don't stay static

New Work!

2012-01-27T07:06:00.001-08:00

Squish Brooch One
2012
spandex, thread, brass, stainless steel, powder coating
Photography: Joseph Hyde

Squish Brooch Two
2012
Spandex, thread, polyester stuffing, brass, stainless steel, powder coating
photography: Joseph Hyde

Squish Brooch Three
2012
Spandex, thread, polyester stuffing, brass, stainless steel, powder coating
photography: Joseph Hyde

Cumbersome Ring
2012
spandex, thread, polyester stuffing, epoxy resin, craft glitter

Dispense: Glitter!
2012
SLS, aluminum, spray paint, epoxy resin, earth magnets, hardware
photography: Joseph Hyde

My Class Did A pretty Good Job This semester!

2011-12-20T04:05:00.000-08:00

Student Work, ART 118 - Introduction to Metals and Jewelry for Non-Art Majors, Fall 2011

Project #1: pop-UP!
Objective:
Create a stand-alone sculptural piece that has a theme. Begin learning basic fabrication techniques of copper sheet metal.
Techniques:
Jump shear use, sawing, piercing, bending, folding, hand forming, filing and finishing.

Project #2: Contain
Objective:
Create a container using Rhino CAD that is meant to hold a specific object of your choice. Begin learning basic Rhino CAD techniques and understand the concept of 3D printing. The student will have their container 3D printed at Shapeways.
Techniques:
Primitive shapes, line, extrusion, Boolean functions, edge duplication, additional techniques as needed.

Project 3: Ring Of Choice
Objective:
Create a ring that considers wearability and incorporates a found object. Begin learning basic ring shank fabrication techniques and non-traditional setting techniques which can house the found object. The student will also be introduced to the application of concept into jewelry.
Techniques:
Sizing, forming and soldering of a ring shank, wire prongs and tabs, filing, sanding, finishing.

Project #4: inFuse
Objective:
Create a functional tea infuser that is based on function, aesthetics and concept. Learn basic dapping and syncing fabrication techniques, cold connections and larger scale soldering techniques.
Techniques:
Dapping, syncing, boughing, planishing, and riveting (post, tube, flush).

Project #5: chain link chain link chain
Objective:
Create a functional sterling silver chain link necklace that is a minimum of 24” long with a functional clasp. Consider the shape, scale and unity of the links and the clasp.
Techniques:
Chain link making, chain link soldering and innovation of a basic functional clasp.

one of my new inflatable houses!

2011-11-30T07:10:00.000-08:00

klimt02.net

2011-11-15T04:25:00.001-08:00

You can now view my work on www.klimt02.net!
http://www.klimt02.net/jewellers/rachel-timmins

New Work!

2011-10-23T21:26:00.000-07:00

Tiny

Sylvia

and even more!

2011-06-08T12:58:00.000-07:00

i can't stop making these things..

and more.

2011-06-06T06:23:00.001-07:00

new brooch

2011-06-03T18:59:00.000-07:00

i think i feel a large series coming on...

spandex, batting, thread, powder coated copper, stainless steel

SNAG Update

2011-05-31T06:18:00.000-07:00

I usually do a lot of writing after SNAG every year. I think this year I'll tell you what happened with images.. and maybe a few choice words at the end.

The Pop Up Promenade was a HUGE success! I'd like to thank Brigitte Martin for all of her assistance and my partner in crime, Demi Thomloudis. Also, thanks to everyone who participated because we couldn't have done this with out you all!

I think the only thing I'd really like to expand on is the Exhibition in Motion. I feel really proud to have been included in such a wonderful event. This event pushed the idea of what an Exhibition in Motion usually is (a "runway" show) and took two different art forms and merged them together to create an uncontrolled, unplanned, purely emotional performance. The bond that was formed between the individual dancers and the objects they felt drawn to was truly remarkable.

"There was no where to run and it was kind of great." - John Grade

Exhibition in Motion, SNAG 2011

2011-05-29T17:46:00.000-07:00

have a listen to my interview with Jay Whaley on Bench Talk Radio!

2011-05-28T07:18:00.000-07:00

Listen to internet radio with whaleystudios on Blog Talk Radio

in progress

2011-05-25T05:40:00.000-07:00

here's a model:

And this is what I've got so far! I'm so close to being finished!

traditional\digital : glitterfied

2011-05-15T17:49:00.000-07:00

brooch series.

new work!

2011-03-11T19:24:00.000-08:00

i have fallen in love all over again.

2011-02-06T14:27:00.000-08:00

Rahzel's voice is my new dream boat. <3

2011-01-25T04:18:00.000-08:00

By These Mutant Hands
2010
foam, epoxy resin, craft glitter

myles and his carnival! (documentation shots)

2010-12-14T16:41:00.001-08:00

CraftForms 2010

2010-12-06T12:56:00.000-08:00

Rachel Timmins Speaks Briefly About Her Work At CraftForms 2010 from rachel timmins on Vimeo.

ingot pouring demo!

2010-11-29T11:12:00.000-08:00

Rachel Gives An Ingot Pouring Demo At Towson University from rachel timmins on Vimeo.

new work!

2010-11-29T04:21:00.000-08:00

Growth One.
2010
craft glitter, epoxy resin, foam
pbotography: joseph hyde

I Gave A Patina Demo At Towson

2010-10-14T07:20:00.001-07:00

for the metals club!

Rachel Gives A Patina Demo At Towson University For The Metals Club from rachel timmins on Vimeo.

nick cave

2010-10-09T10:25:00.000-07:00

i had a very bad accident

2010-10-06T09:17:00.000-07:00

with lots of martha glitter and resin.

i'm not anywhere near finished coping (or making) ... but the hardest part (i think) is done... almost.

The Big Picture Stuff, Personal Approach To My Work And Responses To My Work

2010-10-01T06:43:00.000-07:00

(for Dawn)
When do you first remember making art?
I know I've been painting ever since teachers made us stick our fingers in the stuff since preschool. But, the first time I remember making was at a birthday party I had. We made these octopuses out of tons or yarn and wrapped the yarn over a styrofoam ball to make the head. The legs were braided and mine had 2 different sized google eyes. I chose to make my octopus a lime green and florescent yellow. I find it interesting that the first thing I really remember making was "craft" and what I make now is still "craft" but in a much different sense. I still frequent jo-anns and collect hideous yarns that I'll never use.

What were the experiences like?
What experiences? Making stuff? Making stuff gets me frustrated because almost nothing turns out how I want it to. Even with my octopus, one of the google eyes kept falling off and I couldn't get it to stick exactly where I wanted it. I still struggle with similar things today but I find that I can laugh at it... sometimes.

What compelled you to return to art throughout your life?
I never fit in anywhere. I was the weird punk kid who doubled as a competitive figure skater. I used to skip lunch because I thought all the kids I went to high school with were morons and I'd hang out in the photography lab and develop prints instead. After a break in between high school and college (this and the choices I was making regarding modifying my body made my parents VERY upset), I started college as an art education major. One day I looked in the mirror and decided that no high school would ever hire me. I was in an intro to jewelry course (I thought piercings were cool so taking this made sense to me) and as soon as I sat in front of my bench pin, something felt right.

When did you first consider yourself an artist?
I don't think I'm an artist or a designer. I'm a maker and a craftsperson. I decided this fairly recently... within the last year, actually. "Artists" tend to be real prissy.. the whole mentality just isn't for me.

Write about an experience with a specific work of art (or body of work, piece of architecture, monument) that has affected you, in a positive or negative way. It may not have created a noticeable visual impact on your work, but the memory of it haunts you.

Stephen Saracino. That's all I have to say, really. He's my former professor. So yes, he's a super cool dude, really smart, overly (maybe) political. His work is ... brilliant. He is the reason that I'm still in this (or, maybe it's his fault I'm still in this). If I can ever be as amazing as he is at making, I can die knowing that I have accomplished the impossible.
www.stephensaracino.com

Who have been your artistic influences? What, in particular, about their work has been influential? Or, in what ways have they influenced you? Mention other influences as well, such as literary, musical, social, or political ones.
This is tough because we are all filled with millions of references. Aside from Stephan, I'd have to say Chris Burden. The dude is just totally fucked. He pushes boundaries. He pushes himself and his viewer. Sam Maloof (who sadly passed away recently). I know this one is from left field, but he has.. had, such a love for his craft (woodworking). He really cared about his materials and he cared about the people on his team. They were (are?) family. His rocking chairs are perfection and they are craft at its finest. I also look to Bruce Metcalf (who has become a dear friend). His more recent work is purely about sexuality (in the most luscious, respectful way) and craft. As much as I love his new work, I really relate to his figurative/narrative pieces. They are his inner self, his inner heart.. they are him. And by seeing them, you know who Bruce is. I think that his work allows people to relate to him and it asks the viewer to consider what they're seeing and why they're seeing it in the manner that they are. The viewer begins to have a dialogue with the work and they start to ask questions like "what's going on here" or "why? ... why not?" If he reads this, it's going to freak me out. (Hi Bruce!)
As for written influences... this is going to sound really dumb... but The Perks Of Being A Wallflower. It's such a touching story and it's one I can relate to on many levels. I think the core of this book shows in some of my pieces.

