Fire Drop

by Michael Johnson on April 30, 2009

Fire agates!!!  When I saw my first real fire agate, my first reaction was, “that looks like chewed up bubble gum.”  But, as you look into these stones a little closer, they have a definite appeal with tiny bubble shapes with glistening color shifts from red to green.

Most of these agates pose a challenge for the designer as they tend to have a bumpy irregular shape.  But, when you carve one of these, you will know why the lapidary had to carve it into such an odd shape.  To maximize the most of the fire (play in color) and to give the bubbles shapes the best optical effects you end up chasing microscopic layers, following their bubbly shapes.  This leaves you with an odd shaped cab.

I buggered up my first three cabs.  The target layers are microscopic, and you want to shoot for the green and red layers to maximize those colors.  So, you can’t just plow through it with a heavy-duty grit, because you will loose the layers completely when you remove more material with the polish.  You have to gently remove tiny layers with a very fine diamond paste, preferably using a wooden bur on a flexshaft.  So that when you reach the layer, you just have to hit it with some cerium oxide, and you’re finished.  And, unless you are a very experienced carver of these agates, you have to guess at where you will find these target layers.  I just kept cleaning it off and looking closely.  It is definitely tedious work.

Fire Drop; sterling silver, ocean jasper, and fire agate

Fire Drop; sterling silver, ocean jasper, and fire agate

With this agate, I tried my best to keep it fairly round.  I knew approximately what I was going to do with it when finished.  Here, I have cabbed this ocean jasper into a teardrop shape. I them bored a hole and tapered the hole to set the agate into it.  Then I epoxied the agate in place from the back.  The metalwork is riveted in place to frame the agate.  I kept the framework fairly simple.  The stones were the focus of my attention on this one.

I liked the play on the names of the stones, ocean and fire.  The jasper also has this textural look and colors of an aerial photo of the Earth.  According to many ancient folklores, fire was originally dropped to the Earth for mans discovery.  The indigenous people of the Puget Sound area told of a raven that was tricked into dropping the fire, and Prometheus was in the midst of tricking Zeus, when he dropped fire.  I love these similarities in lore throughout the world.  It is these similarities and love of story that helps bind us as human beings.

In the picture above, the pendant is pictured by itself; however my girlfriend and bead goddess is going to string this one up with some bronze freshwater pearls.  This should add even more to this symbolic dichotomy between water and fire.

Thanks for looking.

{ 0 comments }

A Birthday Suprise

by Michael Johnson on April 12, 2009

I have had my head in this PC trying to get my website designed and ready for content, but I took a little time to make something special for my oldest daughter’s birthday, between ring orders and a few simple chain orders.

</b> sterling silver, 22k gold, labradorite, and sugilite.

Order of the Dragonfly Necklace: sterling silver, 22k gold, labradorite, and sugilite.

