The Jurors’ Choice selections from the 2012 Lewton-Brain Foldform
Competition are now on http://www.ganoksin.com/benchtube/video/801/
Below is a press release about the Jurors’ Choice selections, which
you are free to share on the Arts Guild website for a little holiday
viewing pleasure. We will follow up with an announcement of the Call
for Entries to the 2013 Competition.
Happy Holidays from the Center for Metal Arts!
For immediate release-Center for Metal Arts, NY
The Jurors’ Choice 2012 video of top twenty selections from the
inaugural Lewton-Brain Foldform Competition has been released for the
holidays. Twenty notable entries, plus the four prize winners, are
presented for public view
http://www.ganoksin.com/benchtube/video/801/ . This is the
long-awaited video that metal arts teachers and students have been
asking for as a resource for teaching and research into the current
development of foldforming.
“Thirty years is a short time in a field whose milestones are
measured in centuries,” said juror and publisher Tim McCreight, in
commenting on the quality of entries to the inaugural foldform
competition. “It is a thrill to see the diversity and innovation in
foldforming that is so clearly manifest in this competition.”
The inaugural Lewton-Brain Foldform Competition was launched to
recognize the experimental work being done using the techniques of
foldforrming across art disciplines. The Center for Metal Arts also
wanted to create a benchmark survey of how this innovative
sheet-forming technique is evolving as an art form. The competition
coincided with the annual Lewton-Brain Conference at the Center for
Metal Arts in 2012. Foldforming as a process is best described as a
combination of origami and other metal techniques, especially
forging. Goldsmith and jewelry arts educator Charles Lewton-Brain
developed and cataloged foldforming as a technique in the 1980’s,
and the process has since spread worldwide among jewelers.
Entries to the inaugural competition suggest that jewelers who
construct with foldforming techniques are moving into more
sophisticated and less obvious uses of the folded forms. The
naturally organic forms that foldforming produces have been taken to
widely ranging styles from exuberant folds, as in Theresa Nguyen’s
"Spiritus"and"Con Brio", to crisp architectural pieces in Alison
Antelman’s “Hanging Garden” or Kaiya Rainbolt’s “Quadrant”.
Foldforming can be restrained and sedate, as in the drinking vessels
of Grant McCaig or witty, as in Deborah Jemmot’s “Foldformed Spoon”,
Evelyn Markasky’s “Dangerous Vagina” or Aimee Petkus’ “Co-exist”.
While it is not surprising that the process would be widely used as
a forming technique in jewelry, foldforming has begun to be explored
in related disciplines of sculpture and functional objets d’art.
Peter Danilo’s “Tea Box” and Brad Severston’s “Foldformed Tea Pot"
show the potential for vessels and other 3-dimensional objects. Anne
Wolf’s “Flight"and"Retreat” takes the process to large-scale
sculptural installation pieces, while Christine Finch’s
"Guardian"and"Ascension” uses the line fold as a way to produce
essential compositional marks.
“As amazing as it may seem,” wrote Alan Revere in The Innovator’s,
Part V, “nobody ever worked with metal this way in the
more-than-10,000-year history of the craft.” While it may be
surprising to think of discovering a new technique in one of
humankind’s earliest technologies, sheet metal as a material has only
been in existence for a relatively short period of time, and merging
the plasticity of origami with other metal techniques, including
forging, was a potent source of new possibilities in the metals.
Earlier this year, Charles Lewton-Brain, the creative genius behind
foldforming, was honored by the Canadian government with the
prestigious Governor General Award, and he continues to be a
sought-after presenter of topics surrounding the process at select
events across Canada and the United States.
The call for entries to the next Foldform Competition will coincide
with the 2013 annual Lewton-Brain Conference at the Center for Metal
Arts. The Center for Metal Arts, one hour north of New York City,
sponsors an annual summer conference with Charles Lewton-Brain,
providing an ideal venue for participants to work with and learn
under Lewton-Brain in an intimate and collegial setting.
The Center for Metal Arts is in the lower Hudson Valley of NY state,
near major airports and just off two interstate routes, and is
accessible by public transportation from NYC. Located at 44 Jayne
Street, Florida NY, in the former 1890’s Borden’s Creamery Icehouse,
the Center is affiliated with the working studio of Fine
Architectural Metalsmiths, and the second floor gallery museum of
antique tools and “sketches in iron”.