How does your work relate to art that has been produced in the past? How does it relate to art that you are seeing in your community, exhibitions, or in art publications? What is similar? What do you consider to be unique to you?
I think my work heavily relates to the craft field (specifically metals) in the present and past. In just the techniques that I use most (fabrication, lost wax casting, etc.), there is a heavy connection to the history of metalsmithing. I think it's important to keep the tradition alive and it is important to know where I come from. I lack this in being adopted and, seeing as making and craft are my "new home," I plan to keep the tradition around. Tradition in making gives a maker grounding and respect for those who came first. If you don't know the hardship of the craft, it is impossible to appreciate one of Tom Muir's integral hinges. Metal is important to me because it is a solid footing. A solid ground. Once I understand (understood? will always be learning..) how to work in metal and how to work smart in metal, experimentation with other materials becomes easier because I know that the base of the thing is going to work and it's going to support wherever else I screw up (unless I REALLY screw up). Metal is my rock, my foundation. Metal is reliable. I can't read the future, I have a difficult time reading books, but I can read metal. I started working in metal because i thought piercings were "super cool." Now, I think metal is a lot cooler then piercings. I find it interesting that my drive to modify my body brought me to craft. And now my drive to both modify and make are pushing me to show my complicated world to others. Craft is my way of inviting everyone along on my uncharted journey to somewhere. I'm not sure where any of this specifically fits in to galleries, exhibitions, publications, etc... but I know it fits somewhere. So, my work gets into random exhibitions and a few random books here and there. I'm okay with this because a large variety of people can get a taste.

What inspired you to create? Is it the materials you use? The places you see and visit? The people you know and meet? Your emotional state? Other artists' work? The mark you make on the page? Form specific ideas about the act of making art, not generalized phrases that appear in so many statements.
I create because I can't sit still, I can't sleep, I've got lots of stuff to say. I question why our society is the way that it is and I am an advocate for change and growth. I never feel at home. I feel as if I don't belong here, on this earth. The pieces I create start to give me a home, a place to live. They are the things that I want to see here and they are "the other." They don't belong here, either. I made I Love You, Mr. Potato! in late 2009. This is the time that I realized I didn't belong here, for sure. Mr. Potato is meant to go in his giant rocket ship to another planet to scope it out for me to see if I'd like it. I thought we could go there and be home. Well, he decided that he liked it so much that he stayed... and he left me here, to fend for myself, on this lonely earth. So, I'll stay here because I'm stuck (and maybe meant to be here). And I'll make things that make me more comfortable in my space. I am the homeless mutant and I'm starting to lay the foundation for my house.

How has your art evolved in the 5 years? 1 year? 6 months? Pick those that are appropriate to the length of your career and write about them. What has stayed the same? What are common threads? What has changed a little? What has changed dramatically? How have you felt about your art along the way?
My craft has evolved dramatically since I started in 2005. First, I had to learn technique. I went to my first SNAG conference (2008) in Savannah, GA, where Bruce Metcalf ripped my "portfolio" apart. I'm so glad he did. He abruptly closed it, looked at me, and said, "lets talk about you." And that's when this started. I wasn't in my pieces but the beginnings of technique, were. I started to look at why I choose to modify my body and I'm still discovering some of the reasons today. I think i'll be learning about this forever... or I hope I will. Once I got a handle on technique and a little bit of handle on myself and what was important to me, I started making narrative work. In telling a visual story to my viewer, I can communicate my ideas in a humorous manner... the undertones of the pieces are very serious and if the viewer chooses, they can look deeper. If they don't choose to do this, they can leave with a chuckle. Either way is okay with me. Now that I've started graduate school, narrative is still important... and making little creatures is like candy for me. But, in addition to these things, I've started to focus on body extremities and extensions. This puts the wearer of the piece in my position, in my life, albeit temporarily. But they still can feel how I feel. It's a visual communication but it's also a communication that has to do with the senses. The wearer can feel my restrictions, my constrictions and the weight that I feel every day when they wear one of my pieces.

Describe the process of thinking about your work and how it comes together in your mind. Do not describe the actual making of the work. How do you begin an artwork? What inspires you to start it? Then, what is the first step? Is it a drawing? a photograph? a single mark?
I usually see something or feel something that pisses me off and I need to make a joke about it to get it out of my system. I don't draw even though I'm good at it. I hate to draw and by the time I'm finished with the drawings, I hate the piece and I haven't even started it yet. I often make models. Usually, if I'm working in new materials, I'll run some tests (many many tests). If I'm working in materials I'm familiar with, I'll just start. Carving comes naturally (that's not to say that it's easy).

How do you physically go about putting a work of art together? What are the steps that are involved? Is this a process understood by the majority of people? Or would it be helpful for you to define it somehow? If so, try to find the words. Do you approach a traditional medium in a unique way?
I tend to use very traditional metalsmithing techniques in most of my work but in a non-traditional way. I don't think that the process really matters, other then the fact that I choose to work with these process because I enjoy them. Making is difficult and it's important to have some fun while you're making. I lean towards fabrication and lost wax casting for most of my work. I believe that I approach traditional techniques in a very unique way but I believe it is unique because the manifestations of the ideas that I'm working with are unique to the field.

Thinking back and looking back on what you have written so far this week, select the points that you feel are most relevant and unique about how you work.
The uncharted, unknown, unplanned journey is most important followed by the making of the building blocks for my home.

Are there any emotions you are trying to elicit? What are the formal qualities (line, shape, color, texture, etc.) you would like people to recognize? What do you want them to say about your use of materials? Or your subject matter? What would you really like for people to say about your art?
I try to get a reaction in response to my work. It almost doesn't matter what it is. All I want is for the viewer to consider what they are looking at and what it means to them. I want them to ask questions and try to find the answers. I tend to use lots of texture in my work. It's not that I can't sand metal to 1,000 grit... because I can. But, I'm a Metalsmith, not a jeweler. By texturing the metal, I am challenging the traditional polished finish of a "costly" "valuable" material. I take a lot of time to make sure that my textures are consistent and that they help to bring out certain qualities of the piece, where it be adding "fur" to an armadillo or small indents to show a "skin deformity." I want people to notice the materials that I use and question the combinations (ex: sterling silver, 14k gold, steel springs from a mechanical pencil and liquid electrical tape... what material worth is elevated and which materials are devalued in this combination?)

Write down at least three complete thoughts that would help guide people to examine your art more closely and, perhaps, elicit the responses you want/ hope for.
1. Please notice the tiny carved details, things like cactus designs on cowboy boots, my "signature" of "X" in the eyes of the characters who matter most, small spots of gold leaf which show importance to a particular spot and small movable elements like spinning spurs, spring loaded doors and tiny hinges.
2. Additionally, look at the material combinations and ask why certain things are made out of certain materials. There is a motive behind every material that I decide to use.
3. Scale is very important to the work. I hope that viewers will seriously examine my miniature figures... even with a magnifying glass if they so choose (maybe I should start including magnifying glasses in my displays for exhibition?) and that viewers can step back from the larger pieces... the whole picture is more important then the details in my larger work.

What are people really saying about your work and what can you write/say to guide them?
I think people feel a connection to what I make. Everyone can relate in one way or another whether it's through humor or the more serious undertones. People think my work is weird. "Out there." And I think they wonder, "What the fuck is going on here? Where does this girl come up with this stuff?"

Complete the following thoughts:
a. The subjects or style I choose are narrative because I can relate to what I'm making.
b. I am most inspired by the other. the mutant. the journey..
c. I choose my materials because i question their value or I use their traditional value to help show the viewer what is important..
d. I think viewers are most interested in my point of view.

i have a system

2010-09-13T15:54:00.001-07:00

(for dawn.)
helps keep a smooth even finish when applying long setting resin. :)

Untitled from rachel timmins on Vimeo.

AND

the mound.

dun - dun - duuuuunnnnnnn!

