced by Mitsubishi Materials Corp., and Art Clay®, sold by Aida Chemical Industries, both headquartered in Japan. Both brands work in basically the same way, although small differences in the binder formulas produce slightly different working characteristics. These differences lead some artists to prefer one brand or another, but which brand you choose is largely a matter of personal preference. The first metal clay marketed in the United States was Mitsubishi’s original Precious Metal Clay, followed shortly afterward by Art Clay®. Both companies have since introduced several versions of their product to meet different needs. —SW
But for Stanley and other artists, it isn’t the medium but what you do with it that counts. And a decade after metal clay’s introduction into the United States, the material is beginning to show its true potential. “I think initially there was a lot of resistance, and it wasn’t respected as a medium,” says Shahasp Valentine, a San Francisco jewelry artist who works almost exclusively in metal clay. “No one was making anything that really looked like [traditional] jewelry in the beginning. But I think now, as people are doing more with it and the work becomes more sophisticated and more interesting, I think it’s gaining a lot more respect from the jewelry community at large.”
Metal clay artists generally share a love of texture, since one of metal clay’s great advantages is its ability to be textured in an almost infinite number of ways. They also tend to possess a fondness for the way they can manipulate the material with their bare hands. Although virtually every artist is initially attracted by metal clay’s pliability and immediacy, many have taken it beyond its clay roots. Their work ranges from the organic to the architectural, from rough-hewn to sculptural. Some artists work exclusively in metal clay, while others use traditional metalworking techniques alongside the metal clay, and combine it with a variety of other art mediums, from dichroic glass to polymer clay.
These seven artists are only a few of the many creating truly unique, beautiful jewelry in metal clay. But their work is an excellent place to see the medium’s potential.
Shahasp Valentine: Evolving Organics
Two of the Four Petals necklaces from Shahasp Valentine's Precieux series (above), in which she sets white sapphires either in silver (left) or 24K gold (right) bezels. Photo: Shahasp Valentine.
“My work really has evolved quite a bit since I started with PMC,” says Valentine. “I’ve had some of these ideas in my head since junior high school, but to try and execute them traditionally is a really big deal. Like my lily pendants — to do that traditionally would require a ton of work in wax, and then casting, or hammering or texturing endlessly. I find PMC is so gratifying because it’s so tactile. I can execute these textural ideas and concepts in my head in a way I can’t get from any other jewelry technique.”
Valentine’s work is currently split into two distinct collections: the Precieux series, which uses historical motifs, and the Organic series, inspired by nature. Both take advantage of different features of metal clay.
For her Precieux series, Valentine scans designs, such as a fleur de lis, into her computer, and uses an illustration program to produce perfectly symmetrical patterns. The pattern is printed and traced onto soft polymer clay, which is then partially baked and carved to form a mold for the metal clay. Although she may create up to 50 pieces from each mold, each is individually decorated and shaped for a one-of-a-kind look.
Shahasp Valentine's Knife Edge necklaces, made of 24K gold PMC with pearl. Photo: Shahasp Valentine.
For the Organics series, Valentine works directly in metal clay, shaping pieces inspired by the ocean. “A number of years ago I went on a trip with my boyfriend to South Africa,” Valentine recalls. “I was sitting on a beach and looking at these amazing tidepools filled with little creatures and it just hit me. I came home with all these sketches and photos. My Habitat rings and necklaces are my interpretation of the tidepools.”
Valentine’s Knife Edge series came out of this type of hands-on shaping in the days after September 11, as the pendants she was working on inexorably took on a sharper, harder edge. “Right after 9/11, I just wasn’t feeling very fluffy and happy. The Wave pendants are very undulating and textural, and I was feeling, ‘life is harsh,’ and the Knife Edge design just kind of happened,” Valentine recalls. “I started making the pendants really straight with a super fine edge, a knife edge, representing how harsh life can be and that the world can be a really harsh place.”
“PMC just allows me to so easily create whatever has popped into my head,” concludes Valentine. “It also keeps me interested in what I do. I don’t want to make 100 of the same necklace. With PMC I do multiples, but every single one is different. It’s always changing, everything’s always fresh and new. With traditional lost-wax casting, once you get it cast, that’s all you’ve got, and that’s not interesting to me. PMC has given me the freedom to really create in a more one-of-a-kind way.”
Carl Stanley: Experimental Artist
Carl Stanley’s Kit #1, of PMC silver, 18K gold, enamel, sterling silver, and plastic. Photo: Patrick Flannery.
Carl Stanley’s artistic journey in metal clay has been one long experiment. Even his discovery of the material was through a test. “Every time I’d look through the Rio Grande catalog, I’d be intrigued (metal clay, what’s up with this?), so one day I just ordered some,” he remembers. “I already had kilns because I do casting, and I had a lot of metal experience, so I just went ahead and made a couple of things — a little vessel, some funky sculptural items — and fired them. And I just sort of fell for it right away.
