As many of you may know, I'm a big fan of Alyson Stanfield of artbizcoach.com and one of her recent Art Marketing Action Newsletters included her annual "Acknowledge Yourself and Celebrate" checklist. It's easy to forget sometimes how much we accomplish over the course of a year. I find this exercise of thinking about and writing a list of accomplishments particularly helpful for remembering how far I've come and the steps I've taken to grow my career. I thought I'd share some of my responses here. I encourage everyone to check out Alyson's website to find out how you can receive her weekly newsletters. Try answering these questions for yourself as a way to feel inspired about your progress before moving on to writing your goal lists for 2009.
How did you promote your Art and your online presence?
• blogged regularly (for the most part)
• joined LinkedIn, twitter, Crafthaus and Facebook.
• started new response blog: "creepy but cool"
• did various interviews for blogs, magazines and newspapers.
• wore my own jewelry more frequently to events where I knew I would be meeting new people.
• made an effort to visit and comment on other people's blogs.
• tried to update/replenish my etsy shop as frequently as possible
• blogged about and linked to any/all press features
Who were the top ten cool or influential people you met in 2008?
• Hugo: my caster (and quite possibly the sweetest old man ever)
• Biba Schutz: art jeweler (extremely resourceful and inspiring mentor)
• Mike Holmes: owner Velvet Da Vinci Gallery
• Bruce Hoffman: gallery director Snyderman-Works Gallery
• Harriete Estel Berman: art jeweler (via phone)
• Bruce Metcalf: art jeweler (met him at the Craft Council summer salon lecture)
• Lori: my biggest fan on etsy (major Barbie fan… and married to a man named Ken!)
• Brad Armistead: Mattel's head of soft goods division
• Lee Unkrich: director at Pixar Animation Studios (via email)
• Rob Walker: NY times magazine columnist/author (via email/phone)
Whom did you mentor or help out?
• Ashley: my fabulous intern/apprentice
• Urte: the delightful replacement who took my job making jewelry at Swallow in Brooklyn when I left back in August.
• Dayna: a young jeweler, new to NYC that I met with at my studio, suggested resources for her, etc.
Did you create a new portfolio or other marketing piece?
• two new hard copy portfolios (one for press images and one for work)
• new stickers
• new postcard
• new wholesale catalog
• new thank you cards
What medium or skill did you attempt or master?
• etching on metal and glass
• gold/silver leafing on glass
• stone/wire wrapping/beading
What did you try that was completely new?
• having a studio outside my home
• etching
• gold/silver leafing on glass
• using a caster to make multiples of select elements of my work
• working with an intern
• selling retail at a high end craft fair (ACC Baltimore)
• a label maker (I'll never go back!)
What did you try that was uncomfortable but helped you grow?
• quit my part-time job to be a full time artist… AT LAST
• a business class at FIT
• created a wholesale line and catalog
• ACC retail craft show Baltimore "new wave artist"
• interviews w/ press (always uncomfortable but always help me grow)
• sold jewelry (wholesale) to a woman who claimed to be a store buyer. She was not. Got ripped off. HUGE life lesson!
What worthy cause did you support in some way?
• Susan G. Komen Foundation, to help find a cure for breast cancer
• WNYC public radio (I listen all the time - this is the first time I've pledged)
• MAD museum (became a member)
• SNAG (renewed membership)
• ACC (renewed membership)
• James Renwick Alliance (silent auction submission)
• elected OBAMA!!
What new art events, galleries and museums did you visit?
• the new MAD museum opening
• ACC show, Baltimore
• ACC library: Bruce Metcalf lecture
• Brooklyn Museum: Art Smith jewelry exhibition
• SOFA, NY
• Velvet da Vinci, San Francisco
• de Young Museum, San Francisco: Dale Chihuly exhibition, etc
What resources did you discover?
• American Craft Council library in Manhattan
• twitter, FB, crafthaus
• the new MAD museum
• Alyson Stanfield class: "Get Organized"
• Inspired Home Office newsletter
• Brooklyn Based newsletter
• Hugo, my caster
• SPB Gems in the diamond district
• Kremer Pigments in Manhattan
• May Arts - amazing company where I now buy my ribbon
How did you improve your studio habits?