2010-09-10T06:19:00.000-07:00

"How to forget links between the local high school and the expensive art school, between the underpaid art teacher and the fashionistas of the international art brigade? How to convince the young painter, graduating from Yale's School Of Art (heavily in debt from it), that she does not need to move to New York City in order to succeed? If she believes that New York City is the only place, no matter how high the rents, how small the space, how arduous the works she must do to support herself while she also paints, then she inherently accepts the notion that the art world is circumscribed by sites of institutional and financial power and their facilitators: curators, collectors, dealers, critics. This vortex of economic power eschews the local: the small gallery in Hudson, New York; the museum in Columbus or Minneapolis or Ridgefield; and the cadres of local artists and writers in Los Angeles, Chicago, Kansas City,Philadelphia, Baltimore, Washington D.C., not to mention the extraordinary proliferation of such institutions and communities across the world."
-Ann Lauterbach

2010-09-03T08:06:00.000-07:00

For Dawn:

i can cast foam!

Additionally, I have my metaphor(s).
The unknown, uncharted journey of the humorous mutant who belongs somewhere else.

Remember:

stay true. stay true. staytrue.

2010-08-29T17:00:00.001-07:00

Jan (main faculty at Towson) asked me to think about narrative, figurative and representative, what they mean, how they relate, what their similarities are and what their differences are. Here is the result.

Ruudt Peters' Workshop

2010-08-15T10:16:00.000-07:00

"once you grasp beauty, the beauty is gone."

"be afraid of what you want."

"you can't change the world with one piece."

i am sorry to those of you who expected a large update. i can't bring myself to post what i have written. it was a very emotional and difficult time for me.

new work!

2010-07-19T15:01:00.001-07:00

2010-07-12T13:47:00.000-07:00

All charges have been dropped against Conklin. Watch this video and please tell me how this is LEGAL.

My choice to be vegan is my daily vote against brutality. Please choose to open your eyes and press play.

"Freaks Are The Much Needed Escape From The Humdrum. They Are Poetry" - Albert Parry, 1933

2010-06-27T08:50:00.001-07:00

Well, as some of you may or may not know, I am doing an independent study this summer on American Tattoo History which focuses on the late 1800s to the 1940s, as a part of my graduate studies at Towson University. In addition to gathering written sources, I decided to take a drive over to Black Anchor Tattoo in Denton, Maryland, to have a talk with a tattooer, Krooked Ken, who numerous living sources told me would be knowledgeable about my subject of interest. Here are the results of the visit.
The filmed interview is a little shy of 60 minutes long and unedited. If you don't have time for that, I suggest you concentrate on the end of our discussion, which heavily relates to the challenges of being tattooed and owning a tattoo business today. (To fast-forward in the video, allow it to completely buffer, first.)
Enjoy!
A huge special thanks goes out to Krooked Ken for his time, honesty and my new tattoo!

Rachel Timmins Interviews Krooked Ken at Black Anchor Tattoo from rachel timmins on Vimeo.

new necklaces!

2010-06-23T12:25:00.000-07:00

wanna' buy one?
orange necklace: industrial cut felt, snap clasp
translucent white: silicon rubber, snap clasp

2010-05-31T05:25:00.001-07:00

The day of receiving a new tattoo and the days after tend to be pretty rough for me. They don't feel like a part of me yet. I stare at them, a lot. This time, I am left wondering if I've made the right choice. I love what I've gotten. And I'm really excited to have some color put into it. My tattooer has done a wonderful job. I have spent a lot of time thinking about having my throat done before taking this leap. I didn't rush into it because I knew this would happen worse than ever before. Is this right for me? Is this what I want? Why do I want this? What does this mean for my future? Does what it means for my future even matter at this point? (As it stands, I've already got a lot of "job killers".) So, I'm sitting on our futon, obsessing and agonizing over something that I can't change. I guess what's really the worst of it is that this is something I have to think about. I have to question a personal choice that impacts my body and no one else's because society is afraid? I love being modified. I don't love all the "STUFF" that comes along with it. So, to answer my questions: Is this right for me? I think it is. But regardless of what I think, I'm stuck whether I want to be or not. Is this what I want? I think I do. Why do I want this? I believe tattoos/modifications to be a positive outlet. They give me energy. They force me to push myself (like what's happening right now, at this very moment) and they force me to push my body. They make me question the society that surrounds me and they show me who really loves me -- the people who care stuck around even though they didn't understand or they were afraid or embarrassed. They are a status symbol (not of money or monetary wealth.. at least not for me because we are not rich people by any means) but of emotional strength and devotion. My devotion to modification is the same as my devotion to my family/friends and to my craft. What does this mean for my future? I'm going to go on ahead and publicly accept that it might not mean good things. I would LOVE to teach metals at a university some day. But, lets be honest. To begin with, those positions are very few and far between. The old guys really stick around and I can't just WAIT for matt and i's whole life... always be ready to be ON THE MOVE to the next university. It'd be like being on-call for the rest of my life and I don't know that it's right to ask my husband to do that. Even though I'm the one obtaining my MFA, he's the one with the career. We only start to live better if he stays at one place for a long time. I'd say, that if we move for me to teach, I can do it once. As for my other options, I can open my own business with some financial assistance from my father (who, reluctantly at first but not so much now, really stuck around and supported me as best as he knew how through a lot of STUFF). My business idea (which I will not say publicly as I want it to be a surprise if/when it happens) I think (and hope) has great opportunity to thrive in almost any city if I pick the right part. Lastly, I could try to get a normal job. I don't know what a metalsmithing MFA can get me... maybe I could be a janitor. And, I'm not kidding. There is no chance in hell that a job which required public customer service would ever hire me UNLESS they were catering to the specific type of person that I appeal to. In addition, jobs care about work history. I have a lot. But it's not recent because in the past 2 years (and it will most likely continue to stay this way) I have been so focused on school and have been lucky enough to have financial support from my family that I haven't had to work. So, modification has lead to possible poverty. That's a realistic conclusion that I've come to in the past yet I continue to do what I love. Does this mean I'll inherently find my way? If I stay true? (My knuckles have the words "stay true" tattooed across them. Once you get something tattooed on you, you can't deviate. It's just the rules of the game.) If I believed in a God, I'd want to know if that God rewards those who follow the path that they believe is true and right for them instead of conforming to our societal standards (you know, assuming we're not hurting others). Does what this means for my future even matter at this point? Well, again, it's not just the throat tattoo here. It's the whole damn package that I've created. Either you like it or you don't (or your my childhood family and you put up with it because you feel you don't have another choice). I think this throat tattoo cuts my chances to succeed in the real world a little more than a lot of other stuff I've got. I think this is because it's completely unavoidable to whom ever is looking at me. My hair can kind of cover my ear lobes and my horns and a regular t-shirt covers most of my chest tattoos. When someone is speaking with you, they don't usually look at your hands and if I'm wearing long sleeves, that takes care of my arm tattoos. I guess I could wear a scarf and mittens? That seems more distracting than tattoos could ever be (unless they are weather appropriate).
Well, there we have it. I've answered all my questions in the most honest way that I know how. I'm not sure what any of this means for my future but I'm apprehensive and a little nervous. Do those who are honest and try their best to succeed and work hard always succeed? (ie: make a good wage, have good health care, not have to count pocket change, etc. I'm not talking about being rich, here. I'm just talking living comfortably.) The answer would be no. Will I work hard enough, be honest and true enough and be lucky enough to financially contribute to my family's home instead of being a leech (I know matt doesn't see it that way... but sometimes I do... How the hell are people home makers?) even though my life choices are not what fits this society's puzzle? I guess only the future can tell me. And all I can do is, what I can do. But, while I'm doing it, I will be waiting, impatiently, hating time and hating not knowing.

progress!

2010-05-30T13:45:00.000-07:00

some interesting tattoo tidbits

2010-05-26T07:11:00.000-07:00

In doing my tattoo history research for my ind. art history summer course, I stumbled upon a dissertation by Kathleen O'Malley Reyntjens. She obtained her degree of Doctor of Philosophy in the Graduate School of the Texas Woman's University in Denton, TX in 2001. While this research isn't related to the aspect of tattoo history that I'm looking into currently (1920's - 1950's North American tattooing), I sill find it interesting. So, here's some direct quotes from her dissertation:

"Quantitative results revealed that tattooed women were not significantly different from the control group on measures of body-esteem, self -harm, or psychological distress. Women with many tattoos had significantly highter self-esteem than nontattooed women and women with less tattoos, and the greater the body surface area tattooed the stronger the association with positive self esteem. Women with a history of abuse (44%) had significantly more tattoos, less self esteem, less family satisfaction, more self-harm, and more distress than women without a history of abuse. Abused women with many tattoos demonstrated a body esteem substancially equal to that of nonabused women, which, in combination with the positive association with self-esteem, nat reflect the use of tattoos as a healthy attempt in resolving trauma. Nonabused women with many tattoos were more dissatisfied with their family of origin than nonabused wimen with less tattoos or without tattoos."