“What I like best about PMC is that it really opens a new creative door in my mind,” Stanley says. “It makes me want to experiment all the time.” And experiment he has. He has developed techniques for torch-firing gold metal clay slip (metal clay mixed with water to form a paste) onto silver clay, and is testing methods of combining metal clay and glass into mosaics. When metal clay paper was introduced, he immediately started playing with combinations of metal clay and fine silver wire to create lightweight earrings.
Carl Stanley’s Long Face Spirit from his Shaman Bead series, of silver PMC and enamel. Photo: Brian Meek.
As a senior instructor with the Rio Rewards PMC program administered by the PMC Guild, Stanley also finds his students a source of inspiration. “When you work with students, your students’ work influences you as well, especially people with no experience whatsoever with metal or metalsmithing,” he says. “They have no expectations, so they’re the ones that break the rules. I once heard Charles Lewton Brain say that if you make a mistake three times and it works, then you’ve discovered a new technique. I just love that.”
Between experiments, Stanley returns to his more sculptural work, especially bead designs featuring faces. “When I was in school I took a lot of anthropology courses because I’ve always liked ancient cultures, [and those] cultures seemed to sculpt images of themselves and their desires in facial form,” he says. “My shaman beads are like expressions of unknown ancient cultures. They look like they were buried, dug up, and need to be interpreted.”
The faces have a humorous side, as well “When I start doing a design, the first thing I do to get warmed up a little is draw little cartoon faces,” Stanley says. “Probably because they’re so familiar and because I like to make funny expressions, with twisted faces and big long noses.”
Stanley says metal clay is the ideal material for producing those expressions in silver. “It’s so sculptural. I know it’s going to end up as metal, but when you’re in the clay state working with it, it doesn’t feel that way. The mind doesn’t associate with metal at this point,” he says. “It’s so different from carving wax, where you’re digging and chipping. With metal clay, you’re sculpting with clay, smearing and smoothing. It’s so much more sculptural.”
Wendy Wallin Malinow: Color Reigns
Color is king for Wendy Wallin Malinow. “I’m extremely nonsubtle,” she laughs. “My illustrations and drawings from day one have been with very bright water colors. People ask my color theory, and I tell them I have these toy paints I’ve had since the ‘60s, and I use them right out of the pan. That’s my color theory — I like bright colors.”
Malinow’s polymer and metal clay pieces reflect that love of bright color. Her current work features polymer clay inlaid into a fired metal clay piece, producing jewelry that is often mistaken for cloisonné enamel. “I’ve always been kind of a mixed media person anyway,” she explains. “I started combining metal clay and polymer because I wanted color with the metal clay, and in reverse, I wanted a more precious feel with the polymer. To me, the contrasts are really great.”
Although she has also experimented with enamel in metal clay, polymer clay is her preferred medium. “With polymer, if you smear it into the piece and it doesn’t work, you just take it back out. It’s also flexible on the surface, so if you bang the jewelry around it stays in pretty well. I can have it matte, or shiny, or add glitter. It’s just got that plastic quality that you can do a lot of things with.”
Wendy Wallin Malinow combines metal clay with other materials to reflect her love of bright color. At left is Neck Jest, made of metal and polymer clay; to the right is Sea Heart, of PMC+, polymer clay, resin, and sterling silver. Photos: Courtney Frisse.
Malinow worked in polymer clay for years before she added metal clay to her repertoire. “I remember hearing about it through the grapevine,” she says. “I read about it, and I thought, ‘That sounds great.’” When an opportunity came to take a workshop in the material, she jumped at the chance. “I’ve been hooked ever since.”
While polymer fulfills her desire for color, metal clay meets a need for substance. “Three-dimensional [polymer-only] pieces don’t hold up well on their own. [Now I use] a shell of silver that protects the delicate pieces from wear,” she says. “And with the metal clay it just feels like I’ve added more preciousness to it. One of the frustrations I had working with polymer is that I didn’t like the feel and the weight of it. The metal clay has added that [to my work.]”
Gordon Uyehara: An Artist is Born
The House of Infinite Wisdom Necklace is of kiln-fired silver clay with a lab-created padparadscha sapphire and an amber lab-created sapphire cabochon (on reverse). The pendant hangs from a woven sterling necklace with fine silver endcaps and sterling beads and toggle clasp. 45.9 mm x 47 mm x 8.8 mm. Image by Gordon Uyehara.
Until he discovered metal clay, Gordon Uyehara of Honolulu, Hawaii, was a computer scientist. Then a blurb in a local newspaper led him to a metal clay class at a bead shop, and an artist was born.