1itt1e5mith(11:25AM): Papa, RU online?
CosmicFolklore(11:27AM): Yeppers

1itt1e5mith(11:28AM):can I have a pitbull?
CosmicFolklore(11:29AM):Nope
1itt1e5mith(11:34AM): Can I pierce my lip?
1itt1e5mith(11:45AM):Can I get a tatto?
CosmicFolklore(11:46AM): You misspelled tattoo.
1itt1e5mith(11:49AM): May I go to the Janes Addiction concert 4 my birthday?
CosmicFolklore(11:52AM):Are you working on that chain? I have to have that finished by tomorrow.  And, I’ve already told you I was taking you to the concert.
1itt1e5mith(11:54AM): TESTY!!!
CosmicFolklore(11:57AM):Look, I already have your birthday covered as far as presents. Now, I have the sketches ready for you to cut those two labradorite cabs.
1itt1e5mith(11:59AM): We need more of the pinkstuff.  Did you get me a spider?  I the big brown one that we saw at jungle mungle
CosmicFolklore(12:00PM):Cerrium Oxide, Its in the blue jar below the laps.  Just scoop some out into the smaller jar and add some water.
1itt1e5mith(12:05PM): K
1itt1e5mith(12:10PM): Didyou get me that MRC shirt?
CosmicFolklore(12:15PM):OMG!!! can you not wait?!!
1itt1e5mith(12:16PM): Every year I just get a bike and U promiced something different.
1itt1e5mith(12:19PM): Can i have friends stay over on my birthday. its on a friday this year :o)
1itt1e5mith(12:21PM): Why cant i have a pitbull
1itt1e5mith(12:27PM): Can I have a mountain lion? Sunshine’s dad got her a one.
1itt1e5mith(12:29PM): Was this the only slab of lab?
CosmicFolklore(12:29PM): WAS??!!!!!! >:(
1itt1e5mith(12:30PM): Just checkin to c if Ure there, lol:o)
1itt1e5mith(12:42PM): Where do babies come from?
1itt1e5mith(12:49PM): Can i have a baby?
1itt1e5mith(12:59PM): Do you want me to cut this sugarlite 2?
CosmicFolklore(12:59PM): No, I will cut that (sugalite).  Just cut the lab and stay exact to those drawings.
1itt1e5mith(1:00PM): But it looks so sweet like sugar :o)
1itt1e5mith(1:59PM): The cabs are done, will get chain now, byzateen?
CosmicFolklore(2:01PM): Cool, yes Byzantine
1itt1e5mith(2:19PM): What do you say about thesleep over?     plllllzzzzzzzzzz….
1itt1e5mith(2:25PM): I hate making chain, do I have to pull the wire too?
CosmicFolklore(2:27PM): 18g yes, the drawplate is under the mill.
1itt1e5mith(2:45PM): I want to be a rockstar when I am older.
1itt1e5mith(2:47PM): This sux
CosmicFolklore(2:47PM): lol, I remember saying the same thing at 11
1itt1e5mith(2:47PM): 12
CosmicFolklore(2:49PM): not yet
CosmicFolklore(2:55PM): OK, you can pierce your butt, face, lips, whatever; tattoo a swatzticha on your forehead (for all I care) when you are old enough to have your own job, where they are too stupid to care what you look like.
CosmicFolklore(2:56PM): We already have a dog that you whine about having to feed. A pitbull would eat him.
CosmicFolklore(2:57PM): babies come from getting too close to boys and catching boy bacteria
such as sperm.
CosmicFolklore(2:57PM): No 12 years are not allowed to have them.  The middle school
says so.
CosmicFolklore(2:58PM): No spiders….  PERIOD!
CosmicFolklore(2:58PM): You can have one friend stay the night, and there is no such person as Sunshine.  She cannot possibly have a Mt lion. 
CosmicFolklore(2:59PM): HERE is the jacket that I had made for you
CosmicFolklore(3:02PM): HERE is the necklace that I made for you
1itt1e5mith(3:15PM): Thank you !!!!!
1itt1e5mith(3:15PM): You’re the best Papa ever!!!!
CosmicFolklore
(3:18PM):
do you remember picking out the fabric for that?
1itt1e5mith(3:19PM): Yes!!! :o)
CosmicFolklore(3:21PM): I don’t mind if you want to look unique, but I thought this would be more original than wearing nasty hoodies with all of those skull MCR shirts.  I also know that you like vampires, but you are just too beautiful to be wearing spiders and such.  Think of it as an Order of the Dragonfly  instead of Dragon :o)
1itt1e5mith (3:24PM): Like Vlad, Prince of Wallachia
CosmicFolklore(3:26PM): or, his myth, or lore :o) (Folklore)
1itt1e5mith (3:34PM): Cosmic, man
CosmicFolklore(3:35PM): :o)
1itt1e5mith (3:37PM): Can I be an actress when I grow up?
CosmicFolklore(3:38PM): I WANT THAT CHAIN!!! FINISHED!!!
1itt1e5mith (3:39PM): Jeepers! I cant wait till U get that website finished. It’s making you so darn testy :o)
1itt1e5mith (5:31PM): Can I make asparagus tonight 4 dinner?

Also, I had this made for her, and traded a hand forged ring for it.

Sorry for being so texty, LOL. Just wanted to make a statement on the conditions of communicating with our children in a hi-tech world.  :o)

And, yes, she finished the cabs and the chain.  I wish that I could say the about me and my new website, LOL.

{ 8 comments }

Spring at the Bench

by Michael Johnson on March 21, 2009

This has been our spring break week, so I have had some extra time at the bench.  We were going to try to get in some gem mining in North Carolina.  A prospector friend of mine had written to tell me of a rock slide that exposed some excellent ruby specimens, but the kids, money, and stuff started conflicting.  So, we stayed close by and I got in extra hours at the shop, which is fine with me.  I’d rather be at the bench making some of my many sketches come to life.  Since Christmas and a freakish after-Christmas spurt of sales, I haven’t gotten my supply back up, and this was an excellent week to get that done.

The first thing finished was a labrodorite ring in sterling.  It’s not extremely fancy.   Lora has been on me to come up with a product that is quick and affordable for the people who come to see my work but can’t swing the prices.  I was reluctant, but after spending the day watching folks come in after a huge drive, I felt a little more motivated.  I left all of the hammer marks on these rings, and I lapped out some high-domed labrodorite and iolite cabs to use in them.  I don’t make rings often.  The problem with rings is that you have to make them a particular size, and customers all have different finger sizes.  So, I made up extra flowers with the bezels all ready to be soldered to the shank, so that when someone comes in with different fingers, I can whip up one before their eyes.  They get to watch me hammer out a shank and solder it with my German blowpipe.  OK, so I have stooped to gimmicks, LOL.

