Dear Ornament Reader,

How do artists reveal themselves through their artwork? What accounts for their special insights or personal visions? Why do we all care so much about this special quest? What answers are there to be revealed that connect and bind our interests and lives? It all seems so complicated, so astronomical in the possibilities inherent to the human dynamic. Such a force, such an energy. We know that artists are never able to explain the full process that leads to their creations; to them it remains a mystery. Still there are insights to be made. Within this issue we present some for your consideration: creativity, expression, media, motivation and technique.

On Creativity. “The everyday objects that surround us can be extremely curious when seen in isolation,” believes Christina Smith. “Familiar objects such as furniture, crutches and tools can be used as potent symbols that anchor our past with our future when removed from their present context. I like to view and use common materials as gestures of our culture, artifacts that can tell us more about us by evoking personal responses.”

On Expression. In executing one of his Warring States beads, Tom Holland reflects: “This bead allows me to express how bent out of shape I feel. My country is at war, the sustainability of the human habitat is under siege and we have recently experienced the loss of close relatives and dear friends.”

On Media. “One of the reasons we have always loved working with Joyce Wilkerson is her cloth is very cerebral, as well as imaginative and expressive,” points out Jill Heppenheimer, co-owner with Barbara Lanning of the Santa Fe Weaving Gallery. “It engages you mentally as well as emotionally. She continues to push the boundaries of what her loom can accomplish, and she has a real love of fiber.”

On Motivation. In commenting on the importance a prominent craft show plays in stimulating the professional lives of today’s artist—in this case the Philadelphia Museum of Art Craft Show, which convenes November 13 through November 16 at the Philadelphia Convention Center—artist Steven Ford of Ford and Forlano states: “Lots of museum people come, and they’re always looking for something new, so that’s a real motivation to keep trying to take the next step... Going in such a new direction makes us both excited and nervous. Will people like the pieces? Next year, we’ll have to up the ante if we’re fortunate to get in the show again. It’s challenging, as motivation it hasn’t failed us yet.”

On Technique. Mary Kennedy’s expertise draws on previous glassmaking techniques to create a unique way of making mosaic canes. Author Robert K. Liu explains how proficient crafting influences a successful consequence: “Instead of working solely at the furnace or lampworking to create the cane, she uses slumped sheets, rods and some lampworked elements, like the eyes of the fish, to make the myriad cane slices necessary for her tropical reef pendants... Like other amulets, these are not miniature representations of actual underwater life but possess the power to evoke memories.”

Now, dear reader, it is time to turn to the articles, themselves, as Ornament once again explores the public and inner nature of the art and craft of personal adornment, and the generous role and boundless context of creativity, expression, media, motivation and technique in the resulting artwork. Great mysteries, indeed.