Category Archives: Assemblage

Influencers

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We often hear the word influencer tossed around in today’s social media-driven world—usually referring to someone who promotes products, trends, or lifestyles to a broad audience.

Social media influencers thrive on visibility and quick engagement, building their followings through brand deals, viral trends, and aspirational lifestyles. Their goal is often transactional—to monetize their reach through partnerships and sponsorships. Living on platforms like Instagram and TikTok, they shape pop culture and consumer habits by promoting what’s popular, hoping followers will imitate their tastes. Their influence is driven by relatability and attention metrics—likes, followers, and views—rather than lasting artistic depth.

In contrast, an artist who influences others does so not through trends, but through the power of their vision, authenticity, and mastery. Their goal isn’t to build an audience for visibility, but to explore and express something true—and in doing so, they spark insight and courage in fellow artists. Rather than shaping consumer tastes, they shape creative thought. Their legacy is built on originality, integrity, and emotional resonance. And while they may never “go viral”, their work becomes a lasting part of the artistic dialogue—an invitation for others to reach further and create more honestly.

This idea of meaningful artistic influence has been deeply personal for me lately, especially through my recent exploration of vessels—both as tangible art objects and as metaphors for containment, offering, and transformation.

That exploration was sparked in no small part by the work of my friend and fellow artist, Shannon Weber. Her raw, intuitive fiber vessels—organic, mysterious, deeply rooted in place—stopped me in my tracks the first time I saw them.

Shannon never sets out to “teach” with her work, but her authenticity and fearless craftsmanship opened something in me. Her pieces whispered permission: You can build from instinct. You can honor materials. You can make containers for spirit, not just function.

That influence didn’t make me want to copy her—it made me want to listen more closely to my own hands, my own materials. It shaped how I approach my own vessels, especially in workshops.

When I teach, I’m not just showing students how to construct a form—I’m inviting them to fill it with meaning. The energy flows forward. I see students begin to trust their own stories and discover that their vessels hold more than objects—they hold essence. And then, they influence others in turn, through their courage and creativity.

Want to see what can be accomplished? Here is a link to a catalog of work from students in the recent Ephemeral Vessels workshop at UTSA/SW. We started the journey together, but they began to follow their own path as we worked together over the two days.

And of course, I carry the strong influence of other artists in this ongoing exploration – Joanna Powell Colbert, whose earth-grounded, sea-and-seasons centered spirituality helps me define my purpose in creating these forms. The insights I gain from her work flow into the vessels I create, filling them with meaning and intention.

And my dear friend Michelle Belto introduced me to the transformative qualities of wax years ago. It now adds a protective layer to my vessels while enhancing their surface with depth and luminous beauty. There are so many metaphors of influence in that process that dovetail into my work.

Here is a new form I’m working with to take to Ireland for our Vessels workshop there this summer. I call it the Five Knot Vessel. It’s small and simple, easy to pack and carry home, but has lots of possibilities. In spirit, it carries the presence of those who’ve guided me—Shannon, Joanna, Michelle, and so many others whose influence travels with me like quiet companions, woven into each layer and knot.

This is the living, breathing cycle of artistic influence: one artist lights a path, another follows and forges their own, and the light spreads. Not through algorithms or brand partnerships, but through the shared language of making. It’s quiet, powerful, and lasting.

Lyn, grateful for every creative influencer in my life ♥

Provenance

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I’ve been negligent about posting to SHARDS for several reasons. I wanted to change the look of the blog, and work on some website redesign as well.  So I’ve been busy, yes, but that’s no excuse.

Have you ever felt that the longer you go without doing something you should do, the harder it gets to do it? My brothers and I are of the generation that got swats on the bottom from our dad when we were little and did something REALLY bad. Daddy would let us choose the time for our swat, but would tell us that “the longer you wait, the harder it gets.” Sigh. The anticipation was worse than the swat, of course. Sometimes you just have to get it done and move on 🙂

But I digress – today I want to discuss “provenance,” a word that refers to the historical origin of a piece of art, or really any object. As an assemblage artist, provenance is hugely important to me. I believe that an object’s history can be sensed in some weird way, kind of like a shard of clay gives a clue to its history.

