vintage voyager suitcase

psssst. are you inspired by the old, glamorous-looking ways that stylish and adventurous people looked while traveling? let’s all join the club then, and check out these fun voyager suitcases. these wee (12 x 23 x 39cm, or about 5″ x 9″ x 15 1/2″) delicious bags come in three different colors, are lockable and include a shoulder strap and two keys.

purchase this lovely bit of nostalgia for £35.00 at couverture.

via roomgoods

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polly becker illustration and assemblages

look here at these wonderful assemblages and woodcut style detailed pen and ink drawings from boston-based artist polly becker. i love this great vintage feel and carefully selected ephemera so precisely and perfectly put together.

see much more on polly’s website.

via mintunz

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vintage doll portraits by gigi on flickr

i want to invite you guys to have a look at the ongoing series of vintage doll and figurine portraits i’m currently working on. i photograph the dolls in their “natural habitat” at thrift and antique shops and do not pose them. sometimes the results are more surprising than i think they’ll be.

i am having a really good time with this collection, and perhaps i should mention that this post is sort of a hint about my big creative endeavor? more details to come, soon…

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dana robson collage works

i am buzzy doing blog maintenance, working on my special creative project and caring for my big doggie who is having trouble walking post-seizure, so i cannot write much today but i wanted to show you the beautiful works of san francisco artist dana robson. i love the gorgeous handwork here; the stitching onto vintage papers and maps, the goccoing, the nature motifs and while we are at it let’s not ignore the frame crafting either. the pieces give off a flowing, soothing energy which my whole house could use right now.

purchase these pieces at the beholder and see dana’s website for more.

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snapshot sunday

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shalene valenzuela ceramics: let’s chat!

i like to see pretty and edgy put together in art, and if it’s bright, ironic, feminine or makes a contemporary statement about society, i am all for it. you can imagine why my head nearly flipped off with delight then, when i saw the humorous and intriguing ceramic collection of shalene valenzuela. at first glance i admired shalene’s skillful command of her chosen medium, her layered style, and all the vintage shapes and molds she uses. after gazing for a little while longer though, the forms fall away to reveal secrets, histories and legacies which tell very strong, up-to-the-minute stories. let’s have a chat with shalene and find out a little more…

q: where do you live, and where do you create your art?
a: i currently live in missoula, montana. i lived in oakland, ca for several years (i am a california native), and moved up here to start a long term artist residency a year ago. i will be in missoula for at least another year, then we shall see!

q: what is your background, and did you study art formally?
a: i have a BA in art practice, and a MFA in ceramics. i have been an active studio artist for several years, and have taught many classes, mainly in ceramics.

q: what is it about clay as a medium that appeals to you most? and (without giving away any secrets of course!) can you tell us a little about the techniques you use?
a: i love the transformative qualities clay has. there’s such a wide variety of work that people have executed using the very same materials that i do: we all speak the same technical language, but the aesthetic range is amazing. my work is mainly slipcast, and i draw/paint using underglaze, and sometimes use screenprint transfers in my works, using underglaze as the printing medium. my work sort of borders on the trompe l’oeil aesthetic, but in more of a “cartoonish” manner. i want the object to be recognized, but my illustrations compose it into something else entirely. for the most part, i make my own molds, unless of course, i run across a commercial mold that is way too ridiculous to pass up.

q: i see throughout your collection a very strong theme of women in contemporary society. has your work always had feminine motifs? how has it transformed since you started making art?
a: my work always had some element of a feminine motif in it. i have always tried to combine humor with a deeper message in it, and i think as i have grown older, i have gained more of an understanding why these topics and image styles interest me. i use “dated” imagery, yes, but these images conjure up many issues that are still pertinent today, not only for women, but for society as a whole.

another thing i was thinking about recently… i loved to draw at a very young age, and as my character rendering skills developed, i noticed even the male characters i drew had a soft feminine edge to them, so i sort of gave up on drawing guys. even now, it takes a bit more focus for me to draw the male characters i may put in some pieces.

q: what is the price range of your collection?
a: from as little as $15 for ceramic teabags to about $3999 for my largest piece - 99 bottles of beer. but most of my stuff is in the “affordable” range - reasonably priced functional items, and most my sculptures are below $500, unless they are large or complicated.

