Iconic polymer

DEATH OF AN ICON

An icon in my artistic medium
died today
Cancer, the notice said

I was introduced to her at a conference
Heard her speak at a seminar
Ate dinner at the same table at another event
I never knew her personally
Didn’t know she was ill

Yet I feel personally bereft
Feel as if the saying
She will be missed
is much too casual
for her contributions to the field

Without her crusade to bring attention to polymer clay
Without her donation of her own collection to several museums
Without her own exquisite designs
Would the recognition be so great?
Would my own work be in a museum today?
I think not

I grieve because I can see clearly
the steps of her life leading
to a moment in my life
How her life
changed the story of mine

Photo, Elise Winters necklaces, Nine Sautoir, 2004, 64-inch wrapping rope necklaces with gold, vermeil, sterling silver and mica

Elise Winters’ legacy

Elise Winters, 1947-2019, portrait by Barbara Bordnick

Polymer’s finest champion, Elise Winters died on New Years Day after a long struggle with cancer.

While we absorb the sadness of her passing, it may be comforting to read How Polymer Hit the Big Time, the story written by Monica Moses about Elise in American Craft Magazine’s October/November 2011 issue.

It begins, “In the 1990s, Elise Winters became convinced polymer artists weren’t getting the money or respect they deserved. “The whole field needed to be elevated,” she says. A natural strategist and organizer, Winters set out to make that happen.”

And she did make that happen.

The Racine Art Museum (RAM) was the first to put together a permanent collection of polymer art. Then RAM director Bruce Pepich helped pave the way for smaller chunks of Winters’ collection to go to the Philadelphia Museum of Art; the Museum of Fine Arts, Boston; the Newark Museum; the Mingei International Museum in San Diego, and the Museum of Arts and Design in New York.

Elise elevated our craft and artists around the world mourn her loss. Our community will forever be in her debt.

Share your favorites with PCD

Small landscapes from Siberia's Yuliya Zharova on PolymerClayDaily.com

The simple and striking pendants by Siberia’s Yuliya Zharova (WildOnionArt) show knowledge of stark winter and spring scenes. It’s challenging to effectively show so much with a limited palette and in the small spaces that pendants and earrings allow.

Yuliya was brought to your attention by Missouri’s Heidi McCullough who creates simple wildlife ornaments of her own. When an artist strikes a chord with you, it’s great to share them with PCD. Thanks, Heidi.

Happy New Year

Aoife Smyth Murphy's bowl opens to the new year on PolymerClayDaily.com

This bowl from Ireland’s Aoife Smyth Murphy (HookedOnPolymer) feels welcoming and helps us greet 2019 with grace.

The lotus-like trinket bowl opens to whatever comes its way. It’s a hopeful metaphor for a new year.

Happy 2019!

Goodbye to 2018

Tory Hughes brooch entitled The Path from Nothing to Something hints at the themes of her works on PolymerClayDaily.com

In 2018 we said goodbye to Tory Hughes, one of the polymer community’s true pioneers. This piece entitled The Path from Nothing to Something hints at the ethereal, celestial themes that appeared in Tory’s works.

To close out the year, enjoy one more walk through her Santa Fe studio and savor the richness of her work. We will miss her.

Lynne Ann Schwarzenberg's caned tiger lily picks up the 2019 color of the year on PolymerClayDaily

This 2.25″ x 3.25″ tiger lily pendant by Connecticut’s Lynne Ann Schwarzenberg picks up on 2019’s Living Coral, the color of the year according to Pantone. Lynne Ann shows it on Instagram and lists it on Etsy.

She’s expert at leaf and floral canes and she’s on track for the new year.

Ready to think about what 2019 has in store for us? Come on over to StudioMojo. This weekend we’ll be looking at the challenges and trends ahead. If your mojo needs a push to move up a notch, this is the place.

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