• I quit my part-time day job!
• I found the studio of my dreams, outside my house.
• I found an intern
• I tried hard to implement more regular studio hours every week
• I designed and created a personalized "Work Order" sheet to keep orders straight and organized between my office/studio
• I bought a proper jeweler's bench and stopped working on an old computer desk - ouch!
What books did you read to help your career?
• I'd Rather Be In The Studio by Alyson Stanfield
• The Creative Habit by Twyla Tharp
• The Success Principles by Jack Canfield
• 7 Habits of Highly Effective People by Steven Covey
• Getting Things Done by David Allen
• Feel the Fear and Do it Anyway by Susan Jeffers
• Perfect Girls, Starving Daughters by Courtney Martin
What videos or films were useful (to your career)?
• Who Does She Think She is? documentary
• Craft in America, PBS documentary series
• Andy Goldsworthy, artist documentary
• DIY or die, documentary
• Helvetica documentary
What seminars or workshops did you attend?
• Bruce Metcalf lecture at ACC library
• Gloria Steinem lecture at 92nd st. Y
• David McFadden, new MAD museum opening exhibition lecture @ SOFA, NY
• Jamie Bennett lecture @ SOFA, NY
• teleseminar w/ Hilary Pfiefer and Alyson Stanfield
• Get Organized web-class w/ Alyson Stanfield
• FIT business class
How did you enhance your office and/or studio environment?
• moved studio outside of my home
• re-painted and re-decorated home office.
• new office desk
• purchased used jeweler's bench on ebay
• new laser jet printer
• office is now a separate room from the living room
• bought new cell phone w/ internet service so I can access internet at my studio
What grants/honors/awards did you receive?
• accepted to ACC show in Baltimore as a "new wave" artist
• applied for NYFA grant (fingers crossed!)
What articles were written about your work?
• CosmoGIRL, USA
• Arcadium, Hungary
• BUST, USA
• Cosmopolitan, Czech Republic
• InDesign, Australia
• Step by Step Wire, USA
• abcDesign, Brazil
• Top Teen, Mexico
• Sunday Times Newspaper, Australia
• Columbia Chronicle newspaper, Chicago USA
• Metro News, UK
• Sky News, UK
• Daily Mail, UK
• Telegraph, UK
• Indie Quarter, UK
• Female First, UK
• Times of the Internet
• Cool Hunting
• Boing Boing
• Craftzine
• Jezebel
… and lots of other various blog nods
What exhibits, grants, contests, etc did you submit art to?
• NYFA grant
• Alloy Gallery, Newport, RI
• Pop Culture Collision, Shaw Gallery, ME
• Materialistic, Whitney Gallery, Savannah, GA
• Shoes Tell Stories, Fuller Craft Museum, MA
• Forms For Pleasure Book, Belgium
• 500 Plastic Jewelry Book, Lark Books (fingers crossed!)
Where did you save a wad of money?
• by getting an intern (saved me a lot of time, = $)
• buying a used jeweler's work bench on ebay
• testing the craft show waters by applying for the "new wave" section of the ACC show in Baltimore (much less than a full booth)
What was the single best thing that happened to your art career in 2008?
• Quitting my part-time job to become a full time artist and finding the perfect private art studio in a loft building full of artists 5 blocks from my apartment are the best things that happened to me this year. Hooray!
Happy 2009 everyone!
Showing posts with label ACC. Show all posts
Showing posts with label ACC. Show all posts
Friday, January 02, 2009
Friday, March 14, 2008
buzz
There's so much exciting buzz and dialogue online these days regarding the recent ACC Baltimore show and the SNAG conference in Savannah, you would think there was a revolution on the rise! Well, in a sense, I believe there is.
First let me just site all the wonderful blogs and people that are talking about this:
First, I'd like to disclose something: I was not sent an invitation to participate in the "New Wave Craft" section of the American Craft Council show. I heard about the opportunity through Caitlin of Re-bound Designs, and then again on the greenjeans blog. I was not aware that invitations had been sent to specific "indie" vendors until sometime during the show. I decided to apply at the last minute, unsure if I would even get in and not yet fully committed to the idea at the time the application was due. To my surprise and delight… I did get in.
