Tag Archives: contemporary crafts

Huge bead embroidery project finished: my Green Woman bead embroidered corset.

Beaded Green Woman corset by Suzanne Forbes June 2017Wow, this was a big project!

Green beadwork corset by Suzanne Forbes in our library May 2017Green beaded corset by Suzanne Forbes May 2017This bead embroidered, velvet leaf-covered corset is the second to last of the now-finished project “kits” I brought in the shipping container from the Bay Area.

(The Golden Jubilee insect carriage was the very last of the dozen or more projects! They’re all done!! I am amazing!! Sometimes both life and art are long!)

Bead embroidered green woman corset by Suzanne Forbes June 2017I saw Annie Sprinkle and Beth Stephen’s EcoSexual wedding clothes exhibited at Femina Potens gallery years ago.

I got the idea of a pagan-y, Green Woman kinda Ecosexual corset.

Sexecology postcard by Annie Sprinkle and Elizabeth Stephens

Sexecology postcard by Annie Sprinkle and Elizabeth Stephens

Then cosplay exploded in the media, over this past decade, and so many people did amazing Poison Ivy corsets.

I enjoyed them so much, and decided to take my own pass at a leafy, viney, flowery corset.

I made some sketches, and then I got consumed with my Winter Queen/Snow Queen/Mermaid corset embellishing projects. So I didn’t get around to the Green Woman project til 2014. I spent months ordering beads and velvet leaves and green metallic rhinestuds and green Swarovski crystals from all over the world.

I amassed a huge stockpile of green bling, and bought a discounted Orchard Corset 511 to use as my base.

Bead embroidered green woman corset by Suzanne Forbes June 2017The green corset was one of the projects I didn’t get to before we left, so I packed all the green jewels and beads and appliques and trims up in a “project kit” and boxed it up.

.beaded corset WIP Suzanne Forbes 2016I unpacked it with the other 400+ boxes last winter. Once my workroom was set up, I started opening project kits and finishing projects. I moved through them at a pretty decent clip! I made the leaf crowns to go with the corset early on, last summer.

I took out the corset and got started on it last August. First I created a bunch of beaded and crystal-covered appliques with some pale green leaf-shaped Venise lace.

I tacked the lace down to netting in an embroidery hoop, then embroidered and bead embroidered it. Then I added velvet leaves (bead embroidered too).

This took about a million years.

Which never bothers me. I like to do textile art slowly, to balance how fast I draw and paint.

bead embroidery appliques Suzanne Forbes 2017 1Once I had finished a bunch of appliques and had test fitted them on the corset, I modified the corset itself.

beaded corset WIP Suzanne Forbes 2016The Orchard Corset 511 is a reasonably curvy OTR, with a 10″ “hipspring” or difference between waist and hip; I just added a 2″ gore on each hip to push the hipspring to 14″.*

Bead embroidered green woman corset by Suzanne Forbes June 2017Otherwise the corset wouldn’t lace nice and parallel, and it would distort the embroidery and structure of the corset to have a big gap at the bottom.

Sloppily adding handsewn gores like I did is a good way to ruin the structural strength of your corset, but I knew I’d be adding thousands of stitches and layers over the gores. So I wasn’t worried.

When I’m done with one of these beaded corsets it’s basically a cuirasse, an armored breastplate!

Bead embroidered green woman corset by Suzanne Forbes June 2017It took several months to carefully sew the appliques to the corset, adding bead embroidery as needed to fill in gaps.

I used strong green nylon beading thread I got to make beaded fringe for a lamp in Berkeley in 1999.

I also used beading thread to make strings of variegated beads to sew down onto the corset in curving lines. Because I’m insane, I always sewed back through the beads on the string as I sewed them down, in case the thread broke.

And I think maybe I might want to lend the finished corset to a burlesque dancer or performance artist someday so it should be able to stand up to some abuse.

Bead embroidered green woman corset by Suzanne Forbes June 2017Bead embroidered green woman corset by Suzanne Forbes June 2017

swampthing-34 panel by Bissette and Totleben

Panel from Swamp Thing 34, “Rite of Spring”, by Bissette and Totleben

When I started planning it I thought it would be all greens, but since then I’ve learned A LOT about color, mostly through my textile artmaking.

So as I worked on it I decided to add oranges and pinks and burgundies and browns. There are even pyrite-colored rhinestuds all over it, though they’re subtle as hell.

The oranges and warm colors make me think of the love story of Alec and Abby in Swamp Thing, and the orange yams that they shared. It’s a story that’s very meaningful to me, and the best story I know about connecting with nature and The Green.

I’m not a huge nature person, but I love natural symbology and motifs. Working with these colors and shapes really nourished my William Morris heart!

I’m pretty thrilled with the finished corset.

I don’t know exactly what I’ll do with it yet. It feels like a work about nature, and pagan things, and fae things, appropriate to Midsummer. There’s a Midsummer costume party at House of Red Doors in July, and I might wear it to that. I might loan it out for photo shoots, if I found someone trustworthy who wanted to shoot it and they had a model who fit it. I might show it somewhere if there was a show it worked for. Who the hell knows, I just needed to make it, and I’m so glad it’s finally done, almost ten years after I started planning it!