I’ve been working lately on a series of wrapped and bundles figures inspired by the Peruvian Chancay Burial dolls. Here’s the Chancay doll on the right and my interpretation is on the left.

Part of my process involves selecting specially-curated objects to wrap into the form. Here is another example:

Below are several little objects I want to wrap into the next figure – two seed pods and a feather.

No one who sees the finished doll will know about the provenance of these objects – they could be just some stuff I picked up anyplace. But the seed pods came from my Pride of Barbados tree which seemed completely dead after the snow disaster this year, but manages to come back gloriously despite the trauma. The feather came from the construction yard at SAY Si where they are building a wonderful new place to share art with the youth in San Antonio who really need it. So all three of these objects have a special “provenance,” a story of rebuilding and renewal.

As I said, no one but me knows about the provenance of these objects, but somehow they carry an aura of their story with them, and that infuses the finished piece with a sense of inexpiable mystery and meaning. You can do this with objects, with paper, with fiber.

When you have a choice in your own work of using something that has a special provenance even though it may not look quite as bright and shiny as something you bought at a craft store, consider the source, and go with what your heart says.

If you look up “provenance” as it relates to collecting art, you’ll find that it refers to the trail of ownership of an art object, or the history that got it from there to here. But every object has a history and a story based on where it is found. As an artist, you can incorporate those stories to give richness to your work.

 

 

 

 

 

 

 

Shards and Santos, Clay and Collage

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Happiness is teaching in Taos!

A week from tomorrow, I’ll be at the Taos Ceramics Center working with students in my Shards and Santos Workshop. The class takes place on two consecutive Saturdays – here’s a description.

In this workshop, we will create personal assemblages inspired by these iconic figures of Santos. In the first class, we will construct handmade textured slab-based clay components such as heads, bodies, and enhancements. We will also learn to make hand-crafted clay press molds. These components will be fired once.

Here are some examples of assorted assemblage components that I’m taking with me – honestly, working in assemblage is just like working in collage, only a bit more dimensional:

Continuing the workshop description —

The next week, we will build our figure, incorporating found objects such as bones and shells and bleached twigs into the final assemblage and perhaps include cherished objects and hidden words. We will explore the limitless possibilities of cold finishes, such as metallics and beeswax, to enhance the surfaces of the unglazed earthenware.

These santos, below, are in progress, and I’ll use them to show how the components are put together.

Since we will not be glazing and re-firing the shard components, I’ve been experimenting with cold finishes for fired clay for the last couple of weeks.

One of the most successful combinations I’ve discovered is Pearl Ex powder by Jacquard mixed with Gamblin Cold Wax Medium.  You can control the translucency and the color saturation, then buff the wax finish. It’s exciting to see how well it works on bisqueware.

 

Another technique I’m playing with is tube acrylic paint mixed with a bit of cornstarch to dull the finish.

In the sample below, the acrylic mixture mimics the look of Gilder’s Paste at about half the cost and with less potential toxicity.

This kind of experimentation is part of the fun of planning a workshop. And then I get to share with new people!

I’m grateful to the Taos Ceramics Center for inviting me – and at this writing, there’s just one spot left, so if you need a quick get-away, come on up to the mountains of New Mexico!

 

Cats and Possibilities

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When times are turbulent, I keep telling myself, “Trust the Process.” This doesn’t mean doing nothing and just watching it all happen, but rather doing what we do best – creating with compassion and imagination in the certainly that adding beauty to the world fuels thoughtfulness and optimism.

Seeing what others are doing in this turbulent time brings me that sense of optimism – particularly when their art stems from our Teachable workshop community. And particularly when the subject is cats!

Willma Sliger’s Cat Shaman pieces are a perfect example of taking a basic idea (from my Cat Shaman online workshop) and just flying with it.