I talked a bit about my past experience as a visitor to the ACC show on Annie's SNAG post. I'll just say here that during my time as a student in Baltimore, I attended the show twice and was deeply inspired by the talent. It helped sell me on my decision to pursue craft, despite the fact that I was attending a fine art school. I have always held the show in high regard.
My reason for applying was simple: for a $300 fee and no cost to apply? How could I pass up this insane opportunity to be involved in a show I've long admired? Finally I could afford to take a chance, a first step in testing out the waters for my work at such a reputable show. I was especially interested in the potential contrast to the indie "Crafty Bastards" fair in DC that I did in September where I basically made next to nothing in sales, the show leaving a bad retail taste in my mouth for many reasons.
First let me just site all the wonderful blogs and people that are talking about this:
So many valid points have already been raised in these posts and their comments. It's all well worth the time it takes to read. It also makes it hard to know where to begin with my post. I thought I would just focus about my personal experience at ACC, which I promised to report on anyhow. Some of you may remember my War and Peace post from last September after the Crafty Bastards show. Well, this will probably end up being round two, so bear with me… deep breath…
First, I'd like to disclose something: I was not sent an invitation to participate in the "New Wave Craft" section of the American Craft Council show. I heard about the opportunity through Caitlin of Re-bound Designs, and then again on the greenjeans blog. I was not aware that invitations had been sent to specific "indie" vendors until sometime during the show. I decided to apply at the last minute, unsure if I would even get in and not yet fully committed to the idea at the time the application was due. To my surprise and delight… I did get in.
I talked a bit about my past experience as a visitor to the ACC show on Annie's SNAG post. I'll just say here that during my time as a student in Baltimore, I attended the show twice and was deeply inspired by the talent. It helped sell me on my decision to pursue craft, despite the fact that I was attending a fine art school. I have always held the show in high regard.
My reason for applying was simple: for a $300 fee and no cost to apply? How could I pass up this insane opportunity to be involved in a show I've long admired? Finally I could afford to take a chance, a first step in testing out the waters for my work at such a reputable show. I was especially interested in the potential contrast to the indie "Crafty Bastards" fair in DC that I did in September where I basically made next to nothing in sales, the show leaving a bad retail taste in my mouth for many reasons.
It was a struggle trying to prepare for ACC in the following two 1/2 months. I had no idea what to expect. How much work should I bring? What type of work should I bring? Should I concentrate on my one-offs or more on my production pieces? What type of display will I need? I was fortunate to have Biba Schutz as a very helpful resource and she provided a lot of insight.
While the contact person assigned the task of liaison from new wave crafter to council was fairly good about returning my emails filled with a zillion questions, there still was not much in the way of information on preparations and what we could expect upon entering the convention center. We were told nothing of the layout beforehand, and even just getting table dimensions was like pulling teeth.
I was assigned a table at one of the three entrance points to the crowded triangle shaped area designated for new wave. The space had a black draped dog show-esque half-fence surrounding the perimeter. My guess is: they were attempting an outdoor, "marketplace feel" distinguishable from the rest of the show. However I think it unintentionally produced an effect not unlike that of a big neon arrow announcing, "CHEAPER ITEMS THIS WAY!" (which of course was/is completely not true by the way - to those bickering that our price points were all waaaay lower than other exhibitors, there was a WIDE range of prices among the new wave.) Although the designated space had layout issues, and was not ideally all that glamorous, I have to say, for $300 I didn't expect much more and was content with what I had been given. After all, that was the trade-off. Regular booths can cost close to $2000! It was a hell of a good deal considering. I felt fortunate that they gave us lights because they were absent when we first arrived and it was very VERY dismal without them, believe me.
