ECU School of Art & Design by Stephanie Poli

January 15 - 17 2 016

in flux

m at e r i a l to p i c s

flux A symposium organized by students focused on the direction of craft, including material content and communication in the field.

thank We would like to express our gratitude to our sponsors who make this weekend possible:

The School of Art and Design Wellington B. Gray Gallery ECU Metals Guild Michael Drought, Director of the School of Art and Design Friends of ECU Symposium Society of North American Goldsmiths

you And a special thanks to all the faculty and students of the ECU School of Art and Design!

[fluhks] noun 1. continuous change, passage, or movement. 2. a quantity expressing the strength of a field of force in a given area. 3. a substance used to promote fusion (as of metals or minerals). 4. a readily fusible glass or enamel used as a base on metal.

Welcome

to the 7th annual Material Topics Symposium: In Flux. This yearâ&#x20AC;&#x2122;s theme recognizes that our field is in a state of constant fluctuation and change. In continuing the tradition of gathering significant and emerging artists in our field, we seek to provide an environment for inspiration and interaction with makers from across the nation. The goal of this symposium is to be entirely student led, and in doing so we seek to forge friendships, craft connections, and share ideas within our community. We hope that this weekend will provide you with many opportunities to flow and change. Thank you all for coming and have an amazing time! Barbara McFadyen, Hosanna Rubio, and Kayla Staigvil 2016 Material Topics Co-Chairs

Cover Design by Kayla Staigvil

Friday

01/15

schedule

5-7 pm Registration and Meet & Greet

sunday 8:30 am

01/17

schedule

Breakfast

6-9 pm Art Walk: Jolly Trolley will leave from the Jenkins Fine Arts Center and will provide transport between galleries.

9:00 am Leah Pierce (Auditorium, Rm 1220)

saturday

9:50 am

01/16

Kate Lydon (Auditorium, Rm 1220)

8:30 am

Breakfast

9:00 am

Welcome

10:45-12:45 pm Break-out Sessions: Martha Banyas (1325) Marissa Saneholtz (1322) C. James Meyer (108) Stephen Yusko (139)

9:10 am

Keynote Speaker: Martha Banyas (Auditorium, Rm 1220)

12:45-1:45 pm Lunch and Raffle sales

8:30-10:30 am Registration

10:30-12:30 pm Break-out Sessions Ben Dory (139) Jason Dowdle (Auditorium, Rm 1220) Don Friedlich (1325) Barbara Minor (1322)

1:45-3:45pm Break-out Sessions: Martha Banyas (1325) Marissa Saneholtz (1322) C. James Meyer (108) Stephen Yusko (139)

12:30-1:30pm Lunch and Raffle sales:

3:45-4:00 pm Tea & Crumpets

1:30-3:30 pm Break-out Sessions Ben Dory (139) Jason Dowdle (Auditorium, Rm 1220) Don Friedlich (1325) Barbara Minor (1322)

4:00 pm

Kathleen Browne (Auditorium, Rm 1220)

4:45 pm

Break

3:30-4:00 pm Tea & Crumpets

6:00 pm Closing Thoughts and Raffle Reveal (Auditorium, Rm 1220)

4:00 pm Lauren Tickle (Auditorium, Rm 1220)

7:00 pm Party at Crave (formerly Tipsy Teapot)

4:45 pm

Break

5:00 pm

Don Friedlich (Auditorium, Rm 1220)

6:00 pm T-shirts sales, raffle sales, pin swap 03

5:00 pm Capstone: Boris Bally (Auditorium, Rm 1220)

Sat u r da y L e c t u r e s

In 2005 I closed Apa Ini, and returned to my studio as a full time artist, incorporating a new core of visual experience from my time researching and dealing ethnographic arts. Over the next few years I began to meld my East/West perspective into a unified system of imagery, technique and aesthetic intention. From my earliest art-making I have worked biographically with images, examining the nature of experience, the ebb and flow of life’s affinities and affiliations. My current body of work is a chronicle of my journey through the valleys and shadows of serious illness from coming to terms with diagnosis, through treatment and on to recovery. I utilized my history of travel, symbols and characters which accrued strong meaning for me, my ‘familiars’, and my family and support anchors to narrate and understand the experience in a visual way. I will explore my intentions, my sources and their Keynote Lecture: origins, my iconography and its history, and reComposing Narrative view some of the unexpected outcomes of this project. 05

Lauren Tickle

Martha Banyas

After moving to Portland, Oregon in 1970, I taught at Mt. Hood Community College as head of the printmaking department as well teaching classes in metals and enameling as well as developing an extensive slide archive of enamels, both historic and contemporary. During this time, I continued as a printmaker, but gradually my focus moved primarily to enamels which led to numerous solo and group exhibitions regionally, nationally and internationally. I lectured and taught enameling workshops extensively in the US, Canada, and Japan.