Blosson Ring in Labrodorite; sterling silver

Blossom Ring in Labrodorite; sterling silver


I have also had a few lapidary mishaps this week.  I carved some fire agates sent to me by Mark Anderson and Jessica Dow that they mined and blogged on here.  The flashes of color and the domes for an optical effect was awesome.  I was excited.  But, I handed it to my oldest daughter who was assisting me in the studio, and she immediately tripped on the dog on her way to wash off the last pass with cerium oxide.  The agate was accelerated to the ground, and pieces went everywhere.  So, it goes.  Then I was cutting a cab of rhodochrosite for this next ring.  It had very cool bands of color, and was reminding me of an Easter egg.  But, then it snapped in the dish, while I was drilling the holes to rivet in the rocket.  I guessed that it would have snapped when I was riveting in the metal, so I went with a unique slab of this African Tiger Eye.

This ring was made at a size 7.  It has been in my sketchbook for a while, but I was never sure about exactly which stones to use with it.  But, I think that the exposed areas of the stone from the top and the sides makes for a cosmic ring.

Eye of the Tiger Ring; sterling silver, 22K gold, African tiger eye, and a faceted ruby

Eye of the Tiger Ring; sterling silver, 22K gold, African tiger eye, and a faceted ruby

I had donated a work to the Rotarians to auction.  The work was called Serpent in the Flower, and I am reluctant to make copies of my work, unless something significant is changed in the design.  So, I made this one at 3/4th the size, using different stones.  I just scaled down the sketch using my scanner and used some Wyoming jade.  Wow, this jade was such a pleasure to cut.  It is so fibrous yet hard and tough; it molds to a shape very well and takes a polish well.  Lora picked up these hand-cut tourmaline beads to add the droplets to the story as well.

<b>Serpent in the Flower Revisited</b>; sterling silver, .999 silver, 22K gold, Shakudo, Wyoming jade, amethyst cab, and faceted rhodolite.

Serpent in the Flower Revisited; sterling silver, .999 silver, 22K gold, Shakudo, Wyoming jade, amethyst cab, and faceted rhodolite.

<b>Serpent in the Flower Revisited</b>; sterling silver, .999 silver, 22K gold, Shakudo, Wyoming jade, amethyst cab, and faceted rhodolite.

In all of my work, I try to work in a tension between subconscious sexual symbols; stone in setting, rocket in space, fish in water, or snake in flower.  In this design I like the play of colors as well; the violets and greens of the stones and the tourmaline beads.   Despite what the lore is behind the stones, the color vibrations of these stones is sexy and exotic.  And, this works well with the imagery, in my opinion.

We will try to get to the mine site in North Carolina next weekend.
Thanks for looking :o)

{ 5 comments }

Something different going on…

by Michael Johnson on February 23, 2009

I just wanted to share something with you guys who may not have seen what these kids are doing. Check out http://www.metalworkers.org/

I ran into a few of these wrappers a few years ago. They were coming in and buying minerals and gems to use and LOTS of wire. This is a jewelry movement that has risen out of the jam band scene, evolved from a mix of Grateful Deadheads and rap music culture. The kids that I know doing this make these elaborate structures and then fund their adventures traveling around from concert to concert by selling them. Now, back in my day, the deadheads never had that kind of cash to buy something like this, but I guess today’s kids are different; homeless, hippie kids with trust funds, LOL.

Never-the-less it is still evolving. Check out that link. I think you might be amazed by their inventiveness.

{ 6 comments }

Purple Rain

by Michael Johnson on February 22, 2009

Sterling and .999, labrodorite cabs, beads, sugilite cabs, faceted amethyst, and amethyst beads.

Purple Rain: Sterling and .999, labrodorite cabs, beads, sugilite cabs, faceted amethyst, and amethyst beads.

Honey I know, I know, I know times are changing
Its time we all reach out 4 something new
That means u 2
U say u want a leader
But u can’t seem 2 make up your mind
I think u better close it
And let me guide u 2 the purple rain

When I started the layout for this piece, I knew it was going to be a challenge to finish by Mardis Gras.  I slid in just in time.  Purple and green was the idea, and the song, “Purple Rain was the inspiration.”  But, that was 14 cabs and 44 hand-cut beads ago, back when I still had fingerprints.  14 faceted 2mm amethysts, 10 sugilite cabs, and four labrodorite cabs set inside the sectionals, make up this piece, and the beads that weren’t cut by me, were selected from genuine gemstone strands absconded from Lora’s vault.

sketch, rough, and metalwork

sketch, rough, and metalwork

The idea was to mix the purple with the green and blue flashy labrodorite.  Labrodorite conjures up a magical feeling to me.  It is always changing colors in the light, with shifts in flash and luminescence, making it a bear to photograph, arrrg!  And, the labrodorite, when not flashing looks so dead and waxy on film.