My location at the side entrance also elected me a similar position to that of Tourist Center Attendant. I fielded the same questions over and over, "What's this section all about?" and "What does New Wave Craft mean?" as confused shoppers stumbled in with furrowed brows and puzzled half-glances. To be honest, I fumbled over a sloppy, half-hearted definition every time I tried to explain it. I didn't even fully understand it, how was I supposed to be the spokesman for it? I think this is in part because it was not clearly explained or defined for us, the new wavers, and partly because I'm honestly not even sure I fit into the definition anyway… if there is one. And if I thought the shoppers and myself were confused, I believe the "old guard" regular exhibitors were even more so.
New Wave was clearly the red-headed step child of the show. The general "unease" with our section was apparent from day 1. The buzz was loud and clear: there were many who DID NOT want us there. Letters in defense of the section were apparently distributed by the council to ease the tensions that had been brewing since before the show, unbeknownst to us.
The low point of the show was getting verbally berated by an established, "regular" booth exhibitor. He was proudly wearing his name tag, so I don't feel so bad about disclosing his name here: Douglas Thayer, furniture maker. This man decided to interrogate me regarding the new wave application process, criteria and fees as well as my experience (all in front of a customer no less.) It was embarrassing and upsetting and made me really disoriented and unnerved for some time afterwards. Even my customer commented on how inappropriate he was acting after he left. I did not see it coming AT ALL and had no idea how to react at first. Completely off guard I answered him to the best of my abilities until it was clear he was not actually interested in my answers so much as in indicating his anger towards me and what I and the other new wave artists represent to him: a threat. I was merely a means for venting his frustrations. Congratulations Doug, do you feel better about yourself now?
On the last morning of the show, the council had a breakfast meeting open to all exhibitors to discuss the issues of concern. We knew what that meant. So Dave (my fabulous booth partner and boyfriend) and I went to the meeting to hear what they had to say. Heather of Twigs and Heather, a fellow new waver, talked very passionately about her experience at the show and the disappointment she felt regarding the lack of support from other exhibitors. Caitlin of Re-bound designs stood up as well and gave an articulate account of her perspective on the new wave response. I think her words made an big impact in part because she had been accepted to the show as a regular booth exhibitor but identifies as a "new waver crafter" in the sense that she has a LOT of previous indie craft fair experience. To be fair, there were also plenty of 'old skoolers' who announced their support and appreciation at the meeting. It was comforting to hear since it seemed mostly poison arrows had been aimed at us prior to this. It seems to me support was split about 50/50.
So the biggest question is of course, what does the New Wave mean for the council? Many questions were raised in the meeting, however, no definitive answers were given. Where is this initiative headed? Will they offer it again next year with improvements in its layout, organization, etc? Will it be such that new wave artists can only be accepted once as is the case with the searchlight artists? There are many details and kinks to be worked out but I applaud the council in their effort toward change. I for one hope they continue to offer this opportunity as a way to introduce new energy. Hopefully this will help facilitate a change in attitude and the sense of entitlement much of the old guard has become comfortable with.
In a way, the meeting helped to solidify a sense of comradery I felt for my fellow new wavers. I never anticipated I would end up feeling so defensive at this show, about a movement I wasn't even sure I fit in to. But it has since strengthened my resolve to cultivate inclusiveness in all areas of my field, and make a concentrated effort to challenge and foster changes in the establishment to fit the growing needs of the craft community I feel fortunate to be a part of. (All aspects of.) I believe an embracing attitude is essential for growth and positive changes within the council and in the world of craft at large.
Despite the drama, I met a lot of really incredibly supportive people and I want to stress that point. Collectors, shoppers, secret admirers, random onlookers, and supportive established exhibitors… you all made me feel SOOOO loved, so thank you. I was particularly surprised at the number of people who recognized my work, and commented so. I even had several people inform me that I was the reason they CAME! Do you have any idea how good that feels? Encouraged by so much positive feedback and pretty decent sales to boot, I returned to Brooklyn with an overall feeling of success. I learned a TON, made some fantastic connections and had a great time re-visiting Baltimore, my old college stomping grounds. It was an affordable, ideal way to dip in and test the high end craft show waters after all and I would encourage people to apply if the council offers it again next year.
