1. Rebecca, could you tell our readers about yourself and how you got started with beading and making jewelry?
Years ago, a friend of mine and me would go to the local craft shows where we always admired the work of local bead artists. Then we began making and selling our own beaded jewelry in the 80's at the local bazaars. I had always admired the work of Virginia Blakelock and the detail she obtained in her loomed pieces. I too thought I would like to do loom work, but on a larger scale. I even had my husband help to make a large loom for such projects.
However, I quickly became frustrated maintaining the tension on all of the warp threads and the thought of weaving in all of the threads after the loom work was completed seemed daunting. I thought I might be able to create the look of loom work with off loom stitches. I was attempting to teach myself square stitch when I developed a horizontal square stitch method. It's much like ndebele or herringbone, but with an extra thread path worked right to left that join the columns of beads and cause them to lay flat horizontally.
I discovered I could create any shape or size by using this method and did not have to worry about tension or weaving in the threads when I finished. I was successful in creating the "Vivid Summer Vision" necklace which was juried into an exhibit at the Goldstein Gallery. Several other pieces were made using this method including "In Full Bloom" which has also been published and exhibited.
Living through the long Alaskan winters was made a little brighter by creating colorful beadwork. I worked for many years in law enforcement and found beadwork provided a good balance to a stressful career. I also traveled to many rural Alaskan locations for my work and often took my beadwork with me. I found the local village women would open up and talk to me as they watched me bead. They would bring out their beadwork and we often traded jewelry.
After taking David Chatt's class at the Coupeville Arts Center, I discovered the vast possibilities of beadwork using right angle weave. No stranger to larger pieces, I created "She has her beads to keep her warm" a scarf which incorporated both right angle weave and horizontal square stitch. I loved the way the beadwork warmed to the touch as you wore it.
2. You like to work with, should we say "unusual" pieces in your designs. Where did this idea evolve from?
After attending David's class, I created a couple of small sculptural vignettes using the right angle weave such as "Gone" which incorporated the use of a small doll house bed. "Interrupted" followed using right angle weave and armature. In 2002 several Alaskan bead artists including myself completed a year and a half long Master Class with NanC Meinhardt. The completion of the class was celebrated with a group exhibit of our work at a local gallery.
For this class, I created my first large sculptural piece of work. I tackled a room divider. "Go big or go home", I say. During the class time, I worked on concentrating a single concept into a defined space using different bead stitches and techniques to fill the squares of the room divider known as "My Two Cents Worth." Here I started incorporated some other materials into the beadwork. The room divider has coffee beans, pills, moose antler, and electrical cord, shells and other objects.
I felt a sense of freedom incorporating other objects into my beadwork and later created "High Caliber Collar" using an assortment of live bullets of various calibers. I love the challenge presented when working with unusual objects. The idea was to create something beautiful and draw the viewer in for a closer look.
This piece had to be shipped from Alaska to Milwaukee, Wisconsin for the 2009 Bead Dreams show. It was then I found out live ammunition was considered "Dangerous Goods" by shippers and required special handling. The theme "Dangerous Goods" prompted the creation of several other pieces - some involving bullets, martial arts throwing stars, throwing knives, chain saw blades, scissors and razor blades:
3. Given the medium you work with, do you intend your jewelry to be functional pieces or more a work of art?
I have worn some of the pieces to special events. No, they're not the typical kinds of things you wear when running up to the grocery store. Most of the time, the pieces are framed or displayed as works of art.
When creating "High Caliber Collar", mentally I reduced the bullets to their basic shape. A bullet is a cylindrical shape. You can bead around a cylindrical shape and join several shapes of various sizes together. The challenge in the "High Caliber Collar" necklace was the weight of the bullets and I had to come up with a secure way to put it together that would not distort the beadwork.
The items you choose to incorporate do have a visual power of their own. The image of a bullet speaks volumes about violence, war, power, death, etc. I believe the necklace became successful when the beadwork around the bullets was serenely beautiful - creating a juxtaposition.
I want the viewer to see a detailed byzantine necklace, then be drawn in for a closer look and realize there were bullets incorporated into the piece. I hope the juxtaposition then prompts a conversation about the components and the concept of the piece.
4. Typically, how long do you spend working on a piece and what inspires you?
I never really kept records regarding the number of hours I worked on a piece because up until two years ago, I worked full time. I considered it bead therapy. Realistically, my pieces are labor intensive and I can spend several months working on a single "epic" piece. I do maintain a pretty strict focus and usually don't have too many pieces going at once.
Sometimes I'm inspired by a theme, such as the "Dangerous Goods" series. Most often I am inspired by the infinite possibilities for mixing found objects into my beadwork. I have several drawers of unique pieces. Sooner or later one of those pieces becomes a project as I add beads and other findings.
5. How did you learn your technique and has it evolved or changed over time? (lessons, self-taught, etc.)
I have focused on taking more intensive classes, concentrating on techniques. I believe you the more you know, the more you can create. I have taken three classes with David Chatt; at Coupeville Arts, Split Rock Arts Program - University of Minnesota and at Penland School of Crafts. I also studied with Joyce Scott at Split Rock. But it was during the Master Class with NanC Meinhardt that I solidified my love of making personal art.
6. Do you have any special projects you've been working on lately?
I just finished a sculptural piece using a taxidermy form and vintage food rationing tokens and stamps, entitled "Of Course I Can" which was the marketing slogan for the food rationing program in the 1940's. I am currently working on a sculptural piece which will include pushpins.
7. Do you sell your pieces online or are they displayed anywhere? You mentioned you didn't have a website when we spoke, so wondering how you get your name "out there"?
I have enjoyed the good fortune to have been published and exhibited and I continue to pursue future opportunities. I was ecstatic to find out I was not only included as one of the artists in Lark's Showcase 500 Beaded Jewelry book, but that my beadwork made it on to the back cover. Margie Deeb graciously included four of my pieces in her latest book, The Beaders Guide to Jewelry Design: A Beautiful Exploration of Unity, Balance, Color and More in 2014.
Because I have focused primarily on creating personal art, I have not made a concerted effort in selling. I have sold a few pieces and the Anchorage Museum purchased one of my pieces, "Twisted" for their permanent collection. This piece was on display at the Anchorage museum in their "It's All Material" exhibit in November last year.
Last year several of my beadwork pieces were included in the "Bead" exhibit at the Reston Art Gallery alongside such bead masters as Joyce Scott, David Chatt and others. I was honored to be one of 12 women artist exhibiting at the Target Gallery at the Torpedo Factory Art Center in the "Trending, Contemporary Art Now!" exhibit in February, 2016. Since retiring, my husband and I split our time between Alaska and Kentucky. I have since exhibited my work in a local gallery there, Gallery 104 in La Grange, Kentucky.
8. What interests do you have outside of creating?
When I'm not beading, I am usually quilting. It's a love of color. My quilts also bear some embellishments. I was one of the founding members of the Alaska Bead Society and served as their third president and held several board positions. I continue to participate, present and help with programs. When not creating, I spend time with our two daughters, son-in law and grandson and other family. This summer I plan to try to get a website up and running.
Thank you, Rebecca! We wish you success!
My gallery on MyLovelyBeads.com
About author:
| Rebecca Starry, Anchorage, Alaska, USA | |
| Email: | number1beader@gmail.com |
| Facebook: | facebook.com/rebecca.starry |