Wilma writes, As promised here are the Cat Shamans I have joyfully created. . . .Some have very old ticking . An evil eye brought back from Turkey by a friend. A replica of a coin given to men in old time saloons/bawdy houses. And lots more.
You are my antidote for covid. Seriously. Stay safe and well.
Love, Wilma the Desert Dweller

Wilma lives in Moab, Utah where she creates fabric & mixed media collages, incorporating photos and found objects with fabric to produce unique wall hangings. I told her I was stealing her idea of using a mesh screen on the Heart Box of her Shaman – it’s symbolic and mysterious.

Here is another one of those great Heart Boxes filled with charms and found objects. I like the tied desert wood pieces as well.

This Evil Eye fellow may be my favorite, all twisty and dance-y, with the lion-like head and butterfly wings.

I am so grateful to Wilma for sending these pictures – her work is artfully folk-like but complex, with a real sense of purpose in every assemblage.

So what do YOU do when you know you should be creating something for the good of you heart and soul, but you can’t get started because you don’t have an idea??

That’s an easy one – just get started, Grasshopper, and the Idea will come. Here’s an example.

Two days ago, I desperately needed to make some art so I could (at least briefly) focus on the creative rather than the political. Nothing inspiring struck. That’s rare. But I know if I did SOMETHING, I’d feel better, more optimistic.

So . . . I found a block of wood, and marked some holes. Two holes seemed like a good number. Maybe.

I got out my trusty cordless drill (every artist should have one of these) and drilled two holes.

Then I cut some super-strong but slender bamboo sticks to about 18″ tall and stuck them in the holes.

Voila! It ain’t much yet, but it will be SOMETHING! Who knows what?? When I posted it to Instagram, my friends suggested it could be a two-legged table or a REALLY tall spirit doll.

I’m thinking it might be a sculpture with a body that’s shaped like a kimono with beeswax-coated pages that open and close. Maybe so, maybe not . . .but the whole process got me thinking in a new creative direction –

So the point is, you can’t “Trust the Process” if there isn’t a process to trust yet. Start something. Wrap some string around a stick. Pour the last of your morning coffee on a piece of watercolor paper. Unravel a worn-out sweater.

In the background, I can hear Wilma’s Cat Shamans saying, “The journey of a thousand miles begins with the first step, Grasshopper.” Pounce. Munch.

 

A Walk-in-the-Woods Workshop?

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2020 was surely The Plague Year (and we’re still being extra-cautious), but it did get a lot of us outside, walking and exploring nature. That’s a good thing. Decades ago I discovered that walking worked well for me as meditative thinking time – plus I find lots of cool stuff along the way. And sometimes it seemed that the cool stuff was left there especially for me to find.

You may remember the wonderful photo collection of composed found objects that artist friends contributed to my website in 2019. Here’s that link, and here’s one of my favorite compositions (this one is by Marilyn Jones)

Marilyn Jones, Found Objects

This kind of collecting is nothing new for me. One of my signature techniques is embedding sticks and other natural objects into my assemblages – there’s just something mythical about material found outdoors “by accident”.

Sometimes, I even construct pieces almost totally from found objects and natural material, such as this piece called Bone Tea.

Lyn Belisle, “Bone Tea”

It was influenced by my friend Shannon Weber, whose work with natural materials makes me swoon.

Shannon Weber

So all of this leads up to a new workshop that I’ve just posted on my Teachable Studio site. It’s called Sacred Serendipity:Nature Shrines and Assemblages.

Collecting things from nature and assembling them as art is a long and honorable practice.

If you’ve ever read Ann Morrow Lindbergh’s Gift from the Sea, you know how she describes different seashells as stages in a woman’s life – the oyster shell, covered bumps and lumps but still smooth and beautiful on the inside.

This is a workshop for anyone who has ever found a pine cone, a smooth rock, or a red and gold leaf and brought it home in gratitude and wonder.

There are several free preview videos, including one of me being very goofy in the woods across the street from my house, pretending to “find” objects. But I think the real beauty of this workshop lies in the techniques about arranging and attaching natural objects to a small canvas. This gives you so much leeway to create your own small Shrine to Nature.