I’ll get better pix of me wearing it soon, with the jewelry and crowns I made to go with it 🙂

*everything you could ever need to know about buying and wearing a corset is here on Lucy’s website. This amazing young woman has created a resource for the corset community that is beyond price. There is info about the relative measurements of OTR and RTW brands, a corset database to guide you in your purchase, and so much more. We love Lucy!

New embroidered and jewelled bug creation!

Embroidered jewelled bug by Suzanne Forbes June 2017Here’s a crazy little bug embroidery piece I made during 20 hours of waiting around the hospital while my hub got a cyborg upgrade.

Embroidered jewelled bug by Suzanne Forbes June 2017I embroidered this on a cut-open green netting bag that some holiday ornaments I bought at Anthropologie for 75% in 2001 came in.

Unbelievably, when I unpacked the holiday ornaments for our first Christmas tree here, these never-used items were there, still in their bags.

My material hoarding seemed insane for so long. But now I have better health, a perfect workspace and the support of my Patrons.

I’m whipping through all my old art supplies and long-awaited projects!

I am like a cross between Smaug and Divine.

Embroidered jewelled bug by Suzanne Forbes June 2017i got this rainbow glitter vinyl for a Pride project but it did not arrive in time. That is ok! I will still make a thing with it!

Embroidered moth in progress by Suzanne Forbes June 2017Embroidering on net, mesh or tulle is wonderful because it’s so easy and restful on the hand. Since I was working with the demon metallic embroidery thread, that was important!

Most metallic embroidery thread, including these two greens that were leftover from my Green Beaded Corset project “kit”, frays as it is drawn through fabric.

It frays and breaks and makes you crazy. Waxing it is supposed to help but I’ve always feared the wax would attract dust after or not be archival. However using it on netting is a breeze. In the picture you can see I’m cutting the completed bug free of the netting. I glued some extra layers of netting on the back after I finished embroidering to add structural strength.

The outline is done in my beloved Black Pearl Rico Metallic Stickgarn, which never makes a fuss and behaves impeccably on any fabric.

Embroidered bug wings by Suzanne Forbes June 2017 I have been incredibly inspired by the couture embroidery work of Lyudmila Plotnikova, a Russian textile artist.

You can see her work below. In addition to being technically skilled at a level I can only dream of (in my dreams of going to grad school for textile arts), it is much subtler and less lurid than my efforts! Her eye and hand are equally exquisite.

Jewelled embroidered insect brooch by Ludmila Plotnikova June 2017

Jewelled embroidered insect brooch by Lyudmila Plotnikova, June 2017

She does things with materials that constantly innovate and extend the form.

She has brilliant new ideas about embroidery in three dimensions, like Michele Carragher. You can buy her art here, and hopefully someday I will! Many of her signed, unique pieces are designed to be worn as jewels or brooches. I think of the great European design and craftwork traditions, like Art Nouveau jewelry, when I see her work.

Her love of bugs has resonance with the couture legacy of Schiaparelli’s bugs. Women who create or wear insects as art continue a tradition that runs from Queen Tiye to Louise Bourgeois to the recent Sarah Burton collections that made couture bug crazy in the teens.

Gallery of bead embroidery art in progress from the Instagram of Lyudmila Plotnikova

Gallery of bead embroidery art in progress from the Instagram of Lyudmila Plotnikova, 2017

Ms. Plotnikova is also incredibly generous with her process, sharing photos of works in progress. Being able to follow other artists on Instagram is so exhilarating, as much as I hate giving clicks to that pig Zuckerberg.

Here’s a couple good pieces about how women artists connect emotionally with creepy crawlies!

 

Bug bricolage roundup for June!

grasshopper bricolage carriage and shadow box by Suzanne Forbes May 2017I’ve been working on several bug bricolage projects this month. Here are two finished ones!

grasshopper bricolage carriage harness Suzanne Forbes May 2017The copper paperart cricket seen here was a birthday gift in my forties from the incredible artist and sculptor Aimee Baldwin. I made him this carriage to ride in out of a gilt carriage I got on eBay. Then I made a harness for a metal grasshopper I ordered from some online discounter.

I had this vision before we left the US of an insect-based version of the classic Golden Jubilee or coronation coach models. In my mind’s eye I saw it in our new home, one of the lamps that guided me through the terrors and trials of the move.Pall Mall GOldsmiths State Coach model

I don’t know why it felt so important to me to make this weird thing; I never do.

grasshopper bricolage carriage left side Suzanne Forbes May 2017 I had a lot of miniature horse saddlery supplies and thin metallic leather left over from my Snow Queen project.

I had little buckles, silver leather straps and silver cord. It could not go to waste! I covered the side panels of the coach, which were white, with a variety of fine silver leathers and cording trim. Silver rhinestuds added detail. I used antique silver color filigree jewelry findings to tip the ends of the carriage shafts so they fit the grasshopper better. (They still look a little dark, Imma brush them with silver paint to blend them in better just took my silver Sharpie and fixed ’em.)

grasshopper bricolage carriage left side Suzanne Forbes May 2017 I made a little silver leather seat pillow with cord trim and scrapbooking brads for the upholstery button-tufting, and filled it with microbeads which work better than any fluffy filling on dollhouse or mini scale.

I made the harness out of silver leather straps. Some of them were silver on the tops but white on the sides, so I colored the sides with a fine-point silver Sharpie. It worked great!