I did at times feel like my jewelry received the attention of a circus freak but I need to remember my work invites that to a certain degree because of my use of such an unusual material. It sounds simple, but the way to get over all the silly comments people inevitably make is: to constantly remind myself that the work is not new to me, but it IS to them. I try my best to be patient and I think I did exceedingly better at remaining zen at this show, than at Crafty Bastards. But it's still difficult when the work is not taken seriously. Of course I want it to be fun, but I also don't want to be laughed and pointed at like a joke. That was never my intention with this series.
I was assigned a table at one of the three entrance points to the crowded triangle shaped area designated for new wave. The space had a black draped dog show-esque half-fence surrounding the perimeter. My guess is: they were attempting an outdoor, "marketplace feel" distinguishable from the rest of the show. However I think it unintentionally produced an effect not unlike that of a big neon arrow announcing, "CHEAPER ITEMS THIS WAY!" (which of course was/is completely not true by the way - to those bickering that our price points were all waaaay lower than other exhibitors, there was a WIDE range of prices among the new wave.) Although the designated space had layout issues, and was not ideally all that glamorous, I have to say, for $300 I didn't expect much more and was content with what I had been given. After all, that was the trade-off. Regular booths can cost close to $2000! It was a hell of a good deal considering. I felt fortunate that they gave us lights because they were absent when we first arrived and it was very VERY dismal without them, believe me.
My location at the side entrance also elected me a similar position to that of Tourist Center Attendant. I fielded the same questions over and over, "What's this section all about?" and "What does New Wave Craft mean?" as confused shoppers stumbled in with furrowed brows and puzzled half-glances. To be honest, I fumbled over a sloppy, half-hearted definition every time I tried to explain it. I didn't even fully understand it, how was I supposed to be the spokesman for it? I think this is in part because it was not clearly explained or defined for us, the new wavers, and partly because I'm honestly not even sure I fit into the definition anyway… if there is one. And if I thought the shoppers and myself were confused, I believe the "old guard" regular exhibitors were even more so.
New Wave was clearly the red-headed step child of the show. The general "unease" with our section was apparent from day 1. The buzz was loud and clear: there were many who DID NOT want us there. Letters in defense of the section were apparently distributed by the council to ease the tensions that had been brewing since before the show, unbeknownst to us.
The low point of the show was getting verbally berated by an established, "regular" booth exhibitor. He was proudly wearing his name tag, so I don't feel so bad about disclosing his name here: Douglas Thayer, furniture maker. This man decided to interrogate me regarding the new wave application process, criteria and fees as well as my experience (all in front of a customer no less.) It was embarrassing and upsetting and made me really disoriented and unnerved for some time afterwards. Even my customer commented on how inappropriate he was acting after he left. I did not see it coming AT ALL and had no idea how to react at first. Completely off guard I answered him to the best of my abilities until it was clear he was not actually interested in my answers so much as in indicating his anger towards me and what I and the other new wave artists represent to him: a threat. I was merely a means for venting his frustrations. Congratulations Doug, do you feel better about yourself now?
On the last morning of the show, the council had a breakfast meeting open to all exhibitors to discuss the issues of concern. We knew what that meant. So Dave (my fabulous booth partner and boyfriend) and I went to the meeting to hear what they had to say. Heather of Twigs and Heather, a fellow new waver, talked very passionately about her experience at the show and the disappointment she felt regarding the lack of support from other exhibitors. Caitlin of Re-bound designs stood up as well and gave an articulate account of her perspective on the new wave response. I think her words made an big impact in part because she had been accepted to the show as a regular booth exhibitor but identifies as a "new waver crafter" in the sense that she has a LOT of previous indie craft fair experience. To be fair, there were also plenty of 'old skoolers' who announced their support and appreciation at the meeting. It was comforting to hear since it seemed mostly poison arrows had been aimed at us prior to this. It seems to me support was split about 50/50.
So the biggest question is of course, what does the New Wave mean for the council? Many questions were raised in the meeting, however, no definitive answers were given. Where is this initiative headed? Will they offer it again next year with improvements in its layout, organization, etc? Will it be such that new wave artists can only be accepted once as is the case with the searchlight artists? There are many details and kinks to be worked out but I applaud the council in their effort toward change. I for one hope they continue to offer this opportunity as a way to introduce new energy. Hopefully this will help facilitate a change in attitude and the sense of entitlement much of the old guard has become comfortable with.