q: what is your inspiration for these works? do you have a message you want to send through these pieces?
a: i’d like to think that my body of work consists of quirky pieces that reflect upon a variety of issues with a thoughtful, yet humorous tone. i am inspired by the potential of everyday common objects. i reproduce these objects in clay through handbuilding, slipcasting, or a combination of the two, and illustrate the surfaces with a variety of handpainted and screenprinted imagery. i primarily obtain my imagery from remnants of the past (instructional guides, advertisements, family photos, tall tales), and reconstruct the images in order to convey my narrative. these narratives generally deal with topics ranging from fairytales, urban mythologies, societal expectations, etiquette, and coming-of-age issues. stylistically, much of my imagery is pulled from sources around the 1950’s era. through advertising, common objects were embraced in the most royal fashion, and through television and print, images of the “perfect americana life” were portrayed. i use these images in a manner that can deal with ageless topics.

q: where can we go to see your collection in person? are you currently exhibiting in any shows or is there anything else meaningful you would like to tell us?
a: my studio is currently at the clay studio of missoula in my studio and our sales gallery, but i am in several shows and whatnot now and coming up. in missoula, i will have wall works in a solo display at bernice’s bakery in the month of june, a piece in the missoula now! show at the ceretana in september, a solo show at the clay studio of missoula in october, and a solo show at the catalyst in december. elsewhere in montana, you can find small works at b civilized in livingston.

back in the bay area, i currently have work up in a group show at the grand theater center for the arts in tracy, at the natsoulas gallery in davis. i will have a piece in a group show at ruby’s clay studio in san francisco starting in late june, and will have a solo exhibit and sale at cricket engine studio and gallery in oakland (this is my former studio, where I used to serve as gallery manager). also, i am excited to be in two consecutive shows at santa fe clay in new mexico - the first is bling, opening this week (may 23rd - june 21st)! the best bet is to always check my site for updates. i do have several things in the works, and try to make updates regularly!

thank you shalene!

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artghost prints

seattle artists (and husband and wife team) eric adler and liz wong make prints and paintings, personal accessories and greetings with retro style and a wicked sense of humor for their artghost studio.

purchase these pieces at the artghost website, see what liz and eric are doing at their blog and be sure to check out liz’s website too!

via indie shopping

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tamar mogendorff textile art

i am a sucker for beautifully sewn cuteness, so look at these exquisitely crafted (and photographed) pieces from brooklyn textile artist tamar mogendorff. they’re made from linen, vintage buttons and fabric, wool, ribbon and other materials.

purchase select pieces at enfant terrible and see the full collection on tamar’s website.

via poppytalk

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iris schwarz illustrations: miniview

look at these enchanting and slightly surreal digital collage pieces, from swiss artist iris schwarz. there is something familiar about these delicate works which draws me to them, like i’ve seen them in a museum or maybe while i was daydreaming. iris uses ink, pencil and acrylic, and also draws upon a variety of vintage influences and imagery to complete her intriguing collection. even her shop name, which is called paulette edition, was inspired from her love of things old fashioned and very french! ever curious to know more about the brains behind the operation, i asked a few quick questions…

q: how did you get into creating these lovely illustrations?
a: after my graduation in graphic design and illustration i’m now self-employed for about ten years. graphic design always was more of a job, but illustration/drawing/painting is my real passion. i started with editorial illustration for several magazines and newspapers, today i work more as a freelancer, selling my art and illustrations online or direct to my audience.

q: what inspires you to make art?
a: art – contemporary, but even more the old schools (italian renaissance, the dutch school – i adore this accurate work), fairy tales, craft – i’m impressed by certain skills people have, victorian illustration. almost everything old… illustrated books, textiles, furniture (antique shops or flea markets are my obsession, especially in paris!), nature is very important to me, sometimes a conversation, beauty.

q: do you have a favorite medium to work in?
a: a pencil, a brush and paper. but, i must admit my iMac (photoshop) and me became really good friends too!

see the conplete collection, purchase these pieces and contact iris at her etsy shop.

thank you iris!

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french industrial furniture at wisteria

q: have you seen what is new over at wisteria?

a: some gorgeous vintage modern french industrial furniture (like this double book shelf and chair), patterned after 19th century designer reactions to the elaborate pieces that were being produced at the time.

gorgeous.

see the whole collection and much more over at wisteria.