I envisioned this to be about the new changes, that something different in the air.  Lora had suggested using the song “Ebony and Ivory” as inspiration for this piece, but when I got home I started going through my albums to find that old song, and ran into this Prince song.  I put it on and realized that it was more about now than yesterday.  When I remember back on the 80’s, it’s not all about bad hair and plastic pants.  For me, it was about my first car, my first girlfriend, and my first Mardi Gras.  But, today Mardis Gras has new meaning after Katrina and a change in concepts concerning race here in the Deep South after Obama.  A sober amethyst and sweet sugilite purple, majestically painted in stone, with the mysterious labrodorite greenish blues with flashes of yellow, green, and sky blues.  The metal has been etched with patterns inspired by entopics, with a rain of purple trickling down into the pools of swamp-water infected with a deep magical glisten with the color of gators, incantations, voodoo dolls.

Close up of beads

Close up of beads

I never meant 2 cause u any sorrow
I never meant 2 cause u any pain
I only wanted 2 one time see u laughing
I only wanted 2 see u laughing in the purple rain

Behind the fake plastic bead culture of parade watchers and Bourbon Street tourist traps, behind the plastic cups filled with sugar and cheap rum are the men and women coming together in a time of celebration, carnival - just before we all take to our fasting, abstaining, preparing for a new summer of faith.  Masks magically transforming the dancers.  The drums incite the inner beasts.  The women adorned in festival costumes, heavily cleavage, pulsing heartbeats throbbing in their exposed necks, sultry.  And, prayers asked to release all of the human sin ticked off on jade and amethyst beads of the rosary.  Carnal knowledge is passed around the waves of bodies like a bad rumor, only to be hidden in a deeper magic.  I hope to have invoked the spirit of “Purple Rain” with this piece.  And, I only want to see her wear it, beneath the purple rain.  If you know what I’m talking about, just raise your hands :o)

close up

close up

{ 8 comments }

A Great Source of Ancient Jewelery Techniques & Other Stuff

by Michael Johnson on February 2, 2009

I found a great internet source for all sorts of things, archive.org.

Microsoft has scanned tons of old books and put them on here, plus music, videos, and there is even a powerful library, where everything that has been posted to the internet is archived.  You can search for websites that no longer exist, or you can see what a website looked like 5-10 years ago.

But, mainly I wanted to share a few finds related to our field. Here is a search query of all out of copyright books on the subject of jewelry.

Here is an 1903 textbook for aspiring jewelers.  I love that it shows you how to make your own tools, and spouses that a true professional jeweler would never buy a tool.  This is a hobbyist thing to do :o)
Note the page on blowtorches.  It is funny that folks get so worried about which torch is best to buy.  In 1903 the professional jeweler used a Bunsen burner with a blowpipe attachment.  This is full of very low tech alternatives to doing exactly what that high tech world does.  Worth a thumb through.

Try searching this site for “ornaments”, “silver,” “gold”, “lapidary.”  It is an awesome resource.

{ 6 comments }

Alabama Moldavite; Buyer Beware

by Michael Johnson on January 30, 2009

Alabama has some of the most iron rich soil in the world. You can literally squeeze the rust out of the mud. Almost every town of any significance has a mine, quarry, smelt, furnace, or ancient rolling mill dating back to the Civil War. And, a bi-product of producing iron with our own locally quarried limestone, is a beautiful (almost florescent) green slag, which to a layman looks very much like a natural green glass which has gained popularity in the recent years.

For some strange reason I seem to attract the most lovable of the weirdest of folks. My studio is a corner of the only real bead shop in our state, which brings folks in from other states to shop. Lora, my girlfriend, owns and operates the bead shop, and I just do my own thing in a glassed in corner. Yep, I am the jeweler in the aquarium, lol. It even has a sign posted, “Don’t feed the artist.” I would like to also point out that I am not a gemologist. I am not a geologist. In fact geology was the only class I struggled with in college. But, being in a bead shop, we get lots of interesting characters that travel through selling beads, gems, rocks, and sometimes false hopes. And, I have picked up on a few things.

A few years ago, we had a guy come in. He was Middle Eastern and said that he was just in from Mexico, and he was doing his best to pretend to have a Hispanic accent. He wanted to sell me some moldavite. I have had some experience with glass, having dabbled with lampworking, and I also knew that moldavite was a variation of natural glass. It is commonly believed that it was formed after an extraterrestrial impact drove minerals into the air in molten form, a huge impact. But, this “moldavite” had a suspiciously familiar look to it. I compared it to some straw cast silver that I had. The guy was getting nervous and edgy. I put on my magnifiers and saw that they had similar shapes, and I even saw bits of straw still in the chunks. Before I could say anything else, he grabbed his “stones” and walked out the door. So, I took that as verification that it was a melted Mountain Dew bottle poured over straw. Once again, I may have been wrong. I do have a nice selection of Germanic moldavite from very reputable dealers, but I am not GIA certified at all. Usually I don’t care about the investment value of stones, but I don’t want to claim something is one thing and it is actually something else.

Very recently, Lora gives me a call telling me that there is someone else wanting to sell me moldavite. I asked her how much, and with a brief pause on the phone to relay the info, she tells me that he needs to talk to me in person.
“Hmmm, is he one of your regular gemstone or bead vendors?”

