rough moissanite crystals and one lone terminated emerald crystal. which do you prefer - the wildly shaped manmade moissanite diamonds or the natural emerald? myself i am not sure...
the larger emerald (nearly 14 carats) is included with moonstone, a member of the feldspar family. its been in my collection forever and i just can't decide on how best to set it. suggestions anyone?
oh green loves pink in the most tender of ways. that combination just seems so natural. if only rose gold was actually pink, like these little sapphires. the green emerald and green tourmaline just seem to relax next to them.
i so desperately want to make a whole line of labradorite set in 14k yellow gold. everyone's been telling me not to bother as conventionally speaking, labradorite is a lesser value than gold warrants. but what of it? doesn't it stand out so? i just want to rock this ring all day long.
my poor camera couldn't handle the light dancing on the surface of these diamonds. please trust me when i tell you that they are fantastically beautiful. the white freeform tear drop is about 7x6 mm and the mocha pear is roughly 8x6.
just practicing. i think i'll set them in one of a kind wax cast moldings. yellow or rose gold?
this one is definitely for yellow gold. pretty, pretty. the big exciting news is the giant emerald cut white diamond that is nearly here. 2.35 carats and 9.5x7.5 mm. when it arrives i shall sleep with it under my pillow and dream that it is mine to keep forever.
the smaller emerald cut tourmaline collection.i've never understood the draw of the tourmaline until recently. they really are as beautiful as diamonds and in some cases nearly as expensive.
but i did manage to swing a little bit of a deal on a 256 carat lot of black with green tourmaline. i favor the longest emerald cut baguette at the top right. does it say "surround me in a generous layer of platinum and set me on a thick textured band" to you? because that's what i hear.
when i first began this little blog i fully intended to talk about our house and the renovations we're constantly making.
over the past 2 years we've been renting 2 of our 3 suites out...and $12,000.00 in damages, three new floors, two floods and one full suite of switched out stainless steel appliances later (!), i'm finally ready to talk
guess what? the moment we decided to stop renting out, our house became a cozy home. who knew being a landlord was so counterproductive?
and who could have predicted that one tiny (forbidden) bichon frisé could result in 1,000 square feet of re-flooring & 4,000 square ft of re-painting in only 2 months? but its good. its soooo good to be home.
fire! its the peak of fire season here in british columbia canada. we're seeing ash from fires to the north and east of our community. the air is laden with the scent of burning pine and the sun blazes fierce fiery red every night as it disappears beyond the mountains. beautiful. frightening. if you need us or we're not getting back to you its because in a family of wildfire fighters and fire fighters to be, we've got our hands full. but not to worry, soon it'll be business as usual.
"rules are meant to be broken" has been a motto that works for me... umm... somewhat. but about a million years ago in another life i learned a rule that should never be broken. the (so called) first rule of dance is tomove with intent. in other words, find your intention, your connection to the driving concept behind the choreography, so that you can clearly project it to your audience. dancers are limited to three tools: their bodies, the music and costume. the body is the only tool that a dancer is in control over and intention is the soul of their expression.
i nearly fell off my chair when i read scoutie girl's "we scout wednesday" posting on handmade vs homemade and why it doesn't matter what you choose to call it. what matters is the intention behind it. talk about coincidence! my planned post for the day also involved the importance of intention. how does "the first rule of dance" apply to design you may ask? well...what's behind a design? is it an exercise in stretching the maker's technical reach? an exercise in moving stock? working with a set palette of pantone colors chosen by a group of elderly men that we are all beholden to?
those are all valid reasons for design...i suppose. in dance we call these exercises technique and virtuosity. they are not to be confused with the heart and soul of dance. the joy of it. with art and magic. technique exists to train the muscle memory to respond in the correct way when called upon. virtuosity is a testament to how high you can reach - how far you are able to stretch to attain perfection. i think of art as a transformation of materials or concepts into a finished work - something from nothing.
as amazing as virtuosity is, it doesn't necessarily make you feel what the dancer is feeling. it is tension for the sake of aesthetic perfection. your story, your emotions, your truth are as important as the quality of your product. the why of it needs to be put out there. do you make to survive? let me see how hungry you are through your work. do you love what you do? show me the love.
call me eccentric but i fully believe that what you feel and think while you are making your art or crafting your wares comes through in the final product. i no longer seek to project my intention on stage but i do try to project it onto my work. every piece that comes out of my studio is made for a queen in my mind. i make my intended client the most important person in the world the whole time i hold their piece in my hands. i am in love with the materials themselves and make the manufacturing process a joyful one - never, ever do i let thoughts or troubles of the day intrude.
i want you that joy to be apparent in my work when you receive it. to be thrilled with it no matter how big or small. that is my intention at least. maybe the answer for me is finding the right balance of constantly reaching for dynamic tension - stretching for technical perfection while maintaining the soul's intention.
but isn't it easy to loose that playful enthusiasm for experimentation when creativity is mixed with money? can work and play happily coexist? the stark fact that i am beholden to the books can mess with my ability to let go and get dirty. truthfully, the $ aspect can introduce a sense of fear into the way i think about stretching my own creative boundaries.
all of my public work right now is self taught and i sometimes find the need to remind myself to trust in my prior learning and life experience. from pro classical dancer to water conservation officer to waitress and everything imaginable in between, its all valuable and it all applies. i try my best to to use every resource that i've already invested in without fear or apprehension and to believe in my ability to reinvest wisely into my business. nothing ventured, nothing gained, whatsoever. and i am so thankful for all of the support that i've gotten along the way. thank you too, dear reader.
i think that self-taught can often equate to high risk because you are in effect transferring what you would pay for an accredited education into a *much* higher investment of time, higher potential for mistakes, lessons learned in practice rather than theory and no outside authority to direct learning outcomes - just little old you. if you are running a business, this method is a huge responsibility to take on but oh so very rewarding in the end. self reliance feeds back into the business/family/life/garden that build our most treasured experiences. photo credit 1/2/3/4
are you self-taught? how do you balance your learning and practice? do you feel that work and play can happily coexist?
Re:Design Technologies is a husband and wife team who have fused their combined backgrounds in natural resources sciences/research and fine arts/restoration. We live in Merritt, BC, Canada, have 8 kids (his, mine, ours), a cat and are new owners of a "sweat equity" property.