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elizabeth perkins glass art & sculpture - let’s chat!

beloved readers, let’s all take a deep breath and dive into the amazing art, sculpture and installation work that virginia artist elizabeth wade perkins creates. it is simply mesmerizing and after a good long stare, i am swept away by the richness of even a single vessel, so fluid and steeped in her personal history it all is. elizabeth uses a variety of techniques, including casting, blowing and pâte de verre, which is the centuries-old type of casting she does to create her beautifully detailed lace pieces. to me, her noteworthy technical skills aren’t the only secret of her success here; there is also the skillful underworking (or should i say perfect-seeming working?) of an amalgamation of ideas — the concepts of time, place and memory. in these works you will find a consistent complexity that is whole and complete, and collections that are wry, nostalgic and absolutely current. let’s have a chat with elizabeth and find out more!

q: where do you live, and where do you create your art?
a: i live on a farm named red bud in bumpass, virginia. it has been in my family for seven generations and its older name was seclusion farm. it is located in bumpass by neighboring areas called three square, tip top, cuckoo, and holly grove. bumpass is between richmond and charlottesville in louisa county. i make my work in my grandfathers old fix it shop. it’s a wood frame building covered in metal. it’s heated by a wood stove that my grandfather fabricated out of a number of wheel rims (from an old pick-up). he mended and made things in there to keep the farm running; everything from tractors to electrical. he invented this really cool system to keep his pigs hydrated. my favorite thing he invented in the shop was a light that was over the fridge to indicate that the toilet was running. he had hearing aids, so he couldn’t hear it. however his chair in the den was situated so that he could not only see out the “picture window” or look at television, but he could see the light over the fridge which indicated the toilet was running. when the light would turn on, he would go in the bathroom and jiggle the handle. god only knows why he didn’t just fix the toilet, maybe because it only ran sometimes or maybe because he used what he had at the time to fix the problem.

i think the whole thing is just awesome and ingenious. i’d like to think i got my creative mind and hands from him.

q: what is your background, and did you study art formally?
a: i grew up in southern rural america. my undergraduate degree is in sculpture from the atlanta college of art, and my graduate degree is in craft material studies from virginia commonwealth university. my favorite place to learn is at the penland school of crafts. though i am formally trained as an artist, i have learned a lot from my personal experiments and am more frequently informed by my subjects rather than my “education”. i seemed to get in trouble from time to time in school; like the time i showed up with a huge bale of hay as a component of one of my works. let’s just say… when you see those things on the side of the road out in the field they seem kind of small, but they are not. they are massive and beautiful. sometimes it takes bringing the outside inside and the inside outside for us to really have an understanding of what we are looking at. if you see the forms in resuscitation (photos below) they are taken from that bale of hay. everyone on my graduate committee at the time told me that piece was technically impossible to build in porcelain and impossible to slump over in glass. i like making the “impossible” possible. they don’t teach you how to do that in school. i think those kinds of quests are personal and are brought about by our experiences, desires and willingness to fail.

q: (without giving away any secrets of course!) can you tell us a little about the techniques you use?
a: there aren’t really any secrets to it. mostly it’s paying attention to what you’re doing, learning from what you do, seeing the potential and identifying the control in your artistic experimentation and investigations, working hard and being patient. i use many processes. i blow glass free hand, i also blow glass into both cold and hot blow molds. whatever is appropriate for the form and will make its potency more… stinky and real, honest perhaps.

i also kiln cast and use the pâte de verre method of casting. i use techniques that are appropriate to my forms and the ideas i want them to convey e.g., fragility, texture etc. most works contain glass.

q: how do you think your work has transformed since you started making art?
a: in one of my artist statements i say, i am still the naive child searching around the house for hidden treasures in the old furniture and cupboards. i have the same nosiness and fearlessness as i did as a child. (inquisitiveness, perhaps.) as i’ve grown i have discovered the complexities of these nooks and crannies and have built a larger visual vocabulary by being inquisitive. i have practiced a lot. i have been seduced by my material and its traditions but i walk and practice outside those traditions and former histories. i think there are so many new forms to be made in glass.

q: what is the price range of your collection?
a: $50.00-$20,000.00

q: what is your inspiration for these works? do you have a message you want to send through these pieces?
a: i am interested in values and traditions; how they evolve and linger through the ways we experience life, art, and craft. i am interested in what remains inside and outside of these notions; works that give the viewer something to hold onto and in some cases to let go of. in other words, what we give birth to, what we pass on, and what we take with us when we pass away. i feel my most successful pieces deal with these complexities simultaneously.

q: where can we go to see your collection in person? is there anything else meaningful you would like to include?
a: i will have a trio of medium glass lace pieces in the urbanglass gala and auction in new york on april 4th, 2008. i am currently seeking gallery representation. i have a website with many of my works. my email is included on the site, and if you are interested in buying my work you may contact me through my website.

thank you elizabeth! and special thanks to burt for putting us together (and taking these last two photos)!

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recycled book cuff bracelets

i think these bracelets, made from the spine covers of old and damaged books from young pennsylvania crafter jamie keiles are very clever. they are lined in your choice of leather or vinyl.

purchase them at jamie’s etsy shop, and see her blog for more interesting tidbits.

via craft

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