In a way, the meeting helped to solidify a sense of comradery I felt for my fellow new wavers. I never anticipated I would end up feeling so defensive at this show, about a movement I wasn't even sure I fit in to. But it has since strengthened my resolve to cultivate inclusiveness in all areas of my field, and make a concentrated effort to challenge and foster changes in the establishment to fit the growing needs of the craft community I feel fortunate to be a part of. (All aspects of.) I believe an embracing attitude is essential for growth and positive changes within the council and in the world of craft at large.
Despite the drama, I met a lot of really incredibly supportive people and I want to stress that point. Collectors, shoppers, secret admirers, random onlookers, and supportive established exhibitors… you all made me feel SOOOO loved, so thank you. I was particularly surprised at the number of people who recognized my work, and commented so. I even had several people inform me that I was the reason they CAME! Do you have any idea how good that feels? Encouraged by so much positive feedback and pretty decent sales to boot, I returned to Brooklyn with an overall feeling of success. I learned a TON, made some fantastic connections and had a great time re-visiting Baltimore, my old college stomping grounds. It was an affordable, ideal way to dip in and test the high end craft show waters after all and I would encourage people to apply if the council offers it again next year.
I did at times feel like my jewelry received the attention of a circus freak but I need to remember my work invites that to a certain degree because of my use of such an unusual material. It sounds simple, but the way to get over all the silly comments people inevitably make is: to constantly remind myself that the work is not new to me, but it IS to them. I try my best to be patient and I think I did exceedingly better at remaining zen at this show, than at Crafty Bastards. But it's still difficult when the work is not taken seriously. Of course I want it to be fun, but I also don't want to be laughed and pointed at like a joke. That was never my intention with this series.
So my first two retail craft fair experiences couldn't have been more opposite. And yet both are perfect examples of why I sometimes feel like I don't fit in either craft world seamlessly, a sentiment Megan aptly expressed in her post:
"In thinking about why I seem to straddle the fence, perhaps it's because neither community seems to fully meet my needs. I like the sense of history and tradition that I get from the "established" craft community, and admittedly, its nice to be in a group where my seven years of higher education mean something. (I'd like to think I didn't waste my time during those seven years.) But I like the energy, enthusiasm, and creativity in the indie community that comes from both the makers and the consumers. My work is the same no matter which community I am in, and so I guess at some point last year I decided just to keep making my work, and fit it in anywhere, regardless of labels."Amen. I couldn't agree more.
Sunday, March 02, 2008
Habit.
Ya know, you step away from your blog for what's supposed to be just a few short weeks and the next thing ya know, you're not writing at all… and it becomes miiiiiighty comfortable!
I am a creature of habit, there's no doubt about it. And I need a certain amount of structure in my life in order to feel productive and efficient. However that's not to say maintaining that structure isn't hard work and I'm bound to fall off the wagon now and again. Sort of like when I stop exercising regularly, or stop working in my studio for a week or so; it always makes it that much harder to want to start up again for some reason…? It's not that I don't enjoy my studio, I love what I do! but after a huge show and a major deadline crunch, a certain amount of laziness is bound to get the best of me for a time afterwards.
That said, I fully intend to make blogging a part of my weekly habits again! (along with exercise, studio time, etc)
I've felt a bit daunted as to where to begin my dive back into blogging… there's so much to report: of course the ACC show was a BIG DEAL, along with recent press, upcoming exhibitions/opportunities, etc… Instead of feeling intimidated, I've decided to start slowly and remember the pleasure these frequent writings once brought me. So for today, I thought I'd start by sharing some images from Baltimore and the ACC show, and save the elaborations for another day.
Set-up: Thursday afternoon before the show opens on Friday… behind my table, pricing away!
Last minute set-up at the show opening Friday morning. You can see the demonstration area situated behind my booth where they gave wood lathe demos, ceramic demos, even a talk about etsy! I was also seated next to the sign marking (and attempting to define) our section…
"New Wave Craft."
