POST-CONFERENCE Workshops
September 19-21, 2011
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Martha Banyas - Enamel Masks: Fiery Migrations
Working with the archetypal image of the mask, we will explore the migration of ideas through our personal worlds. Moving from our heads through our drawings; translating drawings into enamel techniques; then witnessing in the kiln the metamorphosis into glass. The end of our journey is a vitreous mask on metal—a perfect example of transformation.
Beginning with guided drawing exercises, students will loosen up their drawing arms and hands, with dark graphite pencils on large paper. Martha will take some quick digital photos of each participant’s face and students will continue working with these images in large drawings: distorting, embellishing, and changing them. A discussion of masks and meanings including historic, symbolic, transformative, mythic, shamanistic, and as disguise will be part of the process as well as discussion about the artist working to convey deeper personal, cultural and spiritual meaning. Working from their drawings, participants will develop an idea for their mask followed by cutting a mask shape from copper. Students will have 2 days for enameling their mask using underglaze techniques, transparent enamels, overglaze and final coat of enamel.
A discussion of attachments and hanging techniques will follow.
Basic metalsmithing necessary, and preferably some enameling experience, but not required.
Martha Banyas
received her BA at Miami University of Ohio in1966 and MA at Ohio University in 1968. She moved to Portland, Oregon in 1970, and has worked primarily in enamel since 1972. She was a full time faculty member at Mt .Hood Community College and has taught enamel workshops in the US, Canada & Japan. Since 1973, she has participated in numerous one-woman and group exhibitions worldwide. She has traveled extensively in Asia and Eastern Europe since 1981.
She owned Apa Ini Gallery, which specialized in fine and unusual handmade
objects from various countries. She has been a full-time studio artist since 2005.
Nancy Mēgan Corwin - Chasing and Shallow Repoussé Enameling
This workshop will introduce the student to the process of shallow forming and detailing sheet metal to create unique three-dimensional designs that can be filled with enamel in the champlevé style. These techniques are ancient in their history but with contemporary applications. We will work in copper using special chasing tools and pitch as a support for the metal (pitch is a mixture of pine resin with other materials). Students will learn to make individual steel and brass chasing tools to assist with their designs.
Nancy Mēgan Corwin is a jeweler/metalsmith, teacher, curator and writer in the field of art metals. Mēgan’s book on the techniques of chasing and repoussé, titled “Chasing and Repoussé: Methods Ancient and Modern,” was published by Brynmorgen Press in 2009 and is available worldwide. Mēgan has work in a number of private collections throughout the United States, in The Victoria and Albert Museum, London, England, The State University of New Mexico Art Gallery at Las Cruces Gallery in their permanent collection, and at the Tacoma Art Museum, Washington in their permanent collection..
 Ricky Frank - Color Layers in Cloisonné FULL
Stretch past your preconceived notions of Cloisonné as we explore a painterly approach to layers . Blend and build up layers of transparent, opaque, and opalescent enamel within cells. Create texture, patterns, and gradations. We will play and experiment with beads, threads, lumps, diamond drills, foils, decals, and anything else we can fit inside a Cloisonné cell. Begin to develop a free, spontaneous personal vocabulary in enamel.
Some enameling experience required. Pre- conference workshop helpful but not necessary.
A self-taught enamelist, Ricky Frank has made and sold his Cloisonné jewelry for 35 years. He creates both production and one-of-a-kind pieces. He has exhibited at prestigious craft shows, including the Smithsonian Craft Show and the Philadelphia Museum of Art Craft Show, and his work can be seen at fine craft galleries and designer jewelry stores across the USA. He is known for his glowing transparent colors, flowing gradations, and the personal imagery of his Cloisonné jewelry.
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Harold B. Helwig - Grisaille FULL
Grisaille, as a technique, is white painting enamel on black or dark
blue enamel to create many shades of gray to white with multiple
applications and firings. Technically the process is quite simple and
easy. That is what this workshop is about. With patience and
attention your skill level can be developed. The approach will be
historic, but in contemporary terms that have been developed.