Lauren Tickle is a New York-based artist who works in a variety of mediums to prompt reflection on social constructs. Currently her Increasing Value process takes currency of defined value, distills it to graphic elements, then resynthesizes an object of much greater value. She has a BFA from the Pratt Institute and an MFA in Jewelry and Metalsmithing from the Rhode Island School of Design. Her work has been exhibited at Gallery Four, Jamaica Center for Arts & Learning (JCAL), Seoul Art Center’s Hangaram Art Museum, Dean Project, the Marino Marini Museum for Contemporary Arts, and the Galerie Sofie Lachaert and published in 500 Silver Jewelry Designs, Paper Craft II, Kunsthåndverk, and American Craft. Her work can be found in private collections both Nationally and Internationally. Her $250.00 US Dollar, Currency Converted Necklace is in the permanent collection at the CODA Museum in Apeldoorn, Netherlands. She was also one of the winners of the prestigiousTalente Prize in 2014.

Lecture: The Deconstruction and Reconstruction of Value Jewelry and the notion of “value” cannot be separated, whether it is because of the material, labor, or sentimental value associated with the piece. Objects of adornment can be used to question assumptions made by both the wearer and the observer. My process of research and investigation is central to my theme of questioning concepts of perception and intrinsic value inherently linked with jewelry. I will discuss my process of developing this theme into a body of work. I will also discuss how jewelry can be used as both a research tool and a conversation-starter within the public sphere to explore ideas about art, design, and value. 06

Sat u r da y L e c t u r e s

Sat u r da y de m o s Ben Dory is a metalsmith, jeweler and book artist originally from the Kansas City area. He received his MFA in metalsmithing at Southern Illinois University Carbondale where he explored how collecting relates to personal history and identity. Coupled with this work, surface adornment in steel and aluminum through stones setting, damascene and salt etching came to the forefront as his primary studio techniques. Now living in Asheville, NC Ben works as a designer for FEHLĹ&#x152; while continuing his practice at his home studio. Exhibiting nationally, his work can also be found in the collections of the Evansville Museum of Art, History and Science and the Emprise Bank Collection in Wichita, KS.

Ben Dory

Don Friedlich

Donald Friedlich received his BFA in Jewelry and Metalsmithing from Rhode Island School of Design in 1982. He served a term as President of the Society of North American Goldsmiths and earlier as Chair of the Editorial Advisory Board of Metalsmith magazine. His work is in the permanent collections of the Victoria and Albert Museum, the Smithsonian American Art Museum, the Museum of Fine Arts Boston, the Schmuckmuseum, Pforzheim, Germany, the Corning Museum of Glass, the Museum of Fine Arts Houston, the Los Angeles County Museum and many others. He has lectured at conferences and schools all over the US and abroad.

LECTURE: Things that Make My Heart Beat Faster Donald Friedlich will speak about the development of his innovative jewelry and the sources that have inspired him including the sculptures of Isamu Noguchi and Andy Goldsworthy, the simplicity and sensitivity to materials of Japanese packaging design and Japanese gardens, and the monumentality and power of the landscape of the American Southwest.

Demo: Surface Adornment on Steel Using mild steel as a base, we will explore the damascene process, or overlaying thin metal foils into a chiseled surface. I will demonstrate how I make chisels and other small tools with a specific air hardening steel, A2. Following this will be a demonstration of damascene and surfacing, showing how I build compositions on the mild steel surface. Time permitting, we will also begin talking about the various ways that I flush set stones directing into the steel.

Sat u r da y De m o s

Sat u r da y de m o s

I started shooting images for artists in 1999, bringing to it years of experience lighting and shooting product for TV commercials. Since that time I have moved to a complete professional specialization in shooting art for artists. I shoot all media including glass, metal, wood, ceramics, paint and more. I have helped hundreds of artists get into many of the highestend craft shows and galleries in the country. My work has been featured in and on the covers of numerous national magazines including American Style, Ornament, Art Jewelry, American Craft and Ceramics Monthly. My work has also been included in numerous books including The Potter’s Eye by Mark Hewitt, Keepers of Tradition by Maggie Holtzberg, and several Lark 500 publications.

Demo: Fine Photography for the Artist and Craftsperson

A 90-minute presentation designed to answer the question, “Can (or should) an artist photograph her own work?” We will examine of some of the technical aspects of producing high-end photography of small objects including sculpture and jewelry. The goal of the presentation is to provide the artist with enough technical information to allow her to produce good-quality images of her work, and also to provide an understanding of what kinds of photography and what levels of photographic quality are reasonably within the reach of a non-professional photographer of artistic media.

