Unique One Of A Kind Art to Wear Handmade Beaded Necklace/Lariat 18"L

Description: Unique One Of A Kind Art to Wear Handmade Beaded Necklace/Lariat 18"L Thinking ahead, this would be great for Xmas gift giving! FEATURES It has a beautiful shape and drape to it It is extremely versatile and can be worn as a lariat or a necklace or even as a bracelet It works with almost everything and can be dressed up or down! The coloring is primarily mauve and iridescent blue with some copper accent beads It can even be worn as a bracelet! Great for traveling. You won't see anyone else wearing this! As much as I have enjoyed owning the piece , it is now time for it to find a new home! I AM SELLING MY ENTIRE COLLECTION OF BEADED JEWELRY MEASUREMENTS approximate 17" L Smoke and pet free home NO RETURNS PLEASE I am working to downsize my life. Once a piece leaves, I never, ever want to see it again! I hope each item I sell from my own life will spark joy in the next owner's life. I CAN COMBINE SHIPPING AND AM SELLING MANY OTHER ITEMS International Shipping Disclaimer. You, the buyer, are responsible for any VAT, tariff, duty, taxes, handling fees, customs clearance charges, etc. required by your country for importing consumer goods. DISCLAIMER: I am selling my own collection of vintage, antique and boutique items and misc stuff. I do my best to describe the items accurately, but I am not an expert. About Me I have finally reached the stage in life where I am divesting rather than collecting.I have given myself the task of selling my huge lot of boutique and designer clothing, accessories and stuff.I have loved every item I am selling and have taken good care of each one.I am happy to send my pieces to homes where they can be cherished and loved.I am trying my best to describe and sell the clothing and accessories with love, care and honor. In 1995, I made the switch from obsessed hobbyist to professional craftsperson. After years of delving into various textile techniques such as costuming, embroidery, and knitting, I discovered bead weaving and started to explore the three-dimensional possibilities of weaving simple cylindrical glass beads (Czech and Japanese seed beads) into complex hollow and undulating forms. My beaded work is created off-loom, using only a needle and thread and, occasionally, wire. I am interested in the sculptural possibilities presented by the surface of each bead, as well as the texture of the overall beaded fabric. In 1998, I took a course with Jeanne Jaffe, at Haystack in Maine, to learn sculptural paper techniques. What was supposed to be a pleasant diversion became a new passion. Now, I make handmade paper from overbeaten flax and mulberry (kozo and gampi) fiber and place it, still wet, over reed or wire armatures. The paper shrinks radically as it dries, leaving a taut, transparent skin on the pieces. I particularly like the way high-shrinkage paper distorts its armature, lending an element of unpredictability to the process of completing each piece.Often, I print the wet paper with inks and paints and, when the paper is dry, infuse the surface with wax to seal it and enhance its translucence. I am intrigued with how the opaque and sometimes reflective quality of the inks contrasts with the glow of the paper fibers.Recently, I have been making ungalvanized steel armatures and experimenting with sealing in the rust resulting from the metal's contact with the wet paper and ambient humidity. In 1995, I made the switch from obsessed hobbyist to professional craftsperson. After years of delving into various textile techniques such as costuming, embroidery, and knitting, I discovered bead weaving and started to explore the three-dimensional possibilities of weaving simple cylindrical glass beads (Czech and Japanese seed beads) into complex hollow and undulating forms. My beaded work is created off-loom, using only a needle and thread and, occasionally, wire. I am interested in the sculptural possibilities presented by the surface of each bead, as well as the texture of the overall beaded fabric. In 1998, I took a course with Jeanne Jaffe, at Haystack in Maine, to learn sculptural paper techniques. What was supposed to be a pleasant diversion became a new passion. Now, I make handmade paper from overbeaten flax and mulberry (kozo and gampi) fiber and place it, still wet, over reed or wire armatures. The paper shrinks radically as it dries, leaving a taut, transparent skin on the pieces. I particularly like the way high-shrinkage paper distorts its armature, lending an element of unpredictability to the process of completing each piece.Often, I print the wet paper with inks and paints and, when the paper is dry, infuse the surface with wax to seal it and enhance its translucence. I am intrigued with how the opaque and sometimes reflective quality of the inks contrasts with the glow of the paper fibers.Recently, I have been making ungalvanized steel armatures and experimenting with sealing in the rust resulting from