“No, I don’t know him, but he refuses to sell it to me. He wants to talk to you.”

“OK, tell him to come back in a few hours.”

Lora gave me the “eye of warning” as I walked through the door. One of the guys was about 18 and was dressed like Emenem. The other was a dead-on look alike of Bob Marley. I don’t usually judge books by there cover, but I sensed an unusual bit of weirdness had walked into my lair. If they had come in looking for wire or rough gems for some extreme hippie wire wrapping, I would have been a little more comfortable.

Birmingham, Alabama, has been on the CIA’s most dangerous cities in the world list since the 60’s. And, I have had to disarm several would-be muggers. And, I have given up several wallets. I don’t carry a weapon, because I’d rather live without my wallet or with a wound than to live with killing on my conscience. So, needless to say I approached these gentlemen as carefully as possible.

They had an old Dallas Cowboy’s gym bag full of rocks. And, I immediately recognized the green rocks as slag from iron pours that I used to pick-up along railroad tracks of my youth. Alabama has very distinctive slag. Back when they were building the railways through the state and extending them during the Civil War, this slag was poured into the railway beds as ballast. Now, it works its way up through the denser limestone gravel, like fist-sized chunks growing up from the gravel.

Bob Marley started in with a very well rehearsed speech about Alabama moldavite. I just sat down and listened respectfully to his rap about how he has struggled getting the University of Mississippi to give him certification that the green slag before me was moldavite. He showed me paper after paper showing that this was in fact not moldavite. Then he pulls out a hand-written letter. The letter pronounced that this was in fact moldavite that was formed deep within the earth and had pushed its way up; signed with a name I couldn’t read nor would recognize. Bob explained to me that his kids had been harvesting this moldavite for him for years. He went on to say that gemstones have energy. They radiate this energy, and with this amount of energy you could power cars and houses. Bob stated that he had actually seen with his own eyes someone conjure someone from the dead. I just politely asked if it was a Union spirit or a Confederate spirit. Bob just gave me a puzzled look. Emenem just sat staring at his expensive tennis shoes.

“Bob,” I said, “did you find this next to a railroad track?”

You’d have thought that I had just read his mind and told him his mother’s maiden name. And, I tried as respectfully as possible to explain the origins of the rocks in his hands, and how moldavite is actually formed.

A very big grin crossed his face, and he dug down to the bottom of the Gym bag, pulling out a very large specimen. And, he explained that this piece was his retirement investment. It was a very large green slag specimen that still had some rusty iron deposits and limestone gravel stuck to it. It did look very natural, if you weren’t aware of what you were looking at. He was obviously very far from retirement.

Bob explained that this specimen demonstrates how moldavite is formed from iron and limestone. This very piece was germination in process between these two materials as it formed into moldavite. I wasn’t sure if he was truly that ignorant of the subject, maybe brainwashed by some other charlatan, which would be forgivable. Or, was he working this hard to consciously swindle me? I’m pretty sure that I look as stupid as one might assume, but this guy seemed to have had his share of some very interesting Kool-Aid.

I thanked the gentlemen for giving me their time, and out of curiosity I asked them their price. Bob immediately told me $20 a carat. I laughed and asked them how many carats they thought that the baseball sized chunk weighed. Bob quizzically replied, “Weighed? This is 24 carat moldavite.”

I chuckled, and I pulled out my scales to show him the difference in carats and karats. And, I explained that I appreciated his sales pitch. But, that I would gladly give him $20 for the 3 pound chunk of “moldavite.” This would give him gas money to get away from me. But, I also explained that I did not believe for one minute that this was moldavite. But, it would be nice to have for my display case of gems and minerals, showing off the indigenous slag. I figured $20 would cover how much I would have spent on gas and time collecting it myself at the railroad bed down the road.

I handed him a $20 bill, and as they were walking out the door Emenem asked me if I was interested in some Alabama Navajo arrowheads, LOL.

{ 7 comments }

Can Jewelry be Art? What is art?

by Michael Johnson on January 27, 2009

So, I sometimes see folks in the craft of jewelry debating whether their work is art, or whether jewelry can be art at all. I would surmise that the first obstacle to this question is, “what is art?”

Back in what seems like millenniums ago, in my MFA program I was asked to present and defend a thesis on the nature of art. I wasn’t making jewelry then; I was a printmaker and painter. But, this required me to sink into hibernation within my brain cavity and find the magical source of the fountain of true art, which may explain my insanity today. The traditional definition is to define art as an object or event, and since this has to be redefined every now and then to fit contemporary and Avant Garde advances in the arts, I threw all of these out of the window. Thus I came up with a new language of defining “ART.”

This is just my aesthetic thesis on the subject; please feel free to criticize whatever you want. I am not a set-in-stone kind of guy. I believe that the way we define the world around us is always in flux, and nothing should become static.