When you have all your tools readily to hand it’s so easy to take care of the details!grasshopper bricolage carriage med

The new jewel bug shadowbox is lined with green dragonfly brocade scraps left over from a corset made years ago by Mina LaFleur.

Like my incredible dressmaker and costumier Monique Motil, Mina always thoughtfully returns all scraps of fabric from a project.jewelled insect shadowbox by Suzanne Forbes June 2017 You never know what you might use it for!

I buy the jewelled insect brooches on eBay using a simple system: they have to have free shipping and I will bid up to $2.00. If the bidding goes over $2, too bad. So it takes a while to accumulate a batch for a shadow box but after all it’s not like I’m in a hurry.

I’m working on slowly increasing the pink accents in the Gothic Rococo salon, so I searched specifically for pink bug brooches this time.

jewelled insect shadowbox by Suzanne Forbes June 2017

If the bug brooch arrives with any colors that don’t coordinate well, I tint the enamel or rhinestones with a colored Sharpie. Since they’re going to be in a box, it won’t rub off. I turned white areas pink and yellows to pale green for this one.

To attach the backing fabric to the board in the shadowbox I use UHU “Extra Allekleber”, my Germany dupe for my beloved Quik Grip (formerly Quik Grab). It’s an excellent adhesive for fabric to fabric or fabric to anything; it really lets you stretch and shape your fabric to a surface.

The brocade was wrinkled from years of storage but I didn’t bother to press it, just stretched it taut with my UHU. To attach the bugs to the backing board I always use a glue gun. I make little balls of tin foil and attach them to the backs of the bug pins to keep them level. They hide neatly behind wings and keep the brooches stable.

Then I glue on the bugs and there it is, a new vegan jewelled insect shadow box!

Snow Queen/White Witch OOAK Doll with sledge and reindeer, finished!

Snow Queen Jadis with carriage and reindeer by Suzanne Forbes May 2017I finally finished her!

I am amazing, and amazed by myself! Jadis, The White Witch, The Snow Queen, the Ice Queen, as I always imagined her.

I’d been wanting to make a doll like this since the early 90s in St. Paul. At a fancy shop in Summit Hill I saw a teacup fairy by Stephanie Blythe and Susan Snodgrass.

The delicacy, the precision, the tiny, tiny crystals- there was something about it that moved me deeply.

I had no idea you could get such tiny materials. The thought of handling such tiny things was exhilarating to me. I imagined I could make tiny dolls of characters I loved. I could make a tiny world.

Snow Queen OOAK doll by Suzanne Forbes May 2017I was still waiting to start my dollhouse then, still holding a space for that project open in my future.

Snow Queen by Suzanne Forbes May 2017I didn’t want to open the door to even more collecting and supply hoarding madness, I didn’t dare try such things myself, but I bought some porcelain doll parts and kept them.

I held my love for the teacup fairy in my heart, held the space for those tiny crystals dotting her bodice in my mind, setting the image gently in my mental room for miniature art.

Every time I moved, I packed my craft materials. My porcelain doll heads and limbs, my ever-growing collection of wired ribbon and metallic organza and silver cord and microbeads and glitter, travelled from St. Paul to Hartford to DC to Arlington to Alameda to Albany to Berkeley to North Berkeley to Albany to Glenview to West O to Oakland.

In Berkeley in 2000 I began building my dollhouse at last and collecting 1/12th scale action figures.

Miniature sex toys by Suzanne Forbes 2007

I subscribed to miniature magazines and went to miniature shows.

my first polymer clay OOAK doll by Suzanne Forbes 2011

my first polymer clay OOAK doll by Suzanne Forbes 2011

I met Monique Motil, dollmaker extraordinaire. I started sculpting little things with polymer clay for the dollhouse and reading about action figure customizing techniques.

I scoured the internet for methods, materials and supplies. And at our little Craftsman flat in Oakland in 2011, I finished my dollhouse and started making dolls.

I started my Snow Queen project in 2013.

I had been home to New York for holidays with my husband’s family and I had just seen snow for the first time in fifteen years. On a magical Christmas Eve we went to church in Freehold, New Jersey and when we came out delicate flakes were falling.

The night before In the city I’d stood at the rail of the skating rink in Bryant Park; a tween wiped out and came up laughing, clapping his cold hands over mine.Snow Queen in carriage with reindeer by Suzanne Forbes May 2017

I fell in love with the cold again, the way the stars get lean in a winter sky and the way everything is so sharp.

I remembered the way I loved the cold in WInter’s Tale, the way it muffled my footsteps when I walked through a silent Chinatown to buy heroin on New Year’s Day in 1989, the sparkling lavender twilight of April snow at the treatment center in St. Paul.

iridescent microbeads from MorezmoreIn the dark California January I drove to Michael’s and JoAnn Fabrics and Beverlys and bought bags full of 90% off Christmas decor. Icicles and glitter snow and white fur and pale iridescent sequins.

I ordered Swarovski crystals in colors like Silver Shadow, Moonlight and Opal. I discovered the amazing doll supplier MorezMore. I ordered nail decals of flocked snowflakes from China and Ball-jointed Doll clothing buckles from Taiwan. I bought pearlescent microbeads and fusible fairy films.

