Mary Ann Babula
I was fascinated the first time I saw I could drill a hole in glass. I feel akin to sculptural work and working with my hands.
In 1998 The Museum of Fine Arts in Boston placed my sculpture in their collection.
More recently I create jewelry - small sculpture, carved of laminated glass, mirror, vitrolite (opaque architectural glass) and gold leaf, in the same aesthetic as my larger sculpture. For me, these are form-driven glass composites of various glasses, gold leaf, and sterling silver and are objects of light and volume, to wear.
The recipes used to make my jewelry are made with ingredients found in nature. The delicate hues and lusters of Fresh Water Pearls and the rich and subtle textures of Semi-Precious gemstones are its foundation, complemented with precious metals: 14, 18, and 22 Karat Gold and Sterling Silver.
After graduating from Northeastern University with a Bachelor of Science Degree in Elementary Education, I knew that my career interests lay elsewhere. I started employment as an assistant Production Manager with a NY costume jewelry designer and never turned back!
I am a late blooming self-taught Cambridge nature art photographer specializing in flowers, birds and insects. At the age of 56 I learned digital macro photography using the flower function of a point and shoot camera and added telephoto shots later. Trial, error and perseverance led to usable techniques for taking close up natural images of flora and fauna with contrasting blurred backgrounds. In 2005 I began to print and sell my photographs as fine art with the help of a wonderful mentor. I have participated in many art fairs and received several awards from Beacon Hill and Charlestown annual events. I have participated regularly in Cambridge Open Studios and have had several exhibits at local venues, including Mount Auburn Cemetery, which also serves as a prime photo shoot location.
Beverley X working as House of Coniglio: Influenced by Art Nouveau, Art Deco, & Goth, the Victorian look without the Victorian principals. I am fascinated by all kinds of creatures, furry & scaled, feathered and fanged; all things magical & mystical; flights of fancy, whimsical visuals.
Salvaging the lost and abandoned; unearthing just the right treasure to be incorporated into my latest projects. Recycling them in such a way that brings them new life and purpose. Using vintage German and Czech stock from the 1920s into the 1950s along with the unique sparkle of Swarovski components and crystals to create my designs. Components are a mix of genuine antiques and vintage stock along with reproductions made from the original old molds dating as far back as the mid 1800's. Many of my pieces are One-of-a-Kind.
I love trees and making things! I fabricate my original design jewelry under skylights in my airy studio and fulfill several roles at the co-op which provides my work life with a balance of solitude and community, variety and routine, creativity and concrete action.
My jewelry is made with gold and silver, sometimes together, and often includes opals, each one offering a unique array of brilliantly shifting colors.
I also take great pleasure in creating contemporary quilts. The entire process satisfies me from surface design to meditative hand quilting.
I have been a potter for nearly 30 years. I began my schooling in Wisconsin, then moved on to the University of Southern Maine on a scholarship, and continued on to UMASS Dartmouth. I have taught at the UMASS Studio, in New Bedford, and the Worcester Craft Center. I also ran the ceramics studio at the Boston Center for Adult Education.
I also create handmade papers that are made from a mix of cotton, abaca (banana), and linen fiber. They are filled with flower inclusions which are grown in my garden. They also include threads, ribbons, decorative paper and sparkles. The papers are all unique and one of a kind.
Carl Tasha and Nancy Gribbin
In 1971 in Provincetown, Massachusetts Carl Tasha met Nancy Lamb Gribbin. We joined forces and started working together. Carl was a sculptor who worked in bronze. The distinctive style of his work is due in part to the techniques he used and developed: melting bronze rods with a hand held torch while using the melting rod to guide the flowing metal as he drew his forms, often forging and fusing elements together to form one piece.
In 1974 we formed Carl Tasha Designs in Limited Editions offering limited editions of his collection of sculpture, jewelry and buckles. Carl passed away in 2006. Our studio, under Nancy, continues to produce his open editions.
I am a collector of stories. My collages encompass light hearted, colorful imagery in a whimsical world. I am inspired by Shel Silverstein, Eric Carle and other children's books authors and illustrators. While in contrast, my photography lets viewers into my private self. Quiet, haunting and evocative. I find inspiration from 20th century female photographers. By working in mixed media, these two sides can merge. While my education has been in photography, combining other traditional art mediums has always been a passion. Utilizing found imagery and papers with painting and printmaking, I have found my stride in my art making. I live in Watertown, Massachusetts with my dog and muse, Georgia.
I draw from my background as a visual artist, dancer and gardener to create unique, one of a kind earrings. My materials are petals, flowers, and leaves, semi-precious stones and tiny glass antique beads. Findings are either sterling silver, gold, or gold/filled.
I am an artist from Belmont, Mass. I make items from recycled wool and cashmere sweaters. My goal is to transform a recycled sweater into a beautiful, useful item while reducing the amount of waste that goes into the landfill.
I design and carve pendants, earrings, and small sculptural objects in jade. I am constantly inspired by the natural beauty of nephrite and jadeite jade from around the world.
I am very excited to be bringing ancient jade traditions together with the world of contemporary fine craft.
My aim is to create uniquely beautiful objects of wearable art and small sculptures for discerning collectors.
My pots are contemporary; the designs I use are ancient. I've devoured books, hung out in museums and traveled the world in search of indigenous designs, particularly animal imagery. I work in a funky, old building behind my home in Randolph, MA, fire in a gas kiln, and sometimes pack my pots with leaves and seaweed and fire them in their own container (called a saggar) to make them look as time-worn as the petroglyphs that inspire me.
When I'm not in the studio, I do what I can to make it possible for traditional craftspeople around the world to earn sustainable incomes. I've published a number of articles, primarily in Studio Potter and HandEyeMagazine.org, about indigenous potters and weavers who work with little technology to create work far more elegant than my own.
I create lampwork beads which I add to stainless steel serving utensils as well as fused glass plates to complement the utensils. The term lampwork comes from the time when artists used oil lamps to melt the glass. Today, we use table mounted torches and the more modern term is flameworking. The process of sitting at a torch and creating beautiful colors and designs is mesmerizing and one I cannot get enough of.
For 40 years I was in the software business, selling large software systems to companies around the world. Once I took up glass all I could think about was how soon could I get back into the glass studio. Working full time in the software industry and keeping up my glass work created an interesting tension. The glass finally won – I am now retired from corporate America and working full time on my glass.
Through my eyes as a graphic designer, I visually read things by balance of color, symmetry and proportion. But as a jewelry designer, I embellish with curves, angles and textures that compliment the curvature of one’s face, neckline and skin tone.
Originating with a pattern, I weave, wrap and hammer precious metal wires into elegant, lightweight and wearable art.
The art of my work is to take materials and transform them into light, texture and color. There is always movement in my work to express the mystery of life, always changing and flowing.
The methods I use originated in Japan. The ceramics are raku fired. Each piece is heated very quickly, pulled out of the kiln and is exposed to fire and smoke. This creates a unique combination of various colors on each piece. The scarves are shibori dyed, a method of stitch resist. The methods I use are new modifications to traditional technique.
I have shown my work and overseas in galleries and museums including Los Angeles, New York, Chicago, and London. I have been artist in residence at MIT’s Department of Materials Science and Engineering.