 February 2005 |
Lindly Haunani
A lifelong artist, Lindly Haunani was delighted to discover polymer clay in 1988. The medium's versatility allowed her the freedom to explore her varied interests in food styling, jewelry design, and the multiple imaging techniques inherent in printmaking. Admired for her gently empowering teaching style, Haunani has taught hundreds of polymer clay workshops during the past 15 years. Her students range in age from 8 to 80 — from beginners to art students in graduate school. She enjoys the variety in settings and contexts as she travels to teach. Haunani participates in three or more invitational exhibitions each year in addition to juried shows. Her work has been featured in books and magazines. Currently she has two videos available, "Tantalizing Transluscents" and "Roses and More." Haunani co-authored a book on polymer clay artists and is a founding member of the National Polymer Clay Guild and the co-editor of their newsletter for three years.
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TCR: How did you first become interested in and get involved in working with polymer clay, and how did your work evolve from where it started to the work you create today?
LH: I became interested in polymer clay in 1988, when a number of things serendipitously led me to take a workshop from Kathleen Dustin. At the time I had a large vegetable/herb garden and was experimenting with different colored inlays of herbs and vegetable purees into handcrafted pasta. One day I'd been tempted to buy FIMO clay after enjoying a display of miniature food at a local doll house store. I bought a piece of polymer clay jewelry at the Smithsonian Museum gift shop that had been made by Steven Ford and David Forlano (they called themselves CITY ZEN CANE then). I had been taking courses at The Art League School at The Torpedo Factory in Alexandria, Va., for 10 years and that fall Kathleen Dustin was offering a workshop on polymer clay bead making. At the time I had no interest in making beads, but I was fascinated by the material so I signed up (and ended up making about 400 beads that first week!)
My work has evolved to being less technique driven and more sensitive in the use of color.
TCR: Who is the market for your work? What is your strategy for reaching them?
LH: My market/students are predominately female, highly educated, 35-70 years old, accustomed to taking art adventure vacation time, enjoy substantial discretionary income and while not always convinced of their artistic potential, are willing to experiment with either a new medium or new techniques.
My strategy for reaching my market has included taking advantage of any and all opportunities to list the class information, occasionally writing articles for magazines and other publications. Locally, I have traded for advertising space.
My strategy for 2005 is to honor the realization that I can't do it all … and enlist some help in the photography, Web site, marketing and copy editing arenas.
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TCR: Where does the bulk of your business come from?
LH: The majority of my income comes from teaching polymer clay workshops. I usually teach between 20 and 40 workshops per year, these range from short three-hour sessions at bead trade shows and two local teaching venues to one-week residential sessions at schools such as Arrowmont. There are now 28 polymer clay guilds in the United States and many of them sponsor weekend workshops throughout the year. I offer 20 different workshops, many are technique driven, but my favorites are the color workshops. I've presented color workshops using polymer clay to several fiber guilds, stained glass guilds and art educators.
TCR: Have there been major turning points in your career as a polymer clay artist?
LH: About five years ago I began to doubt my choice to concentrate on teaching. My proposals were rejected from a conference because I "didn't have any new techniques to offer." I began to wonder at the seemingly constant rush to invent new things, new projects and new techniques to remain viable on the teaching circuit. I've always believed that it is better to teach someone to fish rather than give them the fish … and suddenly the demand for a new necklace design workshop in time for the Christmas Bazaar seemed to be more important than taking the time to learn basic skills.
During the next three years I spent considerable time studying energy medicine and eventually received Certification as a Healing Touch Practitioner. I read over 80 books, documented over 100 sessions, learned medical Latin, took 15 workshops … and eventually came back full circle to a true knowing that part of my mission in life was the honor of teaching, my ability to gently hold sacred space for a group of students and allow for miracles in the classroom.
TCR: Do you see any business challenges specific to artists who work in polymer clay? How have you overcome these?
LH: Yes! After all it is plastic, anyone can make something out of it in less than hour and in some circles it is considered an artists material designed for children. These are all good things and shouldn't be considered drawbacks or reasons not to consider exhibiting work — just because it is plastic modeling compound.
In 1989, one of the founding members of the National Polymer Clay Guild was denied entry into the Washington, D.C. Crafts Guild Biennial Exhibit because her work was "made from plastic and didn't fit into any of the jurying categories." The next year we joined as the Potomac Polymer Clay Guild, "volunteered" as the set-up committee and won several jury awards.
What one does with the material is much more important than what material one uses. I have yet to receive a prospectus from a juried show that included a list of check boxes a) hand dug mud b) processed mud c) forged steel d) synthetic fiber e) natural fiber f) acrylic paint/aka plastic paint.
TCR: What has been the most difficult thing you have encountered in your work?
LH: Often I will encounter the starry-eyed student, who has dreams of quitting their dreary day-job and making it big as an artist. All things are possible … but I hold out doubt that the transition from their $200,000/year partnership in the town's most prestigious law firm to having a profitable crafts business will be all smooth sailing. I would never dissuade anyone but feel I have a responsibility to honestly (if asked) answer the question of just how many of the very talented artists in the polymer clay community make a full-time living marketing their work.
There are those that don't quite understand the difference between developing their own unique product line and replicating the work of others. I once encountered a student who had taken a workshop from one of the polymer clay community's most talented and respected artists, and assumed that their class registration included design rights to everything she had displayed during the workshop.
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TCR: What, in terms of business insight, have you learned to do or not to do over the years?
LH: I've learned that sometimes it is better to hire/trade or barter with another professional — unless of course in addition to being a fabulous artist you are a great accountant, fabulous photographer, scintillating copy writer, super travel agent and a master earring carder!
TCR: How has the Internet affected your business?
LH: More people have access to your work and services — assuming that you continue to market and update your Web site. The other day I put a selection of brooches onto my printer, scanned them, e-mailed the photo and completed the order in under an hour.
TCR: What is the next step for you?
LH: I am developing a new series of polymer clay workshops designed for Healers. The first of this series will be a rainbow totem sculpture workshop this upcoming July this summer at Maureen Carlson's Center for the Arts in Jordan, Minn.
I plan to expand my Web site to include a section of production jewelry that can be ordered online. Every time I have made an edition of asparagus jewelry, I've said it was the last edition … until I realized not only had I sold thousands of pieces of the past years — I'd even sold the samples!
TCR: What is your show Schedule … if you have one … and where is your work available and through whom?
Lindly Haunani 2005 Schedule |
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Artful Afternoons Annandale, VA/ $40 each session Saturday January 22nd, 1-4 pm Chocolate Bracelet |
Artful Afternoons in Damascus, MD/ $40 each session Sunday January 23rd, 1-4 pm Chocolate Bracelet |
| Chicago Metro Polymer Clay Guild Dancing with the Rainbow April 16th and 17th Contact person: C.ann.co@Juno.com |
Detroit Metro Polymer Clay Guild |
| Bead and Button Show Milwaukee, WI Contact: www.beadandbuttonshow.com June 16th, The Joy of Confident Color June 17th, Black and White Sampler June 18th, Tropical Floral Fantasy |
Peters Valley Craft Center |
| Maureen Carlson's center for the Arts Jordan, MN Contact: www.weefolk.com Friday July 22nd and Saturday 23rd - Color Totem: Exploring the Transformative Powers of Color Sunday July 24th, Mosaic Magic: Cover for an Artist's Book |
Houston Polymer Clay Guild |
TBA |
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| Contact: Lindly Haunani Studio #30 7630 Tomlinson Ave. Cabin John, MD 20818 301 263-0272 LindlyH@aol.com Lindly@Lindlyhaunani.com |