Snow Queen OOAK Doll by Suzanne ForbesI learned the sizes Swarovski crystals come in, and where to get the very tiniest.

tiniest-swarovski-crystalsI made the sledge first. The sledge is made of three different plastic Christmas ornament sleighs, some pvc holiday ornament pieces, polystyrene sheets and strips, clear polythene sheeting, crazy glue and balsa wood.

It’s all stuck together with epoxy clay, polished and sanded smooth. The shafts are the bow pieces of dollar sunglasses!

I got so many materials in the basement of Ace Hardware in Berkeley, in the huge model and railroad hobby section. I’d lean on the counter and talk techniques with the guys there for hours.

I primed the sledge with Krylon Primer for Plastics. You can read about my adventures with priming mixed plastics here and here. Then I spray-painted it with four shades of Tamiya pearl and flake model car paints, one of the most fascinating rabbit holes of materials I went down.

I spent a lot of time on model car boards, reading about how to avoid the dread “orange peel effect” and how to clear coat.

Our back steps were my spray room, and the California drought of those years was a huge asset, I gotta admit.

Snow Queen OOAK Doll by Suzanne ForbesI used crazy glue and Zap-A-Gap to bond the styrene, plastic and balsa elements.

I used a Japanese product called Sakura 3D Crystal Lacquer, which is used by Lolis and Harajuki girls to adhere bling, aka “decoden”, to their phones, to attach a lot of the sledge decor.

The sledge is decorated with hundreds of the very, very tiniest Swarovski crystals, some smaller than the head of a pin, laboriously applied while watching all seven (at the time) seasons of Supernatural (twice!) and tiny, tiny flocked and glittered snowflake nail art decals. And upholstered with silver velvet, button-tufted using pretty antique silver scrapbook art brads and quilt batting over cardstock. I glued the velvet to the cardstock with my beloved Quick Grip/Quick Grab, which is my absolute favorite for small textile work.

As any burner or steampunk can tell you, assemblage art lives or dies by its adhesives.

tiny-buckles-from-RIo-Rondo

The reindeer is made of a cellulose acetate reindeer from the ’50s, legs sawed off and replaced with new sculpts, and head, body and neck heavily re-sculpted.

This kind of Frankensteining is a classic action figure customizing technique; the materials and techniques for creating the miniature harness come from the model horse customizing community, and the handling of the mohair mane from the dollmaking world.

(I’m allergic to mohair, like wool, it turns out.)

I also used the 3D Crystal to get a clear dome over his eyes and a gloss of mucus in his nostrils. The flocking on his ears is nail artist’s flock- much cheaper than the art store!

Snow-Queen-by-Suzanne-Forbes-May-2017-reindeer-headshot-cu

Snow-Queen-by-Suzanne-Forbes-May-2017-reindeerThe tiny silver leather strips for the harness came mostly from a handbag making supply company in Los Angeles; I found it on etsy. I bought many different silver cords and strings at a passementarie shop in the New York Garment district during my second trip back East for the holidays. And for four years I saved every single piece of silver stuff I got, from silver elastic on dress tags to silver pvc on packaging.

Then I had to make a Snow Queen figure!

Snow queen doll WIP Suzanne ForbesI was totally ok with customizing an existing figure; my many hundred hours on action figure boards has made me very comfortable with the idea of remixing sculpture.

I would never, ever, ever copy another artist’s drawing or painting- or even their style- or use elements of someone else’s drawing or photograph in one of my drawings or paintings. I just don’t do that.

But sculpture is play to me, something I do for pleasure. I like the idea that assemblage art incorporates existing elements. And dollmakers commonly use finished porcelains from well-known sculptor to paint and dress. It’s a medium where collaboration is normal.

So ultimately I decided to use the top of a commercial resin mermaid and the legs of a resin fairy to build my Snow Queen.

Snow queen doll WIP Suzanne ForbesI sawed and sanded as needed, then fit the two halves together, and then I used epoxy clay to bulk out her body. Because I love muscle on women’s shoulders, and a big butt, aesthetically! I left her ribcage and waist slim because they would have layers of tiny fabric corseting on them.

And she needed boobs too, sculpted to fit in a square Elizabethan type bodice. Then I had to completely resculpt her face, to give her the strength and archness she needed.

And I needed to bulk up her thighs and sculpt boots on her feet. And lengthen her fingers. And sand off and resculpt her ears. I think she was resculpted, primed and sanded about ten times altogether. Her final finish was partly achieved with Mr. Surfacer priming medium, which i learned about from Daria’s dollmaking. She is streets more advanced than my crazy haphazardness!

By December of this year, my Jadis was close to finished at last.

project-kit-Snow-Queen-OOAK-Suzanne-ForbesI got the project box I brought over in the shipping container out, intending to paint and dress her.

But I got nervous about working on the project suddenly and instead I used up some of the extra materials in the project box making Fearless Pink Gay Santa and his Jolly Ally Reindeer. Which came out great! And I used the fusible fairy film and it was super cool!

Then I made a whole bunch of other dolls!  And sculptures! And mixed media stuff! And a mantis doll! Was my poor Snow Queen doll ever gonna get finished?

faceup-Snow-Queen-OOAK-by-Suzanne-Forbes-2017Yes, she was. Because even though it was now April, and she was no longer seasonal, I had just finished my leafy green beaded Swamp Thing corset (reveal soon!), the second to last of the projects I brought from Oakland.