There are two types of things in this world, art and ordinary.

Art is a value. It is not a thing; however, the word is used as a noun instead of an adjective. Each of us has a yardstick to measure the value of an object within our own conceptions and perceptions. This yard stick is different for each of us, and is affected by our social, economical, ethnic, sexual make-up (and age). Each of us trains our yardstick each time we view or experience something. It is in flux. I view some things when I was a kid, and I placed the value of art upon them. But, now I see them as ordinary now.

Art happens during the creative or critical process. Yes, the viewer plays an active roll within this process.

The creative process is the process by which something is created or done. We do it all day everyday in all things. I think of something, I do it. Driving to the store is a process of inspiration and divinity. My girlfriend wants ice cream, and this inspires me to make it happen. This is ordinary.

However, if a phenomenon occurs within this process, the end results may have the value of art. Steven Spielberg is famous for elevating his creations in the sketch phase. He is known for speaking into a recorder while in the shower, where he sketches out his films. His ideas are seeds for elevating his work.

A phenomenon is magic, like when an ice drop forms in a crucible full of hot metal.

My favorite potter in my old college town elevated his work as his hands touched the clay being thrown on the wheel. He never strived for an ordinary, perfect shape. He was continuously striving to make something magical. An excellent drawer can elevate his work in the way he controls the finite tip of the graphite as it touches the surface of the paper. Thus he renders something made with magic, not an ordinary pencil point. An excellent golfer may have that moment when he controls his club to touch the ball exactly where he wants with the exact pressure and force. This is called satori; the moment of being one with your work. I try to focus on each tip of the rasp on my saw blade when I cut my work, and I try to focus my flame tip with precision. I try, but not always is the result worthy of my assessment as being “Art”. This is probably the toughest of all forms of elevating work above ordinary, as it requires practice, practice, and more practice. And, I am still practicing.

I knew a guy in grad school who was into casting rubber. He did this very well, with a sense of satori. But, the end results were still ordinary. He knew this. He had perfected his craft by making chickens. Yes, he had over 100 ordinary but excellent rubber chickens. So, the night before the critics arrived, he stapled them to a board and projected the Mona Lisa on them, and painted the Da Vinci classic upon those rubber chickens. The critics were aghast. He elevated them rubber chickens.

Duchamp elevated an ordinary urinal into a work of art, by merely placing it upon a pedestal in a museum. He called it a fountain and signed it R. Mutt. The way he displayed this ordinary thing made a statement about art and museums that elevated this thing to the level of art.

A Native American boy took off his shoes 300 years ago, and placed them in a nook in the rocks. Something occurred, and he did not retrieve them, but they were preserved till now, where they reside in a museum for us to look at. These were ordinary shoes to this little boy 300 years ago. But, they are no longer ordinary shoes. The phenomena of time elevated them to the level of art.

Now, all of these examples of phenomena are examples of but a few of the infinite ways an artist or craftsman can elevate his or her works above the level of ordinary. But, you cannot make someone believe that something they perceive as ordinary is art. And, I have by no means insinuated that “anything” can be art. This is stupid elementary teacher falsities which our culture is inundated with. Like, “art is whatever you want it to be.” “Art means whatever you want it to mean.” This is ridiculous. If you truly believe this I have a piece of limestone I found in my driveway, and I want you to think it is art, and it means that humanity is in a state of beatific decay. No, the viewer has a proactive role, which cannot be swayed by argument. One can be swayed to appreciate something as recognized as art by others, but the will cannot be bent to see beauty or art, where one does not see it.

So, art happens when a phenomenon occurs anywhere within the creative process to elevate something above the level of ordinary, anywhere within the process from conception to display of the work. And, yes it has to be displayed, for if no one sees it, how can they deem it above the level of ordinary. Thus, Aunty Erma’s watercolors she keeps hidden in the closet cannot be deemed art by people, at least till the people see them.

Can jewelry be art? I believe that it can. However, it is always upon the viewer to set this value upon the work.

So, you want to be an artist. My suggestion is to make stuff, make jewelry. Make magical stuff. And, never make ordinary jewelry.

And, I give thanks to Orchid and Ganoksin for giving us a format in which to share works and discuss issues. If you disagree with me, please comment, or if you just want to add to what I have said. There is no such thing as a bad comment :o)

I hope you enjoyed :o)

{ 6 comments }

Serpent in the Flower

by Michael Johnson on January 25, 2009

I will set aside targeting teachers and neophytes in this blog, and I will focus on bashing polio children and endangered wildlife.  To quote a bit of Vonnegut, “The children are not our future, because by the time the time the future gets here, they’re not children anymore.”   And, “Maturity is a bitter disappointment for which no remedy exists, unless laughter can be said to remedy anything.”  For those that choose to read further, you will see that I am just kidding, and maybe you’ll get a chuckle.