And

"Pain is an integral part of the process, according to researchers and tattooees, and adds meaning to the experience. This is consistent with the social psychology hypothesis, secerity-of-initiation effect, which suggests that the greater one suffers in order to obtain something, the greater the tendency to evaluate it positively."

AND

"A tattooed woman blurs the assumptions about gender roles by implicitly rendering a statement of independence from societal messages that demand a woman's body to be pristine and pure for enjoyment of others. In contrast, Mifflin (1997) referred to the tattoo's ability to degrade as well as enhance, to "invoke the sacred and the inane," and illustrated this with an example of the common female biker's choice 'property of...'"

AND

"Tattoos are reported to be a form of self-definition and self-celebration symbolizing lifestyles, sexual identity, decisions about career choice, and relinquishing of taking on of roles. Tattooing as such a rite of passage is common in many cultures. Basquin (1983) referred to some tattooing in Western culture, however as an adolescent rite of passage and source of familial conflict, with coincident intimate involvement of parent and adolescent. The parent, she suggested, experienced anxiety when reminded of his/her own adolescent ambivalence, which then contributed to the parent-adolescent conflict surrounding the tattoo."

Carpal tunnel is kicking in... so i am signing off.

new necklace! yay!

2010-05-11T05:46:00.001-07:00

new MFA work.

2010-05-01T17:06:00.000-07:00

photography by KC Kratt from Buffalo, NY.
thanks to vincent pontillo for being a great model!

2010-04-26T05:57:00.000-07:00

here are some photos from my trip to buffalo this past weekend. i was OFFICIALLY awarded (because my first acceptance of the award apparently was not official enough) the dean's excellence award in design. it was a good trip. really quick. just over 24 hours, actually. anyway, here are some photos.

second, my CAD collaboration with 2 girls from Winthrop University is complete and i'm really excited to have it printed.

third, i had my throat tattooed yesterday by Adam Jeffrey at the Tattoo Museum in Baltimore. Being there inspired me to do some more research regarding tattoo history. i've got modification history pretty covered... but all the old school tattooers are pretty foreign to me. here are a few photos of the shop and of the first session on my throat! (only one or two more to go.)

the tattooing was the easy part. the flu-like tattoo sickness symptoms that come after getting a fair sized tattoo that takes a decent amount of time to accomplish a few hours later... SUCKS. today, i'm feeling better.

i made a necklace out of merino wool. i really love the playfulness of it. i'm thinking this might be the start of a new direction for me. i don't know where it'll go.. but i like what i've got so far.

lastly, i'm working on a belt piece. (maybe.) anyway, i'm doing to tests with electroforming. here's the start of one of them.

i have some in the bath already that are completely covered in copper conductive paint... i'm going to see how this one goes only covering some of it and keeping the plastic instead of burning it away. this might make my connections more difficult but if the aesthetic result is better... it'll be worth it. this also depends on how the acid in the bath reacts with the plastic and it's coloring. should be interesting.

i'll be back in buffalo AGAIN next weekend to do two presentations for two grants that i received and also to have some work professionally photographed by mr. KC Kratt. he always does a good job and is reasonably priced for students. hizzah!

2010-04-21T15:50:00.000-07:00

2010-04-19T14:20:00.000-07:00

chris burden is one of my new favorite people. he has obviously lost his mind and i feel that i can relate to him in how he thinks and in the performance pieces that he has done. there are not many artists that i REALLY want to meet in person. i can appreciate their work from afar and feel content with reading about them. sam maloof, a furniture craftsman, is an artist that i didn't have the pleasure meeting... and I really regret that I didn't make the effort. he was so vivid and filled with warmth that i thought he'd be around forever. he passed away in May of 2009. so, chris burden, i hope i will meet you some day. don't die on me. you have already influenced my way of thinking in a positive way (i think) and i'm hungry for more.

Lauren Kalman Notes From SNAG in Houston (finally!)

2010-04-17T14:43:00.000-07:00

Pearls, Papules, Pain and Piercing

-work based on observations of contemporary culture
-images read as text
- value can be determined by the superficial
- adornment is social obligation
- question cultural norms
- lady gaga
note: look at Charles Webber
- wealth = worked hard, loved by god, good addition to community (history)
- moral judgment is based on the amount of wealth someone accumulates
- jewelry is a unique display of wealth
- if someone shows wealth, they are assumed to be a good person because of statement made 3 points ago. i have wealth, therefore i worked hard, god loves me
- when we see disease, we assume things about that person and assume they have the disease for a moral reason
- i "beat" cancer --> person's character beats the illness
note: what happens if we can't win that war?
- AIDS
- social obligation to hide signs of illness
- visible decay reminds us of what we will be in the future -- we are easily corrupted
- braces -- shifting bones (teeth) in our face so we have a more acceptable smile
note: WEIRD!
- piercing/tattoos remind us of pain and mortality
note: pain, maybe. mortality? i don't think so
- the pain involved in extreme modification shows the person is strong enough to overcome others' reactions to it
note: NO FUCKING WAY. WRONG WRONG WRONG WRONG WRONG.
- beauty, illness, adornment overlap
note: maybe.
- overt sexuality was limited to the psychotic women in history
- images allow you to stare at a body that is not normally acceptable
note: people don't need images to stare
- work influenced by awkward medical images
- images of beauty and illness in fashion are blurred together --> pain into privilege
note: look at Lucy Rowlands
- boundaries between mutilation and enhancement is blurred
note: but usually only in the unacceptable/non traditional means
- corsetry --> socially ideal figure
note: only to a certain point.
note: look at Erica Duffy Voss

Bruce Metcalf workshop notes and workshop images will be coming soon, I think. the second day of the workshop is tomorrow. Tonight, I'm bringing Burrito to the potluck dinner. I'll be glad to have his company there.

I hope Bruce likes his brooch.

2010-04-16T18:31:00.000-07:00

Last Sunday, Matt and I went to see my grandparents in Manchester, NJ, where they've been living since I can remember.

My grandma and I used to be really close. As I got into my late teenage years, she had a very difficult time accepting almost every personal decision that I made. So, for the last eight years, our relationship has been extremely strained.

I went to see them because my mother made a point to tell me that my grandmother was starting to lose her short term memory. Both of my grandparents are very "with it" for their age and the realization that I'm lucky to have them around, and that they may not be around for much longer, really set in.

Our visit brought upon closure for me and for them, I think. They've learned to look through my alterations and they see the little girl that they loved so long ago.

My grandfather is very worried about my ability to make a living once I'm finished with graduate school but my grandmother is convinced that I will "make it" because I'm "very talented." Matt and my grandfather really hit it off. My grandfather understands Matt's career choice (welding). It's a "normal job." One that my grandfather would have worked when he was younger.

For the majority of Matt and I's marriage, my grandmother barely acknowledged his presence in the room on the off occasion that we were all together. By the time we left our recent visit to drive home, she embraced him for what felt like forever.

This visit has really been on my mind. Being around the same furniture, the same photographs, my drawings up in their "garage gallery," and even the same, ridiculously loud, old fashioned telephone was so surreal... but so familiar. We spent a long while asking them questions about their childhood, how they grew up, the war and the odd jobs that they worked. We learned about their neighborhood in Brooklyn and how no one ever felt poor because no one else around had anything different than what they had. I never knew about their past because I never knew to ask. They enjoyed telling their stories (sometimes more than once or twice in my grandmother's case) and we enjoyed hearing them (over and over again).

I guess I'm not sure why I felt the need to write this. It's not very well structured or well written ... but, here it is.

Tom Mann Workshop Notes -- a bit jumbled, sorry. oh, and this is Materia week 8 i think.

2010-04-08T07:55:00.001-07:00

I will post Lauren Kaulman notes sometime.. promise.

Here we go:

Book to read: Artist's Way

Let your audience know who are you. (1 specific style/trademark in your work.)

Carefully transition your aesthetic (when you're ready to change it) slowly so your clients can follow you.

Objects being photographed should cover at least 65% of the picture frame.

Ralph Debrimmer (NYC photographer... super good quality)

Establish ownership of your title/marketing name

Your visual vocabulary should tell your name to clients

Apply for public art opportunities (ie: large sculpture jobs or murals in cities)

"stone fetish system" - non-traditional stone setting techniques

display:
consider displaying pieces over images that show more about the concepts behind the work(s)

using a unique product in your work that no one else is using can be a positive marketing ploy

make a list of design vocabulary every day that you use in your work, write a paragraph statement on one of the words (also every day), create an archive -- helps with artist statements, bios, etc. for publication/press releases

artists have a constant silent conversation with themselves -- having this conversation with your audience will let your audience connect with you and your work.

our survival as artists depends on:
people depending on us to continue to make the work that brings joy to their lives

images! -- 98% of people will know about your work from an image on the web or in print. 2% will know about your work because they have seen it in person. changing the 98% to the 2% is necessary because the 2% is where the money is.