I really wanted to knock out the last unfinished thing and get rid of the last “project box”. So I can start all my new Berlin projects!

With that thought in mind, I nerved myself up and just went for it. I used nail art brushes I bought for 1€ to paint her face because I didn’t want to buy expensive tiny brushes. I’d never painted anything tiny before and didn’t know if I’d like it. But it went great! And I love her snotty smug 80s made-up face! She looks like Jennifer Connelly in Labyrinth and Mia Sara in Legend, right?

Snow Queen OOAK Doll by Suzanne ForbesWigging and dressing her was easy, after that; Daria gave me a personal doll-wigging workshop last year and I have made so many tiny corsets now it’s NBD. And then she was, done, suddenly, after four years. In the green and glowing Spring, but so what? There will always be another Winter. She will look beautiful in the dark winter nights.

I’ve learned to trust the process with making art; I finish most things when it’s time for them to be finished.

What I’m saying here is, it’s okay to have a long game as an artist. In fact, the long game is pretty much the only game in town for most of us.

 

Mummified Fairy King doll!

Fairy King mummy doll by Suzanne Forbes March 2017This doll scares my husband. Every time he sees it he shudders.

It genuinely gives him the wig.

Which is good, right? This is one of the projects I brought in a “project kit” from the Bay Area, in the shipping container.

Faery King mummy doll by Suzanne Forbes March 2017I had seen this Mummified Fairy tutorial on the excellent, ancient Gothic Martha Stewart site Shadow Manor. You can find loads of Art of Darkness tutorials there.

So of course I wanted to make one! My version started out as a cheap 16″ demon skeleton I got for 75% off at Michael’s.

I washed him with soap and water, and used a glue gun to pose him. I cut his spine in half with a hacksaw to give it a realistic curve, added ears made of thin sheet styrene or cardstock (can’t remember), and used globs of glue to give the ears dimension.

I also used glue gun glue and epoxy clay to add some bulk and volume to his joints, because he was a little frail and crappily-sculpted. And to give him a bit of a bump of nose and fangs.

Then I primed him with white spray primer for plastic and sprayed him with matte ivory spray paint.

Fairy King mummy doll by Suzanne Forbes March 2017And packed him in a box marked “Gothic Rococo Bride of Frankenstein and Fairy Mummy”.

(The Bride became a Gothic Victorian Burlesque tribute to Elsa Lancaster instead).

Fairy King mummy doll by Suzanne Forbes March 2017Two weeks ago I unpacked him and started revising. His skeleton was still undersized for his head, especially for a skeleton with layers of dried skin. So I added more bulk with air-dry clay (cheap but doesn’t adhere well) and use epoxy clay to secure the new, larger knobby joints.

I thickened his shin bones and arms, as well as making his pelvis more solid. I added some clay volume under his rib cage to give the nylon something to stick to there.

I also decided to snip off the demon-y claw tips on his wings, which were a little too goth.

Then I painted over the air-dry and epoxy clay with acrylic in unbleached titanium, which matched the original ivory paint well enough. After that, I added dark shadows at his joints, eye sockets, and so on, using a burnt umber.

I figured the shadows would show through the nylon pantyhose, adding depth, and so they did.

Fairy King mummy doll by Suzanne Forbes March 2017Applying the pantyhose was exciting, in the way that things that must be done quickly and deftly are exciting.

Fairy King mummy doll by Suzanne Forbes March 2017I used UHU “Extra” alleskleber gel, which is an almost perfect sub for my beloved Quick Grip/Quick Grab, rather than contact cement. I really should have followed the instructions and applied the pantyhose while the skeleton was disarticulated.

But I never follow the instructions for anything. So I had to do the gluing and stretching to fit over sections of the figure in situ.

The instructions say to cut the pantyhose into 12″ lengths; I wound up cutting it into roughly 5″ x 5″ pieces. The pantyhose adheres beautifully to the primed and painted skeleton, almost melting on- the first time.

Once it is saturated with glue and the glue has dried, it resists bonding, so get it right the first time. I looked at his eye sockets with the nylon stretched across them and decided he needed eyelids. I sculpted sunken eyeballs with lids out of epoxy clay, cut holes in the nylon, and pressed them in.

In the end I had some places where the pantyhose didn’t lie smoothly or wrinkled in a way that looked much more like pantyhose than desiccated skin.

I simply decided awkward areas would be covered with something in the finished piece.

And that was how he became a dressed doll with a breechclout and jewelry, and wisps of grey Tibetan lamb hair from this one piece I got at doll supplier/educator supreme MorezMore and have used for some two dozen projects. (The site’s mistress is currently engaged in a fascinating project of using stop-motion armature for a humanly-posable doll experiment!) I rifled through my fabric stash and found lots of scraps. I layered scraps of fabric, fiber, silk leaves and lace for his breechclout.

Then I got out my findings bins and made a kind of creepy chatelaine to secure it. And I made him a kind of neck piece with mixed metals that was influenced by Celtic torques and Maester’s chains.

I decided to make him lace-up shoes to cover some of the awkward patches on his shins.

Fairy King mummy doll by Suzanne Forbes March 2017I got the concept from some pins posted by my friend Alexis about to how to make Medieval shoes.

I envisioned a pattern, cut it out of leatherette and used my cuticle nippers to make sloppy holes in the the sole/back pieces.