I am very, very fortunate.  Every year I donate work to two different charities, the Rotarians (Yeah, Rotary!!!) and the Wildlife Protection Agency.  I also like to support the Sierra Club, but that is something entirely different.  I like to help the Rotary, because they are perpetually working to stomp out polio worldwide, and they throw a mean party.  The WPA works to save endangered wildlife, like the spotted owl and the California condor.  Personally I am a Darwinian environmentalist, let the strong survive to better evolutionary standings for these critters, but I support these guys because one day I might want or need to eat these animals.

Serpent in the Flower

Serpent in the Flower

This necklace I just finished up to give to the annual Rotary gala, where it will be auctioned along with other works of art to help fund immunization of children worldwide.  This in itself would have been enough of a reason for me to donate a work, but those Rotarians know how to party.  This will be my third year to donate and attend, and this year’s event will have the theme of Old Hollywood.   Open bar, live swing tunes, and dinner prepared by some of the best chefs shipped in just for this event.  Tickets are $500 a person or $3000 a table, and the auctioneer is a guy they fly in from one of the New York auction houses.  Tuxedos are required, but they always let me get by with my dinner suit, as long as I promise not to get drunk and piss on the table decorations anymore.

The work that I donated is sterling silver that I forged and fabricated, with two cabs of swamp bog that I hand-cut, along with the center stone of amethyst that I cut for this piece.  The prongs are each tube-set with rubies.  The gold on the leaves is fused and then etched for texture.  This started with a 20 gauge sheet.  The gold acts as a resist to the nitric acid, and this gives the design a little depth.  Then the work was strung with sterling beads, and the gemstone beads are apatite chips that Lora carries in the shop.  They are the types that have tassels.  Her customers know the tasseled beads to be of the “Lora’s personal stock” variety, which she keeps in the safe.  So, I was much honored that she cracked into her personal stash to allow me to finish off this work with them.

At the gala, besides being able to enjoy the bar, which carries my favorite cognac, I get to show off my mean swing, bop, and Lindy moves on the dance floor; but, I also get to make new contacts and mingle with future customers, while getting some insight into what my work will bring.  I estimate that the auction brings in a price that is 70% of what the work would sell for within a gallery setting.  Amongst the 400 guests which are industry leaders in their fields, CEO’s, and various other exec’s; there are about 50 of us local artisans who eagerly watch the bidding to get a litmus test of our works artistic value from folks that support the arts as well as philanthropic endeavors.  You will see me sweating as my work takes the stage.  It is like watching your horse round the bend as they flash their cards and up the ante (I hope).   The last two years brought in very good results, and it allowed me to set or confirm my pricing.

Since, I am not a jeweler, who sets prices based on the value of investment grade stones in market variable metals and I am not a jewelry designer who is shooting for getting picked up by a manufacturer, I have to rely on this type of auction value to set prices on my work.  This is an invisible boundary that art galleries have to tap out with a blind eye to set your prices.  There is inherent value, which can be easily derived from an appraiser, such as a GIA certified jeweler.  There is the fair market value, of which is set by the balance between creator and the market.  But, then there is the artistic value (of sorts), which is best found by auction or with time spent in the gallery scene.   This might seem a little egotistical to pursue, but why accept less for my work than I have to?

The drawbacks on pricing your work this way is limited sales.  I don’t have tons of people waiting in line to buy my works.  But, I only get to make about four pieces a month of this type.  The rest of my work is quickie earrings and simple pendants that I make to allow folks that visit my work the ability to take something home if they want.  So, just asking for fair market or inherent value for my works, would not make it beneficial for me to produce.  Galleries rely on their patron’s to set value, leaving wiggle room in pricing to appease and tap out this form of pricing.  I don’t always get what I ask for in my pricing and I sometimes go a month or so with any sales, but when a sale is made it helps me continue to produce and provide for my daughters.   I feel that I am very lucky to be able to work in this manner considering that I am virtually unknown to many.  And, it allows me to experiment with stones that might not be the first choice in a jeweler’s palate, as long as I find some creative way to use them.

In between these months of sales, I sometimes ponder my other options, fair market and such.  But, I think that if I worked as my dad did for decades as a bench jeweler, which is a trade that I totally respect, I would not be happy.  I also wouldn’t want to make something that gets mass produced.  So, for now I will enjoy working on my terms, and come Rotary gala time, I will be sweating.  And, all proceeds go to a cause that I feel is very worthy.  Otherwise, I would not be able to give such a significant amount to any of these causes.  The WPA auction is coming up soon.  It is usually a carbon copy of the Rotary’s Gala, but different place, different group fed from the same sources of entrepreneurs.  And, I get to meet and mingle with a different set of artisans and artists.

