Sequins, kiln unload, more salt & alchemy

At the studio today: unloading the first batch of kiln tests/future pendant blanks. "Blanks" meaning here that they are unshaped, raw pieces that will eventually be cut, faceted, and polished in a cold shop.

 Testing laboratory glass slides with specimen wells, Glassline brand paints, white glue + mica flakes, Uroboros powdered colors and handmade sheet glass (blown cylinders from Spectrum 96).

Testing laboratory glass slides with specimen wells, Glassline brand paints, white glue + mica flakes, Uroboros powdered colors and handmade sheet glass (blown cylinders from Spectrum 96).

Also continuing with the salt solutions––picking up and examining yesterday's dried vellums, and pouring new batches onto little plastic sequins to see what sort of half artificial/half crystalline formations we can create.

 Carefully staged action shot...

Carefully staged action shot...

 Iridescent little flowers...

Iridescent little flowers...

 Examining one of yesterday's paintings in the sunlight pouring in through the skylight...click the image to see the studio shots.

Examining one of yesterday's paintings in the sunlight pouring in through the skylight...click the image to see the studio shots.

We then moved on to organization. Over twenty different kinds of hand-dyed cultured pearls in all types of gorgeous nacred pastels and jeweltones, rebagged into glassine envelopes.

We had some sorting of silver and gemstones to do, as well...so I used my folded-silver boat ring from my very first jewelry class as a scoop...

 Scars, hairs, African textiles from ASOS and my most favorite birdie scissors.

Scars, hairs, African textiles from ASOS and my most favorite birdie scissors.

We've got the "gallery wall" on the close-side wall of the studio up and running.

Finally, my long-awaited copy of Cumbrian Alchemy, featuring the work of my friend/atomic priest Bryan Wilson and his colleague Robert Williams. You can purchase a copy by contacting artshop@cumbria.ac.uk.