SEND THANK YOU CARDS TO YOUR CUSTOMERS

every artist needs a PR plan:

every opportunity you have to survive as an artist will come through the relationships you have established and that you work to make flourish.

PR is: the building and maintenance of critical human relationships.
1. make the world aware of YOU first, your work second.
2. establish a relationship of trust/confidence in your ability to meet the needs of the market of your work
3. encourage them to like you and have a positive attitude about you and your work.

images:
images of YOU (artist) are important ways of communicating/connecting with your audience -- add them to your bio and PR packets.
then
images of your work and of you creating said work
finally,
images of your life.

statements: bios/artist statements regarding concept, technique and materials helps to build a story regarding your work that your audience can relate to.

The Web:
IS PRIORITY

PR Kit:
when you send it out, don't expect to get it back.
put your logo on the cover of the folder
include: resume, post cards, cd with high res. images, articles written about you and a thank you card.
also, image of you. (prob. the first thing the person opening the folder should see.)
-follow up after sending your PR kit. did you get the kit? do you need anything else? thank you for your time.
-have 6+ kits ready to be sent out at any given time
- specialize/personalize your kit to whomever it is being sent to.

At craft shows:
usually, it's women buying jewelry for themselves
sometimes it's men buying jewelry for women
rarely it's men buying jewelry for themselves
-- close the sale with a female assistant at your booth. that is who your customer wants (female assistants = +++)

If pictured in a magazine -- ask for folio interior and put these in your PR kit

Approach a gallery:
BY NETWORKING

cost:
Labor + Materials x 6 = retail
Labor + Materials x 3 + wholesale

INFORM YOUR INTUITION before making a decision.

Become an LLC, C or S corporation. Protect yourself and your small business.

REGISTER where you are on consignment at that gallery in that state
(ex: google MD consignment agreements)
this will be your proof of ownership of your work if the gallery where your work is on loan goes under.

my ugly ottoman

2010-03-31T06:54:00.000-07:00

is finally here!
and professor adores it.

2010-03-29T05:31:00.000-07:00

post taken from http://crafthaus.ning.com

2010-03-26T06:18:00.000-07:00

ANYONE OUT THERE WANT TO COME WITH ME?

Thomas Mann will be visiting California University of PA April 6th and 7th.

He will give a lecture on his work April 6th in Duda Hall 103 at 6pm, followed by his famous Design For Survival workshop April 7th in Old Main Chapel (9am-4pm).

This event is free and open to the public. Please contact Jim Bove at BOVE@calu.edu (or via Jim'ss crafthaus page) to reserve your spot. Reservations are not required, but we would appreciate knowing how many to expect. Lunch during the workshop will be own your own. The campus and town have many places to eat, or feel free to enjoy your lunchbox on the beautiful campus.

Thomas Mann: Details from the Adventure
An artist tracks the path of his career from the early 70’s to the weird world of NOW.

Thomas Mann has been making his living as a fulltime art professional since he graduated from college in 1970. Best known for his “Techno-Romantic” jewelry designs he eschews the title of jeweler, and prefers the description that he is an artist working in the medium of jewelry. With a degree in technical theatre, set design and lighting, he also invents and builds large public art sculpture and installations. His touring exhibition “STORM CYCLE: An Artist Responds to Hurricane Katrina” is a blend of the many concept and techniques employed in his work.

Since the turn of the millennium, Mann and his production company, Thomas Mann Design Inc., and his gallery, Gallery I/O, both based in New Orleans, have survived the negative economic effects of 911, the death of his wife, Hurricane Katrina and now, this bizarre recession. As a result, he found it necessary to increase his creative output, up the number of events to present and sell his work, begin teaching hands-on workshops, start a new business venture, studioFLUX, and in general get busier than he’s ever been before.

Keeping in mind that the Chinese symbol for chaos means both danger and opportunity, this image driven lecture tracks the progression of events and
experiences that place him at the interesting and challenging crossroads of creativity, age, and semi-celebrity.

who are you, secret follower?

2010-03-19T18:05:00.000-07:00

okay! before i post regarding my piece in progress, i must say, i have a secret follower and it's creepin' me out!!! who are you, secret follower? if you know me (maybe you do), you know that i do not deal well with unknown factors. this will itch at me. and i will openly complain about not knowing your identity (even if it's only a virtual one). so, fess up! privately or publicly. whichever. okay? okay!

so, my laser cut felt finally came in.

and then i did this with the use of tabs and slots:

i'm pretty content with how it's coming. i'll rip up a bunch of the feathers and stitch them back together. and i've got some electroforming of some scrap wool that needs to be done. then the fun happens. putting on the electroformed bird feet in the back and making the vulture head and attaching it. i love seeing all the final elements come together. it's my favorite part of making a piece, i think. for more in-process shots of this piece, scroll down a few entries.

sadly, this is all the felt i have. obviously, not enough. so, i'll have to place another order and wait for another 3 weeks. BAH!

the rest of my evening will be consumed with riesling and king of the hill.

2010-03-18T07:04:00.000-07:00

the past few days have been over emotional and completely exhausting for yours truly. that aside, good things have happened:
1. my toyota yaris is completely paid off. FREEDOM! (at least for one car. one more to go.)
2. i am curating an online exhibition called "Oddly Wearable" through Crafthaus. if you are not a member, BECOME A MEMBER and then APPLY TO MY SHOW! (prospectus can be found on Crafhaus.)
3. i finished my "follow the leader"piece. i'm not sure if that's what i'll call it for sure but i'm excited that it's done and i revel in its imperfections.
4. tomorrow (friday) is my enormous throat tattoo consultation. i'm excited and nervous. i'm not sure what social repercussions this will have and i don't think i care. but, waiting just to wonder seems silly to me. so, here goes. i'll be glad to earn this tattoo as i expect it to be horribly painful... but, it will help me to channel the emotional madness that i've been dealing with and i believe this will be a positive experience.
5. studio time has been pretty solid aside from a few break downs. i'm working on gifts for friends and waiting on my laser cut felt to come in so i can finish up a vulture piece that i'm working on.
6. i'm progressing (very slowly) through Invisible Dragon by David Hickey. his sentences are long and this frustrates me. nevertheless, i'm underlining, making notes and trying my best to focus.

done with the numbers.
so, i'm off in a while to the Evergreen Museum to do an extra credit art history project and then to the studio to work.

i am lucky to have so much support.

huh.

2010-03-16T05:56:00.000-07:00

burrito found this OK Go music video. it's pretty brilliant. there are apparently some hidden cuts.. but i like to pretend there aren't.

SNAG update/materia week 7

2010-03-14T14:00:00.000-07:00

Let me start off by saying that I am never flying with Delta ever again.

There. Now that’s done and I guess I can start from the beginning. I left Burrito and my three furry bundles of joy on Wed afternoon. I was feeling like SNAG wasn’t supposed to be happening yet. It has been less than a year from the last conference and since the conference in Philadelphia and my life has gone under some major transitions. The idea that it was time for this again was surreal and felt unexpected regardless of the fact that I had known this trip was coming up for quite some time.

My flight from Baltimore to Houston was shaky. There was a ton of turbulence and I was surrounded by gun lovin’ republicans wearing flannel. Terrifying. I felt I could be dead at any moment.

I arrived in Houston to discover that my one checked suitcase didn’t arrive with me. Right. Great start. Lena and Hillary were meeting me at the airport. (They are new metals students at Buffalo State who I knew from co-teaching some of their classes. Both of them thought that they wanted to be metalsmiths for a living and I informed them that going to SNAG earlier rather than later would help them to make an educated decision on how they wanted to spend their education and their time.) Going to SNAG and participating in all that it has to offer seems to be the bare minimum essential requirement for metalsmiths-in-training. It allows us to see the field and all that it has to offer (both negative and positive).
I agreed to let Lena and Hillary share my room for no cost. After the first night, I realized that this was impeding on my personal space but I stuck to my word and felt it was important enough for them to be there that I sacrificed a bit of my own comfort. I found myself spending lots of time alone in the lobby, collecting my thoughts and watching people go up and down the elevators. I felt awkward without my “posse,” but, as it turns out, the alone time was good and many more people felt comfortable speaking with me than in the past. Seeing that “click” moment where people realized they could ask me questions and that I wouldn’t be offended was amusing to me. Being alone also allowed me to see how “clicky” this group of people really is. I never realized it before because I guess I’ve been just as group oriented as everyone else. When I was watching the glass elevators from the lobby, I witnessed SNAG goers staring out of them, examining the lobby and plotting their next move as to where they would sit and who they would spend time talking to. This made me giggle and I enjoyed watching people squirm when they felt uncomfortable with their given situation. In some cases, where a person didn’t see anyone they knew, they’d turn right back around, get on the elevator, and retreat to their room.