The ability to draw and conceptualize the act of turning black into
white will be a benefit.
Harold B. Helwig (Bill), born in Wellington, Kansas, spent part of his childhood with his grandparents who encouraged his thirst for knowledge, urging him to constantly explore because "there is always more to know." Helwig enrolled as a premed major at Fort Hays Kansas State College, however, changed his major to art. After studying with Joel Moss, a former student of the preeminent American watercolorist John Marin, Helwig began to pursue watercolor as his principal interest. In 1959, he was introduced to enameling while assisting the jeweler Deirdre Burant prepare for her master’s thesis exhibition. Learning on his own through trial and error and by using Kenneth Bates's book Enameling Principles and Practice, he became fascinated with the medium. After military service in Europe, where he visited art museums as often as possible, he was appointed assistant director of the Creative Craft Center at the State University of New York, Buffalo in 1964. While there he resumed enameling at the encouragement of Jean Delius, a nationally prominent metalsmith. From then on, enameling became his preferred medium.
Bill has been working in and contributing to enameling for over 40 years. He is accomplished in a wide variety of enameling techniques. A fine teacher who shares his superior technical knowledge, he is one of only three living enamelists chosen for "Painting With Fire Masters of Enameling in America, 1930-1980". He has been the recipient of the Enamelist Society Creative Arts Achievement Award in 2001 for his ability as an artist, technician and teacher.. As Bill says, "I am still around and discovering some things as 'new' everyday."
Shana Kroiz - Experimental Enamel on Electroforms FULL
This Workshops will discuss the setup and use of copper electroforming and how to enamel with many different enameling techniques onto the electroformed surfaces. During this workshop, participants will electroform hollow copper pieces to later be enameled. Shana Kroiz will demonstrate several experimental enameling techniques that can later be done on the forms created in this workshop. Electroforming is a great way to enamel on three dimensional forms while keeping the weight light enough to wear the pieces as jewelry.
Native Baltimorean Shana Kroiz is acknowledged as one of the country's
leading experimental enamelists and jewelry educators.
Throughout her career Kroiz has been involved in teaching and promoting
the growth of jewelry as a recognizable art form. Kroiz is currently
the Special Events and Workshop Coordinator and founder of the Maryland
Institute College of Art Jewelry Center, where she is also an
instructor and studio artist. Kroiz is the former director of the 92nd
Street Y's Jewelry Center.
Kroiz exhibits her one-of-a-kind sculptural enamel and metalwork
nationally and internationally. Her work is in the permanent
collections of the Museum of Art and Design in New York City and the
Racine Art Museum in Wisconsin. She received her BFA with Honors from
Parsons School of Design and her MFA from Towson University.
She has also been published in several books and articles including"One of a Kind: American Art Jewelry Today," "Color on Metal: 50 Artist
Share Insights and Techniques" and "Found Object Art."
Marcus Synnot - Torch Fired Plique-a-Jour Enameled Flowers FULL
Students will work through the step-by-step procedure to produce various flowers. Emphasis will be on construction design and filigree soldering, torch firing enamel, then finishing procedures. Printed technical information will be discussed as well as various efficiencies that are achieved during each process of creation. To progressively build an exquisite piece of filigree jewelry, then visualize the heating and cooling of transparent enamels is an extraordinary experience.
During his life mainly as a farmer, Marcus Synnot has been intently drawn to the most beautiful things in nature, particularly birds, butterflies, flowers and fish. He first focused on George Jensen style of brooches bangles,and rings, being impressed by the classical clean lines of the shapes. He soon moved to design roses and a great range of flowers.To attract attention, he always added a burnished edge and realized the importance of texture to create petals close to nature. Adding color soon became a challenge .In pursuit of excellence, he forged ahead to develop a unique technique of Torch Fired Plique-a-jour, He enjoyed the challenge of resolving difficult procedures so that they became easy. Historically the greatest jewelers, René Lalique, Lucien Gaillard and Louis Aucoc to mention a few, used kiln fired plique-a-jour which Marcus believes is the epitome of procedures for adding color.
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