Then I just glued the sole parts onto the bottoms of his feet and laced them up with a tan shoelace from a scrap bin.

I bought some granny boots a while back that came with tan laces; I promptly replaced them with black laces but saved the rough tan ones for… something. There was a tiny bit of black fur left from when Daria gave me a personal doll-wig-making workshop and I used that on top.

I did a little dry-brush distressing and shadowing on the nylon-covered fairy, accenting the hollow places and joints with more umber.

I also highlighted bony areas like his zygomatic arch with unbleached titanium. This was easier to me than re-spraypainting him as suggested, considering that would have required going out and getting some taupe spraypaint. I don’t really like anything to slow me down when I’m making some damn thing. I painted his eyelids to match his skull at the same time.

I had burned and melted and snagged the fabrics I used, to distress them and make them raggedy, but it wasn’t enough to knock back their color into the same taupe/ivory family as the skeleton. So I dry-brushed and distressed those too, til they faded back into his palette.

Here he is posing with some bones i made out of Model Magic, the incredibly lightweight air-dry craft clay made by Crayola.Fairy King mummy doll by Suzanne Forbes March 2017

The bones are sculpted over Q-tips, and were made in 2007 for a Hubba Hubba Revue, maybe Flintstones themed? I soaked a paper towel in thinned ochre paint and wiped it over them. I don’t even know how they got in the shipping container.

Eventually I’d like to have some kind of Lady Cottington’s Pressed Fairy style shadow box or specimen case for him, but for now he’s living amid my majolica in the library china cabinet. Hub will never notice him there. Although if he does, he might jump.

Horrific insect Gothic Rococo mirror project for the Salon!

By Suzanne Forbes Gothic Rococo insect mirror 2017I made this hideous pastel nightmare of a rococo mirror over last weekend.

bug bricolage art and sculpture by Suzanne Forbes 2017I documented the process extensively for the folks who enjoy DIY how-ya-dos and the backstory to my bricolage projects!

First, I washed the lightweight plastic mirror frame I got at our local Woolworth’s for 2,99. Then I used a glue gun to attach a selection of plastic bugs, also thoroughly washed with hot water and soap.

Always wash plastic items well before attempting to paint!

There may be mold release still on them, there could be skin oils, cooking grease, anything. And any foreign substance will reduce primer adhesion.

A glue gun is really my favorite medium for attaching plastic bugs. It makes a nice solid bond to most plastics, which many adhesives of vaunted power cannot do. There is none of the risk of frosting your surfaces which cyanoacrylates like Super Glue and Zap present. Of course, I would never use only glue gun glue, because – it melts when it gets too hot! How hot?

Many glue stick glues will soften in a hot car, at least on the dash.

By Suzanne Forbes Gothic Rococo insect mirror 2017Plus, I wanted the bugs to look they were sculpted out of or onto the surface of the frame, like a bas relief. I added a bunch of plastic flowers left over from my various jewelry projects, and then I used my beloved epoxy clay, in my favored Apoxie Sculpt White (which is gray), to further secure and incorporate the bugs.

I did a rough pass with the clay, filling in gaps, and then hit the whole thing with primer. I was tormented about choosing spray primers here, because I had a good system going in the US but this is the Land of No Krylon.

It’s VERY hard to find a primer for plastic that will really bond to hard plastic items like bugs and action figures and allow you paint over it with acrylics, glue things to it and spray paint shiny finishes on it.

I’ve spent many hours reading action figure customizing sites, model car boards and model magazines, puzzling over primer and paint and plastic.

Here, I finally found and bought the Primer for Plastic by the ubiquitous (and excellent) German spraypaint company Dupli-Color. I also bought a can of Dupli-Color plain white primer. Good thing, because imagine my surprise at learning the primer was CLEAR! I shouldn’t have been surprised, because the cap was clear. Oh well.

Reading some full-size car detailing sites, I gathered it is a chemical scuff or so-called chemical sander, a surfacing agent that creates “tooth” for the paint to adhere to. People raved about the performance, but noted it’s hard to see if you’re getting good coverage with a clear primer. And since I wanted a white base, I needed to spray the whole mirror white next. Then I added color!Suzanne Forbes Gothic Rococo Insect frame 2017 collage WIP

The last picture is after the second color pass, with initial detail cleanup and color unification by means of dry brushing, washes and scumbling.

By Suzanne Forbes Gothic Rococo insect mirror 2017Here’s a detail shot of the frame after the pearl pass, made with a sheer pearl finish acrylic from the craft company Plaid’s FolkArt line. After the pearl coat, I added black glitter in clear acrylic varnish, “Extreme Glitter“. I used the pearl on the highlights and the black glitter on the midtone transitions into dark areas, but not the dark areas themselves.

I like these crafts paints for final coatings because they have a tough finish and will go on over most surfaces.

By Suzanne Forbes Gothic Rococo insect mirror 2017The last thing I added was a scattering of Swarovski crystals and iridescent crystal eyes.

By Suzanne Forbes Gothic Rococo insect mirror 2017I’m really happy with how the whole thing came out!

This piece is a hilarious mix of my BFA in Fine Arts/Painting, and thousands of hours studying action figure customizing and model making techniques.

I made an earlier version of this, a round bug mirror in blue and green shades, but I finished it right before we left for Germany.