Then I will drive my truck home to my dirtfloor cabin in the woods, with a stream that runs into the Cahaba River.  The river is home to the last 30 or so Cahaba lilies in the world.  Come to think of it, they’re all dead.  It’s winter. Hmmmmm, should I buy a different suit?  Should I try not to pee on the decorations?  I wonder what type of sauce would best compliment spotted owl?  :o)

{ 2 comments }

Are We Killing Our Craft?

by Michael Johnson on January 20, 2009

(edit) Folks posting comments have had some excellent responses to this.  Read through them below.  Thank you. (end edit)

I have made a decision, I will teach absolutely no more classes on metalsmithing, and I will explain why.

Six years ago, my girlfriend got me interested in lampwork beads.  I got a torch and an ancient book of glass techniques (it was all that I could find).   Lampwork beads were selling for $50-500 a piece, some brought in thousands.  People were snatching up these things like hotcakes in the bead shops, shows, and anywhere.  It was sort of rare to find these, because although not new, they just were prevalent to the beaders.  And, they understood by looking at them, that time was put into these designs.

Then I noticed after a year that there was suddenly websites such as lampwork etc, and others where folks exchanged ideas.  At first it seemed harmless.  People were just sharing ideas to others working in the same field.  Then people that were making money by actually making beads, suddenly figured out that they could make more if they taught others how to do it.  These folks were good, but they just didn’t want the hassle of marketing and selling their work.  Teaching was easy money.  Now, when I go to Tucson or other gem shows, I see the rows of lampworkers all frustrated that the competition is thick, and sales become more competitive.  You can no longer make a living making glass beads.  Any yahoo with half a brain can figure it out by going online or taking a class from a self-professed guru of lampwork.  Arrowsprings Glass even over promoted this, but of course they profited by killing the industy.

Now, go to see how much a lampwork bead runs.  The good ones are even as cheap as $5, but I never see anyone pay more than $100 for one of these anymore.  And, I live with a chick that eats, sleeps, and breathes beads.

Lampwork was dead one year after I got into it.

When I got back into silversmithing and lapidary five years ago, you just couldn’t find anything online about techniques.  And, classes were limited to Penland, Revere and such.  The only book worth the money was Tim McCreight’s book, and it is even vague enough to keep know-nothings from buying a torch.  If it hadn’t of been for my training as a child through my teens, I would have had to resort to one of these high brow schools, he he.  I even had a hard time getting other silversmiths and jewelers to share ideas (at first).  Then Lapidary Arts Magazine, which was very industry oriented changed its name, and sold out to meet the flux of tons of newbies to the craft.  Many talented and semi-talented people are giving classes, so that they don’t have to actually maintain a real studio.  And, now I am seeing step-by-step tutorials everywhere online.  And, etsy.com, lol. I wish I had of come up with the idea of having others make a product, then when it doesn’t sell, I blame it on them, and have them teach each other ways to lower their prices and bring folks into the website.  They have a win/win situation.  And, they promote the death of our craft.  Or, they promote us to death.

I was guilty of this as well.  My girlfriend asked me to give one-on-one classes for an entire day for $300 a student.  At first I was reluctant.  This was time away from me getting to create.  She had tons of folks that wanted to spend the day with me (lol, go figure; they must not know how badly I smell :o).  So, she finally asked me to do it for $500 a student.  OK, that made it worth loosing time away from creating.  And, she has gotten me one student a month (at least) ever since.

Now, there are tons of folks with crème brûlée torches making stuff and competing with designers with years of experience.  Every little town in the US has a metalsmithing class somewhere.  The Podunk town of 12,000 down the road from me, has a high school with no football team, but they offer metalsmithing to the community every second Saturday of the month in the gym.  Bead shops carry jewelry tools, and there are tons of the silver clay folk out there branching out into working with the real metals.

Hmmm, what to do?  Do we wait till we can only sell our work at rock bottom prices?  Do we continue to rake in this extra money giving classes, until we ourselves are competing with hobbyist working in a back bedroom?  I personally have cancelled all classes.  I will be happy not to have to share my time, space and tools with strangers.  Damn the money.  I’ve personally seen what over-sharing a craft can do.  And, mark my words; it will inevitably happen to jewelry.  Hobby yahoos will give cut rate deals on repairs, because it’s their hobby.  Craft shows will be full of hobbyist selling $10 worth of silver that they have spent six hours rearranging, and they will sell it for $20.  Then, folks will look at something we have made and want $1000 for and laugh.  I’ve seen it happen with lampworkers.  If you want proof go to Tucson, and look at the rows of tables selling lampwork.  You will see an angry bunch :o)

And, gem shows, arrrg!!!  I could rant a whole different blog on them.  Any schmuck can get wholesale prices, so called wholesale.  You’re an idiot if you think your getting a deal.  20% off retail is not quite worth the plane ticket, especially for a true retailer.  They bring in more and more folks to spread the craft and the deals, till you will barely see either there.  But, I will stow it, lol.

Ok, in a nut shell, I want to know what you guys think.  Are we killing our craft by spreading the knowledge?  Am I being selfish?  Do I stink bad enough to warrant the full refund of $500 for a day spent with me?  He he

{ 27 comments }