The IPCA is us--the world community of polymer clay artists. In this spirit, I'd like our newsletter to become more interactive, to include editorials, members' opinion pieces, and letters to the editor.

This month I'll start the trend by sharing my own thoughts on how we think of our works of art, especially as we consider displaying, marketing, and pricing them.

Process vs Product
by Suzanne Ivester

I meet often with a group of friends to clay and share our ideas, hopes and frustrations. None of us is what we consider a "professional" artist, but occasionally we all offer our work for sale.

When we talk about pricing and selling, we often lament "Don't they (the customers) understand how much work goes into each piece?" Then we click our tongues and shake our heads in solidarity as undervalued artists, united in dismay at the ignorance of the shopping public.

But is this fair? And is it helpful? Maybe there's another point of view to consider.

The Value of  Process
As my friends and I work/play together (and, to a lesser extent, when each of us works alone), we revel in the process. We develop and share techniques, testing them by trial and error. Our focus is not on the finished product. In fact, most of what we create ends up in bags of "loose parts," to be completed or discarded later. This activity has tremendous value to us--educational, recreational, social--but it can't be translated into dollars or Euros, except insofar as it helps us to gain skills that will enable us to make products that have monetary value.

A piece of my artwork represents to me the history of the process of its making. I know that it took me three hours, I burned my hand taking it out of the oven, and I tried four different surface finishes before I was satisfied. But do potential buyers know these things, or care? And should they care?

The Value of a Product
When I approach buying, for example, a piece of jewelry, my primary focus is on the product I'll receive in exchange for my money. Is it beautiful? Does it fit comfortably? Will it be durable? Does it reflect my personal style and complement my wardrobe?

In judging the product's value to me, I may also consider some process issues. If the item is handmade, are the design and construction superior enough  to similar manufactured goods to warrant a higher price? Was an artisan in a developing country exploited in its production? Will the hand-crafting process of this piece provide me with interesting information to share with those who compliment me on it?

Resolving the Dilemma
In my opinion, while an artist may be concerned mostly with his or her process, the primary focus of a buyer will always be the product.

Therefore, an artist intending to sell pieces of art must concern him/herself with the finished product as it will be viewed by an objective person.

A few simple rules may be derived from this conclusion.

1. A  difficult or time-consuming technique won't necessarily result in a more valuable product than a simple technique that the artist has fully mastered and can use creatively.
2. The elements and principles of good design are flexible enough to inform artistic decisions based on comfort and fashion.
3. A clever artist will develop a narrative about his/her process that will enhance the value of the product by providing a "conversation-piece" factor. This narrative may be shared via demonstration, conversation, or merchandising.

To respond to this or any other item in the International Polymer Clay News, or to submit opinion pieces, contact me via the IPCA website.

Exhibitions

• Indianapolis Art Center: Art from the Heartland, deadline Nov. 8.
• ArtAwards 2010, Virginia Beach, VA, deadline Nov. 14
  
• International Call, Riga Latvia, deadline (recieved) Nov. 15
  
• Colored Pencil Society of America: Explore This! colored pencils with mixed media, deadline Nov. 15.
• New Leaves for New Lives, altered books, mixed media,  sponsored by the Center for Women and Families, Louisville, KY, deadline TBA
  
• Art City Austin, Austin, TX, deadline Nov. 15
• 4 Bridges Arts Festival, Chattanooga, TN, deadline Nov. 15
• Fiesta Arts Fair, San Antonio, TX, deadline Nov. 16
• Redux 2009, Charleston, SC, deadline Nov. 16
• Washington Sculptors Group: Sculpture NOW 2010, deadline Nov. 16
  
• All-Media Show, Richmond, VA, deadline Nov. 21
• Art(Raw)09, sponsored by ifontis.com, deadline Nov. 30.
• Mort Abelson Scholarship 2010, deadline: Dec. 1
  
• Mainsail Arts Festival, St. Petersburg, FL deadline Dec. 1
• FestForAll, Baton Rouge, LA, deadline Dec. 15

Publishers' Challenges

• Somerset Studio Challenge: The Impressionists, deadline Dec. 15.
  

A Sweet Plea for Synergy
by Judy Belcher

 

Contracts and Professional Agreements

We've heard reports of artists, teachers, and guilds being disadvantaged by the lack of formal contract terms in arranging for classes, workshops, exhibitions, auctions and similar events. Significant protection against these problems may be available, even without hiring a lawyer, by having access to useful documents.

The International Polymer Clay Association is actively seeking examples of contracts, checklists, release forms, etc., to share with our members to assist them in their activities as professional artists and educators.

An excellent source of such documents is metalsmith Harriete Estel Berman's wonderful.  Her Professional Guildelines page offers samples of an Inventory Record Form, an Exhibition Contract, a Model Release Form, and a list of books, audio and online resources offering legal and professional advice to artists and arts organizations. She also offers a wealth of information and advice regarding juried shows, creating and working with digital images, and many other important topics.

LawDepot.com offers free sample documents that could be adapted for workshop-teaching situations, including an employment contract, a compensation agreement, and an employment offer letter.

If you or your guild uses professional contracts or other forms that you'd be willing to share with other polymer clay artists and teachers, please contact IPCA.

Reminder: ACREs of Opportunity

Polymer in Print: What's New?

Go Big with Lightweight Polymer Clay: Use a Mega-Extruder to Form a Bold Bangle That Won't Weigh You Down, Seth L. Savarick

Book Review by Suzanne Ivester

Artful Polymer Clay, by Gail Ritchey

Voila Launched

Ashford, Kent, UK, 1 Nov. 2009

Voila! is pleased to announce it has launched the world's first community website focused on design and creativity for artists who work in polymer clay at http://www.voila.eu.com./

"I wanted to create a place for polymeristas--artists working in polymer clay --to really show this material's artistic potential," said Christine Dumont, artist, creator and developer of Voila!.

From its European home in the United Kingdom, Voila! offers national groups international exposure and promotes the work of individuals, highlighting their artistic merit. It provides tutorials on art and design to enhance professional competency. Piloted by internationally recognized polymer clay artists, it has achieved a membership of 250 members since its launch in October, a testimony to Voila!'s acceptance by the global artist community.

"At last an all-embracing Europe-based polymer initiative!" said Kylee Milner, IPCA International Guild Liaison, announcing the IPCA's endorsement of Voila!.

"The big goal for all European polymer clay artists alike is to spread the word about polymer clay and to raise its image as a widely accepted artist's medium. Voila! is a much-needed initiative that will certainly support the European polymer clay scene to hit that target," said Bettina Welker, co-founder of the German Polymer Clay Guild and author of Unique Fine Jewellery and Accessories in Polymer Clay, 2009.

"Voila! is a showcase of artistic talent in polymer clay, a medium affording amazing possibilities for color and form, and the public might not be entirely familiar with the imaginative nature and quality of work achieved," Christine added.

Voila! builds on the tremendous success in social networking and community websites. Membership in Voila! is free.

For Editors Only:
Contact Christine Dumont:
Oylers Folly, Pound Lane, Smeeth, Kent TN25 6RJ. Mob: +44(0)7515 253 642

Voila! is a service of All Over Creation, run by Christine Dumont.

Euroclay Carnival France 2009

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