Don Friedlich

Jason Dowdle

I have been a photographer of one sort or another since I got my first camera at age 11 and started processing my own black and white film and prints. I studied Anthropology at UNC - Chapel Hill as an undergraduate and was involved in aerial photographic survey of archeological sites in the early 1980’s. I went on to study Communications at UT - Austin and got a Masters in Film and Television, after which I worked in the TV industry as a cameraman, director, and director of photography for more than two decades.

Demo: Creative Use of Industrial Processes for Artists There is a limit to what we can produce with our own hands. Today, industrial processes offer a wide array of surprisingly accessible options for artists. This lecture will present a portfolio of examples of how clever artists utilize industrial resources such as casting, commercial photo etching, water jet cutting, spinning, and rapid prototyping to help them make both one of a kind and production objects. An informal discussion period will follow the lecture.

s u n da y l e c t u r e s

Barbara Minor, a studio artist living and working in Baton Rouge, Louisiana is well known for her innovative enameled beads, her distinctive enameled jewelry and her unique enameled vessels. Barbara now concentrates on experimental work, researching enameling techniques and exploring use of liquid enamels in combination with powdered enamels on forms made of copper foil, steel and copper screen. Barbara has exhibited and marketed her enamel jewelry at major juried craft shows and galleries across the U.S. and abroad. She conducts workshops, lectures and demonstrations on a variety of subjects related to enameling and metalworking. Her work can be seen in 500 Enamel Objects, The Art of Enameling, and Art Jewelry Today.

www.barbaraminor.com www.barbaraminorenamels.com

Demo: Enameling: After the Basics

Dry screen printing and the colorful and exciting surface design possibilities using opaque and transparent enamels Barbara will demonstrate how to create complex enameled images, repeat designs and the illusion of texture utilizing dry screen printing with powdered enamels on two dimensional pieces. She will show you how to utilize this process to quickly accomplish colorful, exciting and intricate enameled surfaces via layered applications of sifted and screened opaque and transparent enamels. Dry silkscreen printing allows one to achieve individual images and detailed designs that are easily repeated, not possible with stencils and possibly too tedious to complete by hand more than once. The basics â&#x20AC;&#x201C; such as enamel types and preparation; color application order; grain and sifter screen size and firing procedures â&#x20AC;&#x201C; while not the focus of this presentation, are relevant and will be given appropriate attention. Barbara will also demonstrate how to design for, expose and mount the screens for use with enamels.

Leah Pierce studied Metal Design at ECU and has worked as a jewelry designer in the fashion and commercial jewelry industry for the past 10 years. Her recent focus as a consultant has been development of emerging brands, and growth of existing jewelry categories. Companies include Marc Jacobs, Coach, Trademark, Aerin, and Bottega Veneta.

Leah Pierce

Barbara minor

Sat u r da y De m o s

Lecture: Materials and Process for Fashion Jewelry Design Leah will give an overview of the process of design for mass production from concept to production, and discuss the relevance of her traditional metalsmithing education as well as development of additional design skills which have contributed to the advancement of her designs.

Kate Lydon is the Director of Exhibitions at the Society for Contemporary Craft (SCC) and oversees the organization and installation of exhibitions presented at SCC’s main Strip District gallery and at the BNY Mellon satellite gallery in downtown Pittsburgh. She participates in all decisions regarding exhibition development, selection of work, touring of exhibitions and development of public programming. With more than 27-years of experience at SCC, she offers a strong working knowledge of the contemporary craft field, artist and process, and public education about craft. Kate received dual degrees in Art History and French at Denison University in Granville, OH and her master’s degree from the Archival, Museum and Editing Program at Duquesne University in Pittsburgh, PA. Prior to joining SCC, Kate served as registrar for The Frick Art & Historical Center in Pittsburgh and exhibitions coordinator at the Pittsburgh Center for the Arts. She has participated as a juror for numerous art shows and competitions including the 2014 Smithsonian Craft Show, Washington, DC and Craftboston 2013, The Society of Arts and Crafts, Boston, MA. She joined the Board of Governors of Arrowmont School of Arts & Crafts in Gatlinburg, TN in 2006.

s u n da y l e c t u r e s

Kathleen Browne

Kate lydon

s u n da y l e c t u r e s

Kathleen Browne headed the Jewelry/Metals/Enameling Department at Kent State University from 1992-2015. She received her BA from San Diego State University in 1983 and her MFA from Southern Illinois University-Carbondale in 1986. Her artwork has been exhibited widely both in the U.S. and abroad at venues including Schmuck, Munich, Germany, Museum of Art and Design, NYC, and the Victoria and Albert Museum, London, UK. Her artwork has been published in thirteen books and she has written a number of reviews, articles and catalogue essays for various publications. She is the recipient of five Artist Fellowship Grants from the Ohio Arts Council.