“I think I’ve always been an artist, but I guess I got to believing that you can’t make a living off art,” he says. “Then they had a reorganization at work, and it wasn’t working for me, and I did two things: I started reading ‘how to live the life you love’-type books, and I started meditating. And one morning I woke up at 2 a.m. and said, ‘I’m free.’ So I resigned and said I was going to be an artist.”
Now pursuing his passion full time, Uyehara builds carefully crafted pieces. He normally works from sketches, shaping the clay in its wet form, then refining it further after it dries. “I like to focus first on shape, and then on texture. And then I just generally like to do something that hasn’t been seen before,” he says.
His pieces can take as much as a week to complete. “My pieces are fairly complicated, so I’ll work on it a little, put it down, do something else and come back,” he explains. “I think the fact that [metal clay is] easily shaped and carved makes it easy for me to work with. The other aspect that I really make use of is that it’s easy to join separate pieces, so I can work on different shapes individually, refine them, and then paste them together.”
Although he is currently learning traditional metalsmithing techniques, he says metal clay still holds an almost mystical fascination for him. “I think it’s the metamorphosis of having something that you can shape, and then it’s easy to get it to silver,” he says. “I still find it fascinating.”
Kurt Madison: The Artist Discovers Art Clay
Kurt Madison’s Blue Wrap pin, made of Art Clay silver sheet with a dichroic glass insert fused in; 1/2" x 1-1/2" x 1/3". Photo: Matt Winghart.
For artist Kurt Madison, metal clay is just the newest in a series of media he’s worked with in the last 30 years. “I do a lot of different things,” he says. “Right now I’m working on a three-ton full-scale carving in brick in the form of a coiled firehose for a public works project. So one day it’s glass and [metal] clay, and the next day it’s a seven-foot sculpture or ten stained glass panels for St. Francis of Assisi Church. But all that is feeding the art, and [metal clay] is a part of that.”
Jewelry has been part of Madison’s artistic endeavors since he studied metalsmithing during his undergraduate studies in art and sculpture. But the addition of metal clay to his repertoire has helped jewelry become a more prominent part of his portfolio. “Metal clay has moved me from a long period of casual designing to a much faster-developing phase, which is wonderful,” he says.
V-Pendant, by Kurt Madison, of Art Clay silver built over a cork clay form with fine silver flakes fired into the surface and a sterling silver chain; 3" x 1-1/2" x 1/2". Photo: On the Edge Images.
Madison recalls being intrigued by metal clay the first time he saw it in the Rio Grande catalog, but it was several years before he actually tried the material. “[My wife and I] saw it right after it came out, but it took eight or nine years for us to acquire some,” he remembers. “I took a Saturday workshop, and that was enough for me. I took the workshop in late July, and by August 10 I had a kiln. I don’t have a lot of money to stock a studio just because I’m interested in a material, but it was clear that this was a dynamite material.”
With metal clay in his tool box, Madison began making jewelry from sketches he’d been doing for years. “When I was sitting in meetings in whatever job [I had], I’d be doodling on my pad and I’d look and say, that’s a pin, that’s a bracelet . . . The metal clay has allowed me to start going from little nurdles and doodles to actually fabricating stuff.”
Although he finds that some in the art community don’t take metal clay seriously, he’s confident that as more talented metalsmiths and artists begin working in the medium, metal clay will become a respectable material for artistic endeavor. “There are people more traditional than I am who would say I should use my traditional skills, that I shouldn’t use that metal clay goo,” he says. “I think they’re wrong. I think 10 years from now, we’re going to see a revolution in the jewelry trade because of these materials. The jeweler’s trade isn’t going to look the same at all.”
Candice Wakumoto: Drawing on Tradition
Candice Wakumoto’s Ipulani, made of silver clay, 22K and 18K gold, blue topaz, amethyst, Hawaiian coconut fiber, and sterling silver. Photo: Larry Sanders.
Candice Wakumoto’s background is as a graphic designer, so it probably isn’t surprising that her jewelry pieces all start with a sketch. “I have to draw everything exactly how I want it, and then when I fabricate I have to exactly follow it. Everything is planned,” says the Mililani, Hawaii-based jewelry artist. “Sometimes when people see my sketches, they think I drew it after [I made the piece].”
Even the immediacy of metal clay hasn’t changed that work habit. “I don’t like wasting time working with stuff,” she explains. “If you plan it ahead of time, you can always add to where you’re going, but I like to know the basics of it. It’s easier to get started.”
While Wakumoto may be an advance planner, she enjoys the inspiration offered by metal clay. “I just like that whatever you want to do, you can do with it,” she says. “You just have an endless amount of textures you can deal with. And shapes — it’s just a matter of working out the technicalities. I work with a lot of hollow forms, and it’s ideal for hollow pieces.”
