Abby Leon, Paradigm Gallery Director
The Art Nouveau and Art Deco movements gifted us some of the most spectacular jewelry and have remained a steady influence in many aspects of the design world today. Paradigm Gallery artist Deanna Poelsma pulls inspiration from both genre’s stylistic features when creating her ceramic wearable works of art. Deanna’s use of organic curves, geometric patterns, glossy sheens, and glimmers of metallic are her signature winning combinations. She is also a fan of color, and incorporates a dreamy mix in her jewelry line–from sunrise blushes to deep blues and greens. In this post, Deanna will give a behind-the-scenes look into how she incorporates different elements into her process on one of her newest pieces!
I began my artistic journey in 2009 by attending the Columbus College of Art & Design, where I earned my B.F.A. in Fine Art focusing on ceramics and small scale metals. Following graduation, it wasn’t financially feasible for me to continue creating jewelry, so I dove hands first into clay and have played with mud ever since. In the years following graduation I taught art, restored art, and served in the non-profit arts sector as a grant maker, but always had a desire to create full-time. In 2021 I decided to take a chance on myself, forming Glazed & Confused Creations to pursue my craft as a full-time career. Born and raised in Florida, my work is heavily influenced by the colors of the island and Caribbean while my designs are inspired from both the Art Deco and Art Nouveau eras.
Step 1: Using a slab roller, I flatten the clay to achieve a thin and uniform thickness.
Step 2: Using a rubber rib, I compress and smooth the clay on both sides. This helps prevent warping and allows for easier clean up once the shape is cut.
Step 3: I then cut out the desired shape using plastic dies and saran wrap. The saran wrap keeps the clay from getting stuck in the cutter, and helps create a nice beveled edge to the clay.
Step 4: With the desired shape cut, I use both metal and rubber ribs to smooth, clean up, and further refine the shape.
Step 5: I then bend, cut, and place high fire wire onto the clay while still in the greenware stage. This step is crucial, and is what allows me to suspend the piece during firing so that it can be glazed on all sides without fusing it to the kiln shelf.
Step 6: I then roll wet clay into tiny balls that are attached to the piece by slipping and scoring the clay. Once the piece is bone dry and completely free of water, it goes into the kiln for its first firing, called a bisque firing, at 1888 degrees Fahrenheit.
Step 7: Once the kiln has cooled, the piece is removed and ready to be glazed. Using a brush and commercial glazes, I paint the piece by hand to ensure all sides are completely covered with three coats of glaze. It is then suspended in the kiln using the high fire previously inserted, and fired to cone 6 at 2232 degrees Fahrenheit.
Step 8: Once cooled, the piece is removed from the kiln and ready for gold luster. Because luster is toxic if ingested, gloves are worn to prevent any luster accidentally getting onto the skin that could later come into contact with food or the mouth.
Once successfully applied using a very fine brush, the piece is then suspended again in the kiln and fired for a third time to 1319 degrees Fahrenheit.
Step 9: Once cooled, the piece is removed and ready to be fitted with a finding. Gold-filled wire is sawed, filed, and bent to the desired shape before attaching to the piece to reveal the final product.
Step 10: Enjoy this piece for years to come as it is hypoallergenic and tarnish resistant due to the gold filled wire and premium gold luster!
Visit the Paradigm Gallery to finish up your holiday shopping! It’s open during regular museum hours: Tues-Saturday 10am-6pm, Thursday 10am-8pm, and Sunday noon-5pm.
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