Lecture: Everything All At Once

Lecture: A Crafted Career As Director of Exhibitions at the Society for Contemporary Craft I am as excited about the work we do—and the exhibitions we present—as the day I first began working here in 1987. During the course of my career at SCC we have organized over 200 exhibitions featuring work by more than 2,240 artists. The work is so important in our community because we provide meaningful art experiences—free of charge—that unlock creativity, cross cultural boundaries and transform community. I really feel we are changing the way people think about contemporary craft - and helping people realize that art does make a difference. My talk will look at how my involvement with Contemporary Craft has impacted my personal journey and will shed light on SCC’s exhibitions—including the 2014 exhibition ENOUGH Violence: Artists Speak Out and our current, socially engaged project Mindful: Exploring Mental Health through Art—that have contributed to public awareness and appreciation of contemporary craft for over 44 years. 13

This lecture addresses Kathleen Browne’s art practice in a non-linear way where major themes in her work overlap, collide, recycle, and defy categorization. The eclecticism of the work, while confounding to some, is embraced by the artist as part of her “natural order”.

s u n da y l e c t u r e s

S u n da y de m o s After moving to Portland, Oregon in 1970, I taught at Mt. Hood Community College as head of the printmaking department as well teaching classes in metals and enameling as well as developing an extensive slide archive of enamels, both historic and contemporary. During this time, I continued as a printmaker, but gradually my focus moved primarily to enamels which led to numerous solo and group exhibitions regionally, nationally and internationally. I lectured and taught enameling workshops extensively in the US, Canada, and Japan.

Boris Bally is a Swiss-trained metalsmith/designer working in Providence, RI where he maintains his small studio business, Bally Humanufactured, LLC.

Bally’s work has earned him the 2015 Rhode Island Council on the Arts Fellowship in Craft as well as two RISCA Design Fellowships. He also received a Pennsylvania Council on the Arts Crafts Fellowship. Bally won First Prize from the International Green Dot Awards for his Broadway ArmChair design in 2012. In 2013 he was a finalist in both Eco Arts Awards and the 2009 International Spark Design Awards. In 2006 Bally received an Individual Achievement Award for Visual Arts presented by the Arts & Business Council of Rhode Island. His work has been featured in numerous international exhibitions and publications. Public collections include London’s V&A Museum, Museum of Fine Arts Boston, Museum of Art & Design New York, Carnegie Museum of Art Pittsburgh, Brooklyn Museum, Luce Foundation Center, Renwick Gallery and Cooper Hewitt National Design Museum.

Capstone Lecture: UMMMM (Using Metal with Mettle and Meddling Meticulously)

Boris will be speaking about how he developed his studio business model and the ‘out of the box’ strategies he has employed to keep Bally Humanufactured front and center. He will share the evolution of his post academic ‘game plan’ over three decades, the motivation behind his branding and also the progression of his personal aesthetic that helped drive it. Boris will detail his four prong mission, and how this has impacted his brand and ultimately his business’ survival. He will give detailed examples of his failures, successes, and how they drive each other to overcome the constant challenges of our field.

Martha Banyas

Boris bally

Recently, Bally was interviewed for the Smithsonian Institution, Archives of American Art: Oral History project, part of the Nanette Laitman Grant.

In 1985, I resigned my tenured position to extend my world, becoming a traveler and trader and centering myself in Indonesia, while still maintaining my work as an artist. I founded Apa Ini, a business dealing in fine and unusual handmade, ethnographic objects from countries in SE Asia and Eastern Europe. During that time I was able to explore in depth the meanings of art from new perspectives through traditional and non-traditional makers from non-Western traditions. I traveled extensively and met countless makers throughout those areas where I spent up to 5 months a year. In 2005 I closed Apa Ini, and returned to my studio as a full time artist, incorporating a new core of visual experience from my time researching and dealing ethnographic arts. Over the next few years I began to meld my East/West perspective into a unified system of imagery, technique and aesthetic intention.