Am I yelling at Dave for taking my picture?!
I was really pleased with how my steel displays worked out. The orange faux silk fabric was a warm contrast to the steel and a perfect compliment to the fleshy Barbie skin tones.
Here you can really see the colors of the steel display - it looks rough or rusty in this photo but the wax treatment on the metal actually made it smooth and luscious while keeping a sense of depth and variation in the color of the steel. (Of course that's not at all what the customers were noticing however.)
Five Senses in Green got a LOT of attention and comments, sadly though, it still hasn't found a home. Someday!
Morning of the second day, a little sleepy, but ready for another day of sales! (wearing one of my new Heart Bust Pendants)
Tia (right) of silvercocoon and her sister Brit - these ladies are RAD! Tia's jewelry is bold and fantastic. Check out her etsy shop here.
On Monday we visited my old stomping grounds at MICA to check out all the new additions to the campus, including the new Brown Center which didn't exist when I went to college there. It's truly amazing in person.
…and particularly impressive from the inside. We had a perfect sunny morning to experience it.
The Station building has surprisingly changed quite a bit (they moved the entrance?! too weird) Such a lovely structure though. Always one of my favorite buildings on campus.
ahhh… home sweet home
As Dave's goofy grin will attest, we're happy to be home! It was an exhaustingly long weekend, but really a fantastic experience all around. More details to follow…
I am a creature of habit, there's no doubt about it. And I need a certain amount of structure in my life in order to feel productive and efficient. However that's not to say maintaining that structure isn't hard work and I'm bound to fall off the wagon now and again. Sort of like when I stop exercising regularly, or stop working in my studio for a week or so; it always makes it that much harder to want to start up again for some reason…? It's not that I don't enjoy my studio, I love what I do! but after a huge show and a major deadline crunch, a certain amount of laziness is bound to get the best of me for a time afterwards.
That said, I fully intend to make blogging a part of my weekly habits again! (along with exercise, studio time, etc)
I've felt a bit daunted as to where to begin my dive back into blogging… there's so much to report: of course the ACC show was a BIG DEAL, along with recent press, upcoming exhibitions/opportunities, etc… Instead of feeling intimidated, I've decided to start slowly and remember the pleasure these frequent writings once brought me. So for today, I thought I'd start by sharing some images from Baltimore and the ACC show, and save the elaborations for another day.
I hope you enjoy the pics!
Set-up: Thursday afternoon before the show opens on Friday… behind my table, pricing away!
Last minute set-up at the show opening Friday morning. You can see the demonstration area situated behind my booth where they gave wood lathe demos, ceramic demos, even a talk about etsy! I was also seated next to the sign marking (and attempting to define) our section…"New Wave Craft."
Am I yelling at Dave for taking my picture?!
I was really pleased with how my steel displays worked out. The orange faux silk fabric was a warm contrast to the steel and a perfect compliment to the fleshy Barbie skin tones.
Here you can really see the colors of the steel display - it looks rough or rusty in this photo but the wax treatment on the metal actually made it smooth and luscious while keeping a sense of depth and variation in the color of the steel. (Of course that's not at all what the customers were noticing however.)
Five Senses in Green got a LOT of attention and comments, sadly though, it still hasn't found a home. Someday!
Morning of the second day, a little sleepy, but ready for another day of sales! (wearing one of my new Heart Bust Pendants)
Tia (right) of silvercocoon and her sister Brit - these ladies are RAD! Tia's jewelry is bold and fantastic. Check out her etsy shop here.
On Monday we visited my old stomping grounds at MICA to check out all the new additions to the campus, including the new Brown Center which didn't exist when I went to college there. It's truly amazing in person.
…and particularly impressive from the inside. We had a perfect sunny morning to experience it.
The Station building has surprisingly changed quite a bit (they moved the entrance?! too weird) Such a lovely structure though. Always one of my favorite buildings on campus.
ahhh… home sweet home
As Dave's goofy grin will attest, we're happy to be home! It was an exhaustingly long weekend, but really a fantastic experience all around. More details to follow…
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