I also show you step-by-step how to make a mold from a natural object and then cast it with paper clay – you can do faces this way, as well. The class fee is a mere $29, and you can start and stop whenever you like. The lessons are yours forever – or at least as long as the Internet lasts. Think of this as the cost of a bag of groceries but with more lasting results!

Workshop Preview Link

So here’s to a walk on the wild side – and the natural treasures that we “accidentally” find there. 🙂

 

 

 

 

 

Shards, Scrolls, and Synchronicity

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The concept of “Shards” is a foundational inspiration in all my artwork – an idea that helps me trust the creative process and follow where it leads me.

To me, Shards are synchronistic fragments that hint at a story, make a collective connection, or suggest a direction. Shards can be objects, or an intangible occurrences. A Shard can be a brief glimpse of something, as well, something that helps you find a direction.

For example, last week I was taking my usual pre-dawn walk in our wooded neighborhood when I saw what I could have sworn was a Nativity creche scene in a distant yard. It was so clear that I could see the roof of the lean-to shelter.

As I got closer, I saw that it was just a string of Christmas lights around somebody’s front door, partially concealed by blowing branches. But the illusion of the creche-like shelter seemed so significant in its clarity. Why that illusion at that time?

I followed that thought-thread as I walked back towards home, considering the whole idea of shelter for travelers, of people who go on journeys to freedom and safety, of how fortunately I was to have a safe destination and a home to return to. I thought about pilgrims and wayfarers, about what it must be like to carry all your belongings with you.

Then came the memory jog. That whole pilgrimage concept reminded me of a series of clay assemblages I had done five or six years ago called “Peregrinos” (Spanish for Pilgrims). It was an age-old theme  that I had I wanted to go back to at the time, but had pushed it to the back of my mind.

Peregrino Series, Earthenware assemblage, Lyn Belisle 2015

Now, though, this Peregrino theme inspired by the mistaken illusion directed me straight to my studio to begin the mixed-media fiber piece I’m working on now. Its working title is The Pilgrim Scrolls. The form is a triptych of canvas scrolls that contain pictures and small relics and memories that represent things we take with us on our journey.

The triptych (so far) has photo transfers of my original Peregrino clay assemblages along with other images and components. It will have smaller scrolls, patches, stitches, and pockets. It speaks to homelessness, but not randomness.

Phototransfer on canvas in progress

Part of the techniques I’m employing, particularly the phototransfer on fabric, came from my recent Prayer Flag workshop, but I would not have been given the Peregrino/Pilgrim theme without the “synchronistic Shard sighting” that was not even what it seemed. I’m really looking forward to completing this work, to seeing where it takes me and what I learn.

During Covid-time, I’ve had more time to think about sources of artistic inspiration, and I want to explore more about my “shards” and other kinds of synchronistic fragments that seem like a secret handshake from a deeply collective and timeless source. There’s always something surprising to discover, and something to say about that discovery.

I’m re-reading a book that I keep coming back to over the years called The Tao of Psychology: Synchronicity and the Self by Jean Shinoda Bolen.

She’s written many books, but this is one of her first, and my favorite. You’ll like the way she explains synchronicity and why sometimes it seems as if we are meant to be in a particular place at a particular time to come across a particular “Shard.” Here’s a link.

UPDATE!

If you’ve read this far, perhaps you’d like to know that I finished Pilgrim Scroll last night – here’s how it turned out – I’m very happy with the way the shards led me!

A cat gallery and a surprise workshop

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(The Surprise Workshop is at the bottom of this post – but first, check out the cats)

 

What is it about cats? One of my online workshops is called “The Mystical Cat Shaman,” and the photos I’m getting from students of their magical critters are just brilliant. I thought you’d like to see a few of them.

This one is by JoliBlanch, who writes, “I wanted to do a 2020 healing shaman. So in that spirit, since cats and birds don’t usually socialize,  the birds are there symbolic of The wish for unity among all peoples. The heart is the love energy needed, the blue crystal is healing energy, and the gold bead represents the God energy. The milagros on either side represent the magic we all need now. So – angel wings, dragons, unicorn and faerie energy.”