the metal's contact with the wet paper and ambient humidity. In 1995, I made the switch from obsessed hobbyist to professional craftsperson. After years of delving into various textile techniques such as costuming, embroidery, and knitting, I discovered bead weaving and started to explore the three-dimensional possibilities of weaving simple cylindrical glass beads (Czech and Japanese seed beads) into complex hollow and undulating forms. My beaded work is created off-loom, using only a needle and thread and, occasionally, wire. I am interested in the sculptural possibilities presented by the surface of each bead, as well as the texture of the overall beaded fabric. In 1998, I took a course with Jeanne Jaffe, at Haystack in Maine, to learn sculptural paper techniques. What was supposed to be a pleasant diversion became a new passion. Now, I make handmade paper from overbeaten flax and mulberry (kozo and gampi) fiber and place it, still wet, over reed or wire armatures. The paper shrinks radically as it dries, leaving a taut, transparent skin on the pieces. I particularly like the way high-shrinkage paper distorts its armature, lending an element of unpredictability to the process of completing each piten, I print the wet paper with inks and paints and, when the paper is dry, infuse the surface with wax to seal it and enhance its translucence. I am intrigued with how the opaque and sometimes reflective quality of the inks contrasts with the glow of the paper fibers.Recently, I have been making ungalvanized steel armatures and experimenting with sealing in the rust resulting from the metal's contact with the wet paper and ambient humidity. In 1995, I made the switch from obsessed hobbyist to professional craftsperson. After years of delving into various textile techniques such as costuming, embroidery, and knitting, I discovered bead weaving and started to explore the three-dimensional possibilities of weaving simple cylindrical glass beads (Czech and Japanese seed beads) into complex hollow and undulating forms. My beaded work is created off-loom, using only a needle and thread and, occasionally, wire. I am interested in the sculptural possibilities presented by the surface of each bead, as well as the texture of the overall beaded fabric. In 1998, I took a course with Jeanne Jaffe, at Haystack in Maine, to learn sculptural paper techniques. What was supposed to be a pleasant diversion became a new passion. Now, I make handmade paper from overbeaten flax and mulberry (kozo and gampi) fiber and place it, still wet, over reed or wire armatures. The paper shrinks radically as it dries, leaving a taut, transparent skin on the pieces. I particularly like the way high-shrinkage paper distorts its armature, lending an element of unpredictability to the process of completing each piece.Often, I print the wet paper with inks and paints and, when the paper is dry, infuse the surface with wax to seal it and enhance its translucence. I am intrigued with how the opaque and sometimes reflective quality of the inks contrasts with the glow of the paper fibers.Recently, I have been making ungalvanized steel armatures and experimenting with sealing in the rust resulting from the metal's contact with the wet paper and ambient humidity. These earrings were custom made for me because I needed 14k gold backs.They are 1.5:l x .5" w....just the right size to make a statement! In 1995, I made the switch from obsessed hobbyist to professional craftsperson. After years of delving into various textile techniques such as costuming, embroidery, and knitting, I discovered bead weaving and started to explore the three-dimensional possibilities of weaving simple cylindrical glass beads (Czech and Japanese seed beads) into complex hollow and undulating forms. My beaded work is created off-loom, using only a needle and thread and, occasionally, wire. I am interested in the sculptural possibilities presented by the surface of each bead, as well as the texture of the overall beaded fabric. In 1998, I took a course with Jeanne Jaffe, at Haystack in Maine, to learn sculptural paper techniques. What was supposed to be a pleasant diversion became a new passion. Now, I make handmade paper from overbeaten flax and mulberry (kozo and gampi) fiber and place it, still wet, over reed or wire armatures. The paper shrinks radically as it dries, leaving a taut, transparent skin on the pieces. I particularly like the way high-shrinkage paper distorts its armature, lending an element of unpredictability to the process of completing each piece.On, I print the wet paper with inks and paints and, when the paper is dry, infuse the surface with wax to seal it and enhance its translucence. I am intrigued with how the opaque and sometimes reflective quality of the inks contrasts with the glow of the paper fThese earrings were custom designed for me in that the backing is 14k gold!

Price: 89.7 USD

Location: Bradenton, Florida

End Time: 2024-09-29T15:05:22.000Z

Shipping Cost: 8 USD