I was terrified about leaving it in a hot storage locker in San Leandro for months, because there were so many coats of primer and different solvents involved in making it- not all of which might be fully off-gassed!

So I gave it to my friend Molly, instead.  And now I have my own.

A tribute piece to two women artists I admire, Judy Chicago and Annie Sprinkle, and a charity raffle.

By Suzanne Forbes March 8 2017 tribute JudyChicagoxAnnieSprinkleBy Suzanne Forbes March 8 2017 tribute JudyChicagoxAnnieSprinkleAfter last week’s feminist art salon, I was thinking about Pussy Power and the history of making vagina icon art.

By Suzanne Forbes March 2017 tribute JudyChicagoxAnnieSprinkle WIP

I went home last Friday and started a pussy piece, and of course I was thinking of The Dinner Party. You can’t think about pussy art and embroidery without it.

It was sometime in the 80s that I first saw Judy Chicago‘s Dinner Party. It was as a black and white photo in the Village Voice, and I remember it so clearly. It was still shocking then; it’s still revolutionary now.

By Suzanne Forbes March 8 2017 tribute JudyChicagoxAnnieSprinkle CUI have a lot of green materials around for the Green Woman project I’m working on. I had a sudden flash of inspiration for an image that would honor Annie Sprinkle and her Ecosexual work.

I became acquainted with Annie while I lived in the Bay Area and was exhibiting and drawing at Madison Young’s queer art gallery, Femina Potens.

We talked about my painting a portrait of Annie, but could never organize the timing. I still hope to, as Annie will be in Germany this summer!

I am going to raffle off this piece to raise money for Planned Parenthood.

Anyone who sends me a copy of their March $20 or more donation to Planned Parenthood (with your name, but personal details obscured of course!) will be entered to win the piece. As embroidery works take me a minimum of twenty hours, and this one took about twenty-five, it’s a chance to win a piece I would have to charge a lot for!

Calendar of Annie’s many world-wide feminist and ecosexual art activities here.

Teaching resources for The Dinner Party.

The Dinner Party long-term installation at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.

Learning to sculpt: an ongoing relationship with epoxy clay.

Sculpted goat foot candleholder by Suzanne Forbes Feb 28 2017I finally finished this terrifying goat foot candlestick!

WIP goat foot candleholder sculpted by Suzanne Forbes Feb 28 2016I started it in 2015, at our first apartment in Berlin.

I had seen something similar on some luxury housewares or design website, and I was like, I can make that! Plus, it’ll be great sculpting practice!

It’s built on a tall narrow glass caper jar, the lid of the caper jar, tin foil and wooden rings from the craft store.

It was months before our stuff arrived in the shipping container, so I used what was around!

Once I had built the base, I had to cover it with fur.

Each row of fur tufts has to harden before the next one can be sculpted (unless you want to be really careful, and I never manage to be careful enough; I always wind up squishing what I just laboriously sculpted).  So each time I worked on a project that used epoxy clay, I would save a little bit at the end to add a row of fur tufts. There are roughly fourteen rows, so that’s a lot of projects!

Once I added the last row of fur last night, I started a new project.

bug bricolage art by Suzanne Forbes 2017 WIPI bought this rococo mirror* made of some weightless extruded foam plastic during my art supply mission on Saturday.

used a glue gun to quickly affix the bugs and flowers and fill in any space between them and the frame. Then I did a first pass with epoxy clay.

I used it to reinforce the attachment of little legs (it’s very strong) and sculpt new curlicues to incorporate the bug shapes.

When we get a warm sunny day I’ll hit the whole thing with white primer for plastic (which I finally found here, in the excellent DupliColor brand) so I have a uniform surface and can add detail better. Then add paint and Swarovski crystals!WIP bug bricolage art and sculpture by Suzanne Forbes 2017

Done with that, I hauled out all my other sculpture projects from 2015 and started finishing them up!

Diana bust WIP sculpture by Suzanne Forbes 2017Diana bust WIP sculpture by Suzanne Forbes 2017One of the wonderful things about epoxy clay is that you can apply it directly over practically anything, including baked polymer clay, like the mantis.

You can read about the start of the mantis here, and you can read in great detail about my experience beginning to sculpt and learning to use epoxy clay here.

It’s so much easier to work on the hair of my Diana bust now that I’ve had all this experience making fur!

I’ll keep you guys posted on the process of all these projects, unless I get derailed by some new obsession and they go back in the queue!

goat foot candlestick by Suzanne Forbes Feb 28 2017 WIPWhile I was painting the goat foot with many layers of metallic paints, I mixed up too much blackened gold-umber-bronze.

When the only tool you have is a brush full of bronze paint, everything looks like it needs to be painted bronze. I changed the zombie hand I resculpted at Halloween from glitter black to bronze and FINALLY dry-brushed highlights onto the ram’s horn mirror I bought for our hallway before we left the US. Always be finishing!

*You can see the reflection of one of Daria’s drawings in the mirror, from one of our earliest art trades.

Something beautiful for a sad month: bead embroidery!

beetle embroidery by Suzanne Forbes Feb 2017I made this embroidered beetle to lift my heart and give me the strength that working with color and sparkle does. It was part of my automatic-writing-for-art approach this month, like the Monster doll armada.beetle embroidery by Suzanne Forbes Feb 2017

I just reached into my textile materials drawer and grabbed some scraps and bits, and told myself, You gotta make something with these.

bead embroidery appliques Suzanne Forbes 2017 1There are four different types of lacework fabric and delicate cotton paper layered on a blue felt base, bits left from the very first materials I bought at my earliest trips to the art store in Berlin.