I found the majority of lectures to be of good quality. I took a particular interest in Lauren Kaulman (I’ll post my notes on her lecture at a later time). Most of her presentation and her work struck me as thoughtful, insightful, successful and beautiful. However, there were a few elements of her presentation that seems almost second hand and not as thought out as the rest. I scrutinized these elements because they happened to be the ones closely related to body modification (my area of expertise). Seeing my friends on screen as specimens (almost like scientific research) made me feel uneasy and a little invaded. With her scientific approach, Lauren took out what I feel is the most important part of body modification: the reasons people partake in it. Kaulman alluded to the idea that people who can endure the amount of pain that it takes to become heavily modified (there is a point where someone crosses a line that they can be seen as heavily modified… and I haven’t quite figured out a formula to be able to explain this) are strong enough to endure the social repercussions of their actions. I know for a fact that this is an incorrect assumption. After the lecture, I had a discussion with Andy Cooperman (super swell dude!). He said that he thought all eyes were on me during this part of her presentation, watching what my response would be. I find it interesting that no one asked me what I thought. I guess folks were nervous to acknowledge the elephant in the room? Everyone is curious.. why not ask? The modification component of her presentation also struck me as “off.” Most of her work is based on disease, illness and bodily imperfections that we don’t choose. The concept of speaking of body modification (a very intentional means of changing) clashed with the rest of her ideas. I would like to speak with her about this. I believe she is not well informed on the subject and I wonder what a conversation between us would be like and what impact it would have.

Moving on.
I had three pieces in two professional shows this year. I was surprised and pleased to see how receptive people were. Andy made it a point to tell me how much he enjoyed my piece, I Want To Be A Gold Lobster With Blue Puffs. He also inquired on obtaining a photograph. Fabulous! One of the main editors from Lark Books, Marthe Le Van (Lark Books Acquisitions Editor), informed me that she had the image of my piece, I Want To Be A Unicorn, on her desktop background because she, “just had to live with it for a while.” She was so thrilled to see that piece in the eXtremeties show and practically gushed as I gave her more information on my ideas behind the piece. This made me really, really happy.

Now, I can officially say that I've been exhibited along side of Dennis Nahabetian... and I think that's pretty cool. :)

I feel as if I’m coming out of the woodwork. It’s strange because I never really felt like people would embrace what I make. I am strange and quirky… and my pieces are, too. They can be hard to handle and difficult to grasp. The husband and wife from 2roses came up to me on the final night because they just, “had to meet [me] face to face.” What the jizz? This is brilliant. I guess because people don’t directly say anything (positive or negative) on the interweb that it doesn’t mean they aren’t considering, thinking, observing and remembering.
I thought that the exhibition in motion was a bit of a let-down (especially in comparison to last year). The venue wasn’t as successful and, while there were a few select pieces that I enjoyed, the majority weren’t up to par in my books. I thoroughly enjoyed eXtremeties, eXtreme Tea and eXtreme Beauty. The shows were well organized, well put together and most of the work was well executed and enjoyable to look at and think about.

One of the highlights of this SNAG, just like the previous two conferences, was my time spent with Bruce. He’s a brilliant mind and I’m glad he enjoys my person (I certainly enjoy his). Our conversations and time together is very special to me. We chatted for about three and a half hours on Friday night after the conclusion of the gallery tour over Thai food. He had Pad Thai and beer and I had Spicy Basil Tofu and Vodka-cranberry. We talked about education, reading, personal tidbits and exploration. He opened up to me much more than in the past and it made me feel that our strange friendship is becoming more mutual and less one-sided. (Usually, I’d share all and he’d ask a lot of questions.) I feel a certain trust and a most certain truth to our conversations. I will continue to be excited for more. I can’t remember how it came up, as our talk was very organic and fluid, but we’ve decided to trade brooches. I’ll make him one and he’ll make me one in response. After many verbal conversations, I’m thrilled to have a visual one. Our time on the dance floor with Kim was nothing short of endearing. That man has the stamina of a five-year-old child… even though he may not think he does. I think I’ll make an effort to see him more than once a year as he said that he’d like for that to be the case.
(FYI: I turn bright red at the change of any emotion that I’m having… however, in this particular case, I had previously been ripping up the dance floor.)

Spending the majority of this conference on my own allowed me to make connections and have conversations on my own terms. I met an interesting fellow, Simon, who is an experimental undergrad from somewhere in Texas. He asked wonderful questions and I enjoyed his company. I made a new friend, Jessica, who I’ve seen before but never connected with. And, for the first-ish time, I came in contact with (here comes the name dropping) Andy Copperman, Billie Thiede, David Gooding, 2roses, Michael Bernard, Edward McCarthy, Marthe Le Van (Lark Books Acquisitions Editor), Michelle Pajak-Reynolds, Elliott Gaskin, Rickson, Phil Carizzi and others. I rekindled with Tom Muir, Brigitte Martin, Bruce Metcalf, Kathleen Browne and Kim Voight (who I have the pleasure of seeing every Monday in CAD class). I missed connections with Lauren Kaulman, Christine Beeler and Arthur Hash (although I think we were all aware of each other’s existence at this conference) and I will try to deal with this better at a later date.

So, SNAG in Houston, you started off slow, awkward and bumpy for me. But you gradually got better and better. After it’s all said and done, I’m glad I went and I’ll be doing it again next year.
Houston, you were a little scary for me. Your overall political views frighten me to pieces but there’s something about your hospitality that makes me feel at home. SNAG stormed in on you, made you uncomfortable for four long days and left you just the way we found you... maybe. I felt as if I was intruding a little on your culture and I think you might have liked it a little.
As I’m writing this, I’m on the second part of my flight back to Baltimore. I’m excited to continue working on some in progress pieces (pictures in a few entries below) and also stoked to start on Bruce’s Brooch (I think that’s what I’ll call it). In the cards for the rest of today: at least 3 glasses of Riesling, lots of cat cuddling, some napping and some still time with Burrito.
Back to the studio tomorrow, I think. I’m really happy with that.

Quotes That Stuck:
“Uhhhp! This one’s not good. Nope, that one won’t be good either.” – Tom Muir (in reference to our photos)
“I just had to live with this piece in my space.”
“When someone asks ‘why?’ it shows they are engaged.”
“You two should connect.”
"Someone that shows wealth is assumed to be a good person."
Lastly,
“Did that hurt?”

2010-03-11T06:43:00.001-08:00

my hair just keeps getting bigger by the day. ha!

texas is wonderful. SNAG is good. i'm overwhelmed, but that's normal. taking photos is always awkward... but i'll try my best.

hair cut

2010-03-09T19:55:00.000-08:00

thanks to ms. frances sand for my new hair cut! just in time for SNAG, too.

i'll update as much as i can but am unsure of the internet situation at the hotel. if not lots of small updates... expect one whopping one on sunday.

stoked!

Materia Week 6

2010-03-09T05:51:00.000-08:00

Photos of work in progress as requested by Mrs. Nahabetian.
Also, a big CONGRATULATIONS to Sooja Lee for her super prestigious award! Go, Sooja!

The first set of photos are for my vulture-shaul ... thing. i'm still waiting on Ponoko to deliver my laser cut feathers which will be the bulk of the piece. I'm thinking that it will look sort of like "franken-vulture." some of the remnants of the laser cut felt will be sewn together to form the vulture head and neck and there will be pieces of electroformed felt mixed in there to add some extra nastiness and to create unity between the beak, eyes/eyelids and feet.

the second piece that is in progress is made mostly of sterling silver and small amounts of plastic. I used a technique that Sooja discovered last semester with plastic domes and fusing silver to them and fusing them to silver. Basically, it's a featherless chicken named Brois who has cyclops minions.

SNAG is tomorrow. I'm stoked on going to Texas. I really enjoy the south... but the overall mentality also terrifies me quite a bit. This should be a really wonderful experience and I'm stoked!

bird feet

2010-03-01T15:24:00.000-08:00

ARE IN!
time for some electroforming...

i'm back!

2010-02-27T11:24:00.001-08:00

and i'm tired.
lots of work to do.

Materia Week 5

2010-02-25T06:05:00.000-08:00

Well, seeing as I need to miss Materia class today, I figured I'd supplement with my weekly Materia blog post.
I made my first order from Ponoko.com this week. Totally exciting! (Mostly, I'm excited that dealing with Illustrator and following precise uploading file instructions is over.) While I'm waiting on that, I've started to design my vulture head for this piece. Below are photos of my paper model that I'm really happy with. It got me thinking about potential issues that I'll have and how I want to go about building the piece.

