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My idea of what the Steampunk Bride should wear. VIntage clock parts, chandelier trim, vintage costume jewelry elements.
A closer look at the old alphabet stamp set I found at the flea market today. It is missing the letter "I", but came with an ampersand.
Old lock creates body for this dada art doll with a rusty beverage can top with the original openings for her eyes.
A rusty old bike chain makes her arms, shoulders and hands.
SOLD
One of the pearl chains hung with the pendant.
Taken with Panasonic 20mm f1.7 lens on Panasonic GX7.
Another piece utilizing the great techniques I learned this summer with Diane Falkenhagen. This one combines some really gorgeous snail? shells from a very vintage necklace and makes use of a watch case half as a centerpiece. The other elements are either brass ovals with resin, mica, gold leaf and a shell or some more roughly gold-leafed papier mache/polymer beads. This one will probably be entered in an upcoming juried show.
polymer clay, postage stamp, typewriter parts, camera parts, steel wire, sterling silver, acrylic paint, acrylic medium.
Base is a Formica color sample (grunged). Objects include pocket watch part with eyelets added, photo turns, key, metal corner, amusement token, suspender clip and hardware. Antique copper ballchain by Tim Holtz (available at Bonnie's Best.)
Originally a key-ring/pendant, the customer wanted to wear it as a brooch. I didn't want to compromise the functionality of the knife or to damage either of the engraved sides, so we agreed to make a bar-brooch and hang the knife removably from it.
Taken with Panasonic 20mm f1.7 lens on Panasonic GX7.
Based in London, New York, Los Angeles and Chicago, The Mill collaborate on award-winning (you can't help but notice the prominently displayed Oscar and two BAFTA awards as you walked into their London base) moving image, design and digital projects for the advertising, film, TV, games and music industry. They also put the two massive front windows of their London building to good use as a display areas for contemporary artwork.
So I was rather pleased when they invited me to exhibit my work in their London space (40-41 Great Marlborough Street, at the top of Carnaby Street, and a few doors along from the Liberty Store) for the whole of June and July 2013.
For the show I installed four works; in the deeper window, Orifice Tower, Pharos Cyclops #1 and 2, and in the shallow window, Planetoid 210. Although all three pieces (for the sake of argument I'll call 'Pharos Cyclops #1 and 2' one piece for now) share certain commonalities, they are also examples of different lines of enquiry that I have pursued. For this installation I wanted to give an insight into the divergent aspect of my practice; to show how various works can trigger ideas for newer and slightly different pieces, which in turn lead to further, and thus less related, works. To highlight this aspect of the development of my work I displayed the two Cyclops pieces on bright green deckchairs, the colour of which is a reference to one of my earliest sculptures, And When I'm a Man (I'll Think as a Man). Being bright green and made of fibreglass, plastic and resin, this earlier work offers a stark contrast to the directs of much of my current work.
Found in our garden in Herne Hill South London 1979. Its either very old or someone's failed ceramics project...
Centerpiece is made with vintage tin segment,brass filigree,
and a bezel-set carnelian.
Handmade sterling chain with more carnelian dangles
Acrylic painting on canvas, focusing on textures. Used palette knives, saran wrap, netting, and some found objects.
burn barrel cover, rope, wild turkey feathers, vintage iron plate, hinge, electric pole number, glass beads, clock gears, assemblage, spade terminals, dome nuts, constellation maps, found object
20.5"
A single boot standing on the deck like it had just kicked it's mate off and was thinking about what to kick off next.
Curious and perfectly pilloried chicken-bone, looming maniacally before the sprawling monad of downtown Dallas