Demo: Building a Narrative Piece in Glass & Metal I would like to discuss how I develop a narrative piece of sculpture: my thinking process, my drawings, my cartouches, and finally, my patterns for making the piece. Then, through a series of demonstrations, I will trace the steps from the preliminary forming of metal, applying the counterenamel, the base coats of enamel, transferring of the drawing, focusing on the of the building up of the drawing and painting of various underglazes through successive steps and firings, to completion with final overglazes and/or final finishes. 16

Marissa Saneholtz makes narrative based jewelry and objects using humor and sarcasm to comment on gender roles in American society. In 2008, Marissa earned her BFA in 3-dimensional design from Bowling Green State University and her MFA in 2011 in metals and jewelry design from East Carolina University. For two and a half years after graduating she instructed metalsmithing, jewelry and enameling courses in Certaldo, Italy for East Carolina University’s Italy Intensives Study Abroad Program. From 2013 to 2015 she worked at J. Cotter Galleries and Studio in Vail, Colorado as gallery manager and assistant studio manager. She is currently Visiting Assistant Professor at Appalachian State University, in Boone, NC She has been published in several books, including Art Jewelry Today II edited by Jeffery Snyder and Humor in Craft by Brigitte Martin. Her work has been exhibited both nationally and internationally and can be seen on display at in the Dorothy McKenzie Permanent Collection at Bowling Green State University in Bowling Green, OH as well as at the Racine Art Museum in Racine, WI.

s u n da y de m o s C. James Meyer is Professor Emeritus at Virginia Commonwealth University where he was head of the Metal and Jewelry program. He currently maintains a studio and continues to teach part-time. This includes teaching in the University of Georgia Studies Abroad Program in Cortona, Italy as well as conducting workshops at the Arrowmont School of Crafts in Tennessee, Peters Valley (NJ), Touchstone Center for Crafts (PA) and Penland School of Crafts (NC), where he is currently serving on the Board of Trustees.

C. James meyer

Marissa Saneholtz

S u n da y De m o s

Professor Meyer’s work has been exhibited extensively both nationally and internationally. His work is in private and public collections, including the Museum of Arts and Design (NYC), the Racine Museum of Art (WI), the Georgia Museum of Art (GA), the Gregg Museum, (NC), and the Nordenjelske Museum of Applied Art (Trondhiem, Norway). Additionally, the work has been acknowledged through grants, fellowships, and publication.

Demo: form and line Demo: Pin Back Perfection Brooches aren’t just for grandmas! They are a popular format of jewelry to make in the metalsmithing world because of their ability to act as small canvases where artists can quickly and efficiently explore new techniques and ideas without the hindrances that come along with the creation of bracelets, earrings, necklaces, and rings. In her workshop, Marissa will resolve one of the most difficult aspects of making a brooch; the pin back. Marissa will explain the basic anatomy of a successful pin back, the difference between a left-handed and right-handed mechanisms, and she will demonstrate how to make both single and double stem pin backs with corresponding catches. Her designs are simple and clean solutions that can easily be integrated into any brooch design. 17

FORM: A demonstration on carving nonmetal material. The workshop will focus on the incorporation of PaperStone ® or Richlite®, (a recycled paper in natural resin) into jewelry objects. The act of carving leads naturally to a different visual vocabulary of form than that of fabrication in sheet and wire. It will also cover the application of color to the surface. LINE: A demonstration of light forging processes in metal. The use of small-scale forging creates linear design as a foil to the mass of the carved forms 18

s u n da y De m o s

Stephen yusko

Stephen Yusko lives and works in Cleveland, OH. He has worked as a studio artist for 20 years, making forged, machined and fabricated steel vessels, furniture and sculpture. Yusko received a BFA in Sculpture from the University of Akron, Ohio, was the artist-in-residence at the Metal Museum in Memphis, Tennessee, and received an MFA in Metalsmithing from Southern Illinois University at Carbondale.

n otes

Yusko has taught at several schools and universities, including Haystack School of Crafts (ME), Penland School of Crafts (NC), and was the 2014 Fall semester Windgate Artist-inResident at State University of New York (SUNY) at Purchase; and is a member of the Board of Trustees for the Haystack School of Crafts. He has exhibited his work widely including the Metal Museum (TN) and the Society for Contemporary Craft (PA) has been published in several books of contemporary metalwork, including 500 Metal Vessels by Lark Books. In 2011, Stephen Yusko was awarded a Creative Workforce Fellowship, which is a grant funded through Cuyahoga Arts and Culture. In 2013, Yusko received an Ohio Arts Council Individual Artist Grant. See more at www.stephenyusko.com.

Demo: From Here to There We will have a conversation about problemcreating and how to arrive at solutions to problems that are your own. We will also explore ways to create pattern and texture on steelâ&#x20AC;Ś and what to do with that material once youâ&#x20AC;&#x2122;ve created it.

n otes

m ap

/// Graphic Design by Stephanie Poli