Wakumoto also enjoys combining metal clay with other fabrication techniques. “I like the idea of marrying the two together,” she says. “I can do silver clay and add fabrication, and make something one-of-a-kind and unique.”
Gemstones are also set using traditional methods. “You can fire gemstones in the clay, but I’m not satisfied with what it looks like, because it’s just pushing gemstones into the material,” she says. “I like having gemstones bezel set, and I like big stones and mixing stones, and to me, that means you have to fabricate settings.”
A two-time Saul Bell Award winner, Wakumoto is largely self-taught in metal clay. When she began working with the material shortly after it was introduced, “the information just wasn’t out there, and I felt that working with it was the only way to go,” she says. “And I found I had to do it myself, because I’m trying to do different things, like marrying it with fabrication. So I just try it and see if it works. And if it doesn’t, well, sometimes perseverance pays off.”
CeCe Wire: Architectural Inspiration
CeCe Wire’s Bird House Bead II, made of PMC+, PMC+ paper, and sterling silver cable. Photo: Kyle Castle.
If CeCe Wire’s current work brings to mind nostalgic memories of rural America, well, it’s supposed to.
“Two days a week, I drive through farmland [on the way to work], and I sort of get nostalgic about growing up on a farm,” says Wire. “I know the reality is that it’s a lot of hard work, but my memories are those of a five-year-old, of hunting for kittens every day, of geese and ducks and Jack the Mule, and of flowers in the springtime.”
Wire has turned those romantic memories into a series of rings featuring barns and silos. “The images close to me now are silos and barns with interesting cupolas: as a shape, they intrigue me,” she says. “They’re architectural, but for me they also evoke these memories.”
Although Wire could have used traditional fabrication techniques to construct her barns, she finds metal clay frees her creative impulse. “With [metal clay] I can construct in the same way as with flat sheet, but the seams are held together with slip, which allows for seams that are not as perfect. It’s much faster and easier to construct that way,” she says. “[It also] gives more warmth to the piece: you can see the maker’s hand in it. When you solder-construct sheet metal, it has a certain coolness and crispness that’s actually less attractive. It can push people away because it’s so crisp and tight and fussy. There’s something about working with PMC that has more warmth and softness.”
Asian Assemblage, by CeCe Wire, of PMC+, woven PMC+ paper, sterling silver, sterling silver tubing, brass tubing, brass nuts and bolts, Nepalese chain, antique Chinese coin, carved horn, and ostrich eggshell. Wire calls this piece a “fusion of traditional metal working techniques with PMC.”
Wire builds barns and boxes by rolling out slabs of metal clay, allowing them to dry, and then assembling the piece from the dried, unfired components. “I work with [metal clay] more in the dry stage because it’s what I’m used to as a metalsmith,” she says. “So, for example, in assembling those barn structures I roll out slabs, sometimes I texture them, let them dry, and then I have walls and I can build just by ‘gluing’ things together [with metal clay slip.]”
Like most metal clay artists, Wire is fascinated by the variety of textures metal clay can take on. “With [metal clay] you can get a very deep, juicy texture that’s really not possible with a steel tool or hammer. The rolling mill is a very different type of texture, and it’s shallow by comparison,” she says.
That deep texture would also pose serious problems in traditional construction. “Texture gets in your way when you’re soldering,” Wire explains. “But with [metal clay] you can get an intricate texture, and then use slip [to join pieces] so it doesn’t become a hindrance in assembling.”
From her perch as director of the PMC Guild, Wire says she sees more and more sophisticated work being created, and is excited by the material’s potential. “I feel as if we’re just playing around at the tip of the iceberg,” she says. “We’re introducing glass and natural stones, using the gold as slip to encase things in gold, combining [metal clay] with porcelain and other ceramics — all of these have a lot of possibilities. I think there’s a whole world out there that has yet to be explored, and that really excites me.”
Suzanne Wade has written about the gem and jewelry industry for more than 10 years. Formerly editor/associate publisher of AJM magazine, she is now a part-time freelance writer, editor of the PMC Guild’s newsletter Studio PMC, and a full-time Mom.
To contact the artists in this article:
Kurt Madison, P.O. Box 833, Greenacres, WA, 99016, punctumdesign@yahoo.com
Wendy Wallin Malinow, (503) 697-3877 (phone/fax), 10815 SW Southridge, Portland, OR 97219
Carl Stanley, (805) 687-5415, cstan@earthlink.net
Gordon Uyehara, P.O. Box 1373, Aiea, HI 96701, gordon@honudream.com, www.honudream.com
Shahasp Valentine, (415) 920-9439, P.O. Box 460624, San Francisco, CA 94146, www.precieux.com.
Candice Wakumoto, PO Box 893113, Mililani, HI 96789, CandiceWakumoto@msn.com
CeCe Wire, (970) 419-5503, cece@PMCguild.com, www.PMCguild.com.