The beak will be formed out of copper (as well as the eye lids) and the rest of the vulture head will be hand stitched together with remnants and leftovers of the laser cut felt. I have also ordered very large bird feet and plan on electroforming them (1. i get an electroforming experience which i have yet to have and 2. they'll unify the copper beak and jingle around).

Yesterday, Amy and I ventured over to ACC with Janet. It was a bit of a let-down but a good experience to have. I snapped a few photos of the RISD and SCAD booths (Towson: we should do this!) and another booth that I thought was nice (but the owner of this booth was very rude and I almost regret asking for her permission to photograph). Photographs are taking too long to upload... expect them later.

I'm really excited to see everyone at Buffalo State today. I miss Tara and Steve very much and am excited to see some of my former classmates and Skinny Perv. I hope the snow doesn't fall too much so my already thin schedule doesn't rip apart. (Thinking of working with nylon stockings lately ... apparently the material is haunting my brain and has come through in an analogy already. oi!)

whirlwind.

2010-02-22T16:15:00.000-08:00

Thursday:
present my work to undergrads, grads and faculty at 1pm.
catch a 4:15pm flight.
arrive in Buffalo at 5:15pm.
arrive at Buffalo State at 6pm for reasons I'm not allowed to publicly say yet.
spend time in Buffalo on Friday.
Fly back to Baltimore Saturday morning and arrive back at 11am.
Oi-Vey.

a new start

2010-02-20T09:01:00.001-08:00

Materia Week 4

2010-02-19T08:47:00.000-08:00

I found a fabric store that is local to the Towson/Baltimore area! It's owned by a cute little old man and they have a giant selection of fabrics, threads and buttons. It's located at 6324 Falls Road, Baltimore, MD, 21209. They have great hours: Mon and Thurs: 10am-9pm, Tues, Wed, Fri, Sat: 10am-5pm.

I've got some thoughts on pieces involving vultures and neanderthals. this should be a fun ride.

it's official.

2010-02-18T19:57:00.000-08:00

i received my diploma in the mail yesterday!

as for materia class: c'mon undergrads! get your stuff together! today was RIDICULOUS. where was the input and insight? where were the suggestions and the support? and how were people so unprepared?! we had a whole week off and the weather was certainly not conducive to sun bathing.

tomorrow i'll attempt some illustrator/ponoko and i've got a trip planned to a hole-in-the-wall fabric store that is supposed to have a very large selection of faux fur... STOKED!

2010-02-15T06:05:00.000-08:00

well, lets re-cap.

on my way to the NICHE Awards ceremony, I hit traffic... OF COURSE. I was able to start parking at 6pm... which is when I was supposed to be inside at the ceremony. I was being directed by a man in an expensive lot as to where to park. He took my $14, gave ma a ticket and RAN AWAY! the guy at that worked at the lot asked if I had paid the man that ran off... I told him that I had. He told me that I had to pay him, chase after the other man or I needed to move my car. I cried... well, almost. I was not about to chase after a man and risk getting stabbed over $14. I moved my car. I found street parking... but it was a super tiny spot.. so, half of my tiny Yaris was sticking out into the street. I had to pay another $5 to park. I went to the ceremony to discover that it was only the reception that was at 6pm and that the ceremony was at 6:45pm. Okay, sort of a relief. Being at this reception was like being at an art opening but with no art to look at and I didn't know one single person there... and I was by myself. Awkwarrrdddddddddd! We all file into the aud. and sit. Speakers come on, blah blah blah, some really nice pieces were shown... so were some super crappy ones. My group comes up and Gerald received the best reaction out of any of the pieces shown. People giggled and whispered to each other about how "cute" he was. Gerald didn't win the award but he got the best reaction out of the crowd... and that is more than enough for me.

On my way out, I tried to get a couple of quick photos of the NICHE finalists' display... I got yelled at so I only got one.

Honestly, the highlight of the evening was spending time with Frances, Shawn, Wicket, Shadow and Pie Face. The gay leather bar was... well, it smelled like balls. We were served drinks by topless men with bad tattoos. It was awkward but we got a laugh. Shawn was filled with stories about working for Amazon.

Here are Pie Face photos:

Lastly, I won't say much because this is the interweb and word travels fast... I will say that the Buyer's Market was the oddest, unexpected experience that I've had in a really long time. I learned a lot about display and a lot about what the commercial world is about... as it stands, I don't think that particular world is one I want my work to be apart of.

Materia Week 3

2010-02-12T08:29:00.001-08:00

class has been cancelled all week! what a bummer! ...although it worked in my favor yesterday.

almost done!
i figured out a clasp that i'm pretty happy with.
i'm not entirely sure how i feel about the addition of the gold leaf... but i think it's growing on me. i had to make a decision based on a choice that i created via making samples: add pearls or add gold leaf. both materials worked conceptually so it came down to making an aesthetic decision. adding pearls would have been a very safe decision; the colour of the pearls was similar to the wool, the shape of the pearls was similar to the shape of the rounded forms that make up the neckpiece and they could be easily added and removed because they would be stitched in. the addition of the gold leaf completely changed the feel of the piece, it is impossible to remove because of the chemical bonding used and is difficult to clean small extra pieces of gold leaf off of the wool. i took a walk on the dangerous side and this is what i've got to show for it.

aside from that, today is the NICHE awards ceremony. i'm not nervous as i'm assuming i won't win... but being a finalist is a pretty huge honor and i'm excited to see the other finalist pieces in person. i drove out to Philly yesterday to drop Gerald off to be put on display... too bad one of his toes broke off during travel. :( so, i had to get some super glue and do a quick-fix so i'd feel comfortable leaving him on display... i'll try to properly fix him after the show... i'm wondering if it's time to retire him?

FYI: NICHE knows how to properly display work! holy hell! everything in those cases looks great!

today, after i drive back to Philly and go to the awards ceremony, I'll be staying with my friend, frances, and her super cute kitties! we will go and visit shawn at a gay leather bar... we'll be totally out of our element but in for a laugh. tomorrow i'll head back to the Buyer's Market and see if I can get in... they never sent me a guest badge... maybe I'm not checking in somewhere? Nothing with this seems to be quite clear... and then I'll head home.

Expect photos.

website!

2010-02-10T21:24:00.000-08:00

FINALLY! my website is up and running thanks to Burrito.
take a look:
http://www.racheltimmins.com

Second Life

2010-02-09T14:20:00.001-08:00

starting to get the hang of it. here are some images of "lobster central." i tried to make the exterior have a texture/colour that could be associated with lobsters and the layers of the structure resemble the body of a lobster, i think. i'd like to make a little wooden sign that says "lobster central" but couldn't figure out how to do that. ahh well. enough of this for today.

good luck to tara on her promotion presentation tomorrow! i'm sure you'll do great, tara! ♥

i bet school will be cancelled tomorrow. ugh. at least i have no classes scheduled for wednesdays... most people would be glad that school is closed due to weather... yeh, not me.

2010-02-06T06:59:00.001-08:00

looks like we brought the snow with us from Buffalo... sorry Maryland! just because you're south of the Mason Dixon doesn't mean you're safe..

Materia Week 2

2010-02-05T18:13:00.000-08:00

Progress.

Materia Week 1

2010-01-30T09:38:00.000-08:00

Wow, this past week has been totally exciting and overwhelming... which makes for a totally exhausted rachel. For the materials class, we are required to post weekly about ..err.. something that has to do with materials. I've started on some samples and am really happy with how they're coming. I don't want to reveal too much as I enjoy suspense and surprise, so I'll leave you with an image of a material that I feel has been successful thus far.

I've been made an author on the official Materia Blog. You can find that blog here!

and, on a side note that is not related to Materia, Mr. Pink has been riding the lobster worm almost every day.

2010-01-04T13:40:00.000-08:00

first, my stomach is FINISHED.

second, burrito and i are in Towson, MD!

third, i am a NICHE Student Awards Finalist!

fourth, i'm registered for my first grad semester at Towson.

fifth, i'm exhausted and getting sick.

oi-vey.

2009-12-30T15:02:00.001-08:00

i leave tomorrow at 5am for Towson. burrito will leave a few hours later. i smoked weed with my mother the first time, ever, yesterday. i felt like i was in an episode of the twilight zone. that woman can't roll a joint to save her life... at least not a proper one.

bruce sent me this really neat image. according to him, lady gaga sports these bad boys! i think that these and other similar fashion items question our society's ideas on function and practicality. i wonder if they're at all comfortable? i get tattooed because, after the healing is done, i don't have to think about accessorizing or if my fashion choices will get in the way of my every day to day activities. my tattoos inhibit my life in ways like finding a job and being taken seriously both in and out of my field (metalsmithing/craft). but, my tattoos don't effect how i walk or physically function. hopefully, tattoos are forever and the person sporting them is committed. shoes are temporary- you can take them off at the end of the day and stretch your feet (barring foot binding). but, when wearing non-practical shoes, if one were to slip, fall and die from a concussion, many more unfortunate and unplanned events would have to take place. which is more practical? lady gaga's lobster shoes or tattoos? huh.

burrito's hot tamale brooch

2009-12-21T04:59:00.000-08:00

materials: maple wood, 24k gold leaf, red paint, fishing line, copper/steel pin back

i made it!