I used them in my mantis project our first summer here, and in some bug embroideries with sheer wings.

The blue felt undersurface is left over from the backing of the Hearts Afire pieces I made for my Cake Level Patrons in 2016.

beetle embroidery by Suzanne Forbes Feb 2017Plus bead overflow from the Green Woman corset I’m working on, which is related to the Green Leaf Crowns I made last summer! I planned that project back in 2013-14 and brought all the materials in the shipping container.

You can see my project kit* for the Green Woman project at the top of these pics; I just raided it for beads and bling! This is the mess on a day I worked for eleven hours straight, just fiending on colors and sparkle.

I learn so much from studying the work of Game of Thrones embroidery artist Michele Carragher.

bead embroidery appliques Suzanne Forbes 2017 She has really radical approaches to layering sheer or lacework materials and doing bead embroidery in three dimensions.

I look forward to exploring ideas I borrowed from her for the mantis, like a wire lattice for sheer wings. Maybe this summer!

I also learned from her to do my bead embroidery in a hoop, whether or not it’s going to remain in the hoop.

Doing bead embroidery on the surface you plan to display it on – especially clothing- is for suckers. It’s like melting chocolate in a double boiler.

Much easier, stronger, safer and neater to embroider or bead embroider on a sheer surface in a hoop. If your threads aren’t meltable you can iron a light interfacing onto the back to protect the finished embroidery, cut around the embroidery design, then sew it onto your clothes or lampshade or corset or whatever.

If your threads are synthetic and meltable, but you’re really worried about the strength/structural integrity of the piece, you can wipe a thin coat of archival gel glue on the back. Like E6000! I touched every knot on the back of this beetle with a bit of Tacky Glue, just to be sure it’s heirloom solid. I have to charge a lot for embroidery pieces, since they take a minimum of 30 hours to make, so I like to be sure they’re for the ages.

*project kit: I have a half dozen project kits still neatly boxed up and waiting in my workshop cabinets. I organize all the materials and supplies I need for a project into a “kit” that makes it easy to bust into and tackle. All those 90% off post-holiday sales at Michaels and JoAnn’s, all those years of saving every scrap of ribbon from a present, every bit of wrapping paper for a shadowbox or decoupage! I’ve been blazing through projects, I’ve finished at least a dozen since I finished building the kitchen/workshop, but I brought a LOT in the container.

Bat Monster Woman!!

Bat Monster Woman Embroidery by Suzanne Forbes Feb 20 2017Bat Monster Woman Embroidery by Suzanne Forbes Feb 20 2017It’s a gray day in Berlin but this gold and bronze Bat Monster Woman I just finished is glowing.

She is inspired by my beloved Archie McPhee Monster Women rubber toys, a gift from my oldest friend Victoria.

I used what may be my last scrap of silver velvet, some old-gold colored wired organza ribbon that I bought with a coupon at Jo-Ann for my first wedding, and gold tulle.

Plus my favorite Black Pearl metallic thread from Rico Design, which is the only good metallic embroidery thread available in the world.

Bat Monster Woman Embroidery by Suzanne Forbes Feb 20 2017And two citrine Swarovski crystals for her eyes, some brass rhinestuds, a scrap of teeeny gold dollmaking braid trim, and plain dark green cotton thread, doubled, carefully stitched around the border of the design.

Using a fine dark thread to go around the edges of important shapes really helps me control and refine the line, I highly recommend it.

It’s especially great where a regular back-stitched embroidered line butts up against a satin stitch area. The tiny needle you can use for a single strand of floss or regular thread means you can stitch into the satin stitch without disturbing or spreading it, yet stabilize it at the same time.

I also added brass stud stars, both to reference Wonder Woman iconography and because I love studs.

When I was a child, about seven to nine, I had a babysitter I adored. Her name was Melissa, and although she was a hardcore drug addict and a total flake, she was so mellow and gentle with me. Some friends of her and her sister Nadine had a clothing store on 8th Avenue between 20th and 21st, a funky hippie store where everybody hung out. I don’t know if they ever sold anything but drugs.

Sitting on the floor in there under racks of fringed and embroidered and patched rocker clothes impacted my aesthetic so much.

Bat Monster Woman Embroidery by Suzanne Forbes Feb 20 2017There was a barrel of studs for your jeans or jean jackets, all different shapes and designs, stars and moons and pyramids and other shapes I can’t quite summon. Like, a barrel- they must have bought them by the kilo at some surplus place. I would run my hands through them, gently so the points wouldn’t poke me.

I felt completely safe there. Years later the friends became famous Deadhead t-shirt silkscreeners, and I went to a party at their loft on 14th st. I came home drunk at dawn and gleefully told my mom about their huge ball python Clyde who had cuddled me. They were such nice people, and such incredible artists.

Everything you do or see or feel goes in the hopper for creative work. 

Everything I remember, here in this safe-at-last place, surfaces and turns and shines under the light. I don’t know where the synthesis will take me. Or what the meeting point will be between painting and drawing, the skills I trained a decade for and made a career in, and the making things I’ve always loved.