2009-12-16T14:23:00.000-08:00

i unofficially officially earned my BFA in metal/jewelry design (with a minor in sculpture) from Buffalo State College! what a relief!

i had my final critique today. it was really really strange. i thought i would be sad. i guess i feel sort of like i'm free. i left feeling angry, too. our crit went over the allotted time and since i'm the only person taking a grad credit and i'm not technically in the junior/senior class, tara had me go last (totally fair). more than half of my class left before i could even take my piece out of hiding and present it. i helped these people. i gave them tips and tricks. i gave them good crits and good ideas. i helped them to be better and they didn't want to help me by telling me what they thought of the work i did. you'd think they'd WANT to see good work. the amount of disrespect was unnerving. exhausting, even. yup. i feel sort of like i'm free. i hope this doesn't directly offend anyone... but i feel kind of offended. thank you to those of you who stayed. it is noted and appreciated. regardless, i got a lot of good feedback.. :)

i haven't seen burrito in almost a week. well, we've seen each other in passing. and at lunch with his parents (not the most personal or fun time). this will change, at least for a few days, starting tomorrow afternoon.

tomorrow we're off to baltimore to go apartment hunting for us and job hunting for him.

before that, i have a photo apt with Bruce Fox (expect photos) and hopefully i'll make it to the applied class' crit and give some good input... at a minimum, i'd at least like to see what they've got. :)

i was featured on

2009-12-14T16:46:00.000-08:00

MODBLOG!
you should all go and take a look.

in other news, Lark Books invited me to be in their 500 Felt Object book. Super stoked on that.

burrito and i are feeling really pressured. we have to pick up all our stuff, our 3 cats and our lives and uproot to a new home in a new state with a new job and new school all by the end of the month. i'm just trying to remember to breath.

my piece is finished. everyone can see it if tara will give me some time to show and tell with the rest of the advanced class. *AHEM, TARA!*

i've made a photo apt with Bruce Fox for Thurs morning (the day burrito and i fly to baltimore to look for a place to live) to have my most recent work photographed. you all should expect to see it soon. :)

more exhibition photos

2009-12-02T19:03:00.000-08:00

exhibition walkthrough, opening night and set-up photos. enjoy!

2009-11-25T15:06:00.000-08:00

all in all, everything went great. i received a lot of positive feedback. a few nearest and dearest said it was better than a lot of MFA shows they've seen.. woohoo! it got crowded enough that people had a hard time moving and i was nervous for some of my pieces! i felt like it was a rock concert or something..
i haven't slept in three days. burrito and i leave for florida at 7am tomorrow morning. flying on thanksgiving is going to be dreadful.
anyway, i hope you all have a great holiday. :)
oh! and! guess who got accepted to Towson University's studio art MFA program? :)

twas' technically the morning before installing my solo exhibition

2009-11-22T03:49:00.000-08:00

i can not sleep. i set up my show later today.. 10am. u-haul pick-up in scheduled for 9am. so, i'm chillin' like a creep in the dark with professor. my mind won't stop working. even the pot didn't help this time... it usually does. i've been going over and over everything i need to bring tomorrow.. everything i need to have at certain points in the day and everything i still need to buy. camera and video camera are both charged, drills are charging now. all of my pieces are packaged and ready to go... i hope they're ready to go. last minute clean-up would just be the worst. i still need to contact my models to confirm that they should be 15mins early for the opening ... maybe 30mins. yes. 30mins. 5 person bulk text goes out tomorrow.

i have two guys that matter (husband and best friend) helping. burrito knows how to instal and fears my wrath... skinny perv. knows how to follow directions and also fears my wrath... all in all, a good instal team, i think. jozef bajus, a fiber artist/professor from Bratislava who teaches at Buffalo State, will be popping in around 1pm to see "how everything is coming." this is where he completely rearranges everything that i've done and i'm okay with that happening.

i bleached my hair... i think i don't like it. it's too yellow even though i put in the blue stuff to cancel out the oranges. oh well. it's a bad thing to need change a day before something that really really really matters.

hopefully bruce's good luck e-mail will hold true.

another store in the city wants my jewelry on consignment... i don't think i have time right now. maybe i do. i don't think i do.

i shelled out the $400 for some anatometal bling plugs... i wish they'd get here.

one of my pieces was posted in the Buffalo News GUSTO on friday.. exciting and nerve wreaking.

also, some of my work was published in the art buzz book. i got an e-mail today stating that i won second prize in the mixed media sculpture category. too bad i don't remember what second place actually means. oh well.

i have a new favorite song. i know every word. every single word.

etsy broke me

2009-11-14T17:20:00.001-08:00

Etsy
Buy Handmade
racheltimmins

studio photos

2009-11-12T13:29:00.000-08:00

thanks to pei-chen. :)

be there!

2009-11-10T12:42:00.001-08:00

holla' at yer girl!

2009-11-04T10:04:00.000-08:00

Photos By Bruce Fox

re-worked artist statement

2009-10-26T16:39:00.001-07:00

“Sir, your armor will not fit me, but I find it suiting you.” -Erik Peterson, musician/political activist

Modification, manipulation and mutation are concepts that are prominently featured in my figurative work and how I choose to live my life. Modification has changed the way that I see myself and the way the rest of the world responds to my appearance. The choice to heavily modify and permanently adorn my body has made my life difficult and rewarding. Many of my works include stitching and repetition expressed in metal and fiber, which are powerful ways of showing the process of physical healing, emotional restoration and metamorphosis. It is in making wearable, non-functional jewelry that constricts the wearer’s movements that allows both the viewer and the wearer to step into my place in this world. I use both humor and irony to create layers of meaning in my pieces and I strive for my works create a push-pull feeling between the viewer and the piece. In my current work, I try to show how our experiences can consume and change us into something that we never knew we could be.

steven: the alcoholic rabbit killer

2009-10-22T14:57:00.001-07:00

Summer Research Fellowship

2009-10-21T11:10:00.000-07:00

Operation: Destruct/Infuse

2009-10-16T06:24:00.000-07:00

will be included in Tom Muir's eXtreme Tea Exhibition.

exhibition dates

January 16th - March 21, 2010.

location

Houston Center for Contemporary Craft

4848 Main St., Houston, TX, 77002

eXtreme Tea will be on display during the SNAG 2010 annual conference.

hooray!

Photos from Bruce Fox

2009-09-12T20:51:00.001-07:00

i just found photos of Vince and I working in the studio. They can be found here:

http://www.buffalostate.edu/offices/ir/Photography/20090720_pontillo_timmins/index.html

2009-09-12T17:21:00.000-07:00

capernica caught a bee and i was totally thrilled!

i can't find my keys and because of this i missed the Birchfield Craft Exhibit opening... what a bummer. so, while i have been moping at home and searching for my keys, i have stretched my helixes to 9/16ths. easy!

gerald

2009-08-25T07:52:00.000-07:00

Gerald: The Vulture Lobster Mutant will be on exhibit in Lincoln, NE, for the Art of Fine Craft National Juried Exhibition at the Nebraska Wesleyan University.

Exhibition dates: 10/1/09 - 11/8/09

2009-08-24T06:20:00.000-07:00

D & D yesterday. usually i really like going but i'm not really feeling like myself. i took too much ibu profen the day before last... 3,200mg to be exact. big mistake. i woke burrito up afraid i'd taken too much for my body to handle. turns out that 3,200mg is the absolute maximum recommended dosage to take within 24 hours (which just happens to be what i took). i was informed by a la interweb that i'd have to take about 30,000mg to kill myself (this amount usually depends on your weight). this made me feel better even though all i really wanted to do was vomit.
my jewelry is sitting slightly crooked. and it's bumming me out. the cut is centered and straight. and i don't understand why it's sitting a little under a millimeter crooked.
i went to D & D prepared with my lemon ice treat that burrito got me from anderson's, ice cubes, and ibu profen. this made me look like a bigger nerd than our entire D & D party combined. AWESOME.
burrito has been really good about me feeling super gross. he really is a good guy and i'm glad i have him. :)
professor and i fell together on my "almost overdose" night. she scratched my thigh when we landed on the floor at 4am. burrito shot out of bed ready to fight. it was funny and laughing made my lip bleed a lot. it took a morning, but professor and i are still friends.