Next, we have two Cat Shamans by Barbara Linderman. She says, “I took your online Cat Shaman class this summer.  Attached are pics of my two creations.  It had been a while since I had done any kind of mixed media work and your class has inspired me to do more.”

Meet “The Collector” and “The Fortune Teller.”

Finally, here are some figures that go in their own fabulous direction by doll-maker Kathryn Hall. She notes. “I really enjoyed your video class Lyn, so thought I’d show you my take on it.  I made two cats and two crows.  I make my own faces from polymer clay.” 

Look at these faces! And the bodies!

All of these pieces are so creative. When I teach a workshop, i hope for exactly this – original artwork inspired by my lessons but not copied from my work! Yay!

I’m so grateful to all the makers in the Cat Circle – I’ll share more soon. The workshop is still available if you are ready to make you own Cat (or crow – or dog?) Shaman. Just click here to checkout the free preview lessons.

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And now — the SURPRISE WORKSHOP!!!

In one of our first collaborations, Michelle Belto and I did a class called Mask, Robe, and Rune.

Michelle just made this workshop available on her Teachable site. It’s a wonderful project that combines faces, waxed collage papers, free-standing sculptures, and spooky runes and writings. Because it’s been previous published, you can sign up for just $29 for the entire course with both of us team teaching.

Here’s an example of the Mask, Robe and Rune mixed-media assemblage – you will learn to make those great papers to use as the “robes” on the figures – and much more. Thanks, Michelle!! Here’s that link.

Remember what our ancestors told us –“Idle hands are the devil’s workshop.” You don’t want any devils in your workshop. Check out the Cat Shaman and Mask, Robe and Rune and keep your hands out of trouble!

 

 

Workshop Update – Meow

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THE MYSTICAL CAT SHAMAN IS BACK!

The Mystical Cat Shaman Workshop was first offered in 2016 as part of the Artful Gathering summer class program. When the Artful Gathering group scattered, I decided to bring this popular class back to a new audience.

The NEW Cat Shaman workshop will be available until August 1, 2020 for $39 tuition, which is about half of its previous cost. In this new version, I have updated the handouts and added to them. The videos, for the most part, are the original ones, almost three hours of detailed instruction.

You can read more about it on my website. There is a free lesson from the workshop available that might help you decide if you want to create some feline magic. Ask your cat if she wants to help. Yeah, right 🙂

Click here for the CAT SHAMAN WORKSHOP info.

And there are new Cat Face Shards in my Etsy Shop!

If you decide to take the workshop, I will show you how to make your own cat faces, step-by-step, using about four or five different techniques. That’s always the best way to do it, learning for yourself.

But if you want to purchase some Cat Shaman from my Etsy shop, great!

I’ve added some new cat faces using the mold I made in the the original workshop. They are kiln-fired earthenware and they come in three finishes. They’re $9 each and there is a limit of 2 (I have only 30 right now).

You may find that they are sold out when you go to the Etsy shop. I sent an advance notice to my private email list last night, and the cats are going like hotcakes. 🙂

However, I’m making more earthenware cat faces today and they should be fired and  ready to go by Saturday. I’ll re-list them ASAP. (And if you’d like to be on my email list for previews and updates, you’re welcome to sign up).

Last note – I’m finally internalizing the reality of these times. Sigh. It’s going to be a long summer and fall without in-person interaction.

As a social creature and an artist who cherishes the company of my circle of friends and co-creators, I miss the times we could really look at each other’s work, touch the textures, laugh and hug in person.

But if there was ever a time to count our blessings, this is it. Be safe, trust yourself and trust the process, and take good care!

Small Comforts

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Don’t know abut you, but I have felt pretty disheartened and non-productive during the last two weeks. I look at all of those articles and posts about what to do when you’re at home, and yet, somehow, my energy has shifted to hibernate mode (“Wahhhh . .just leave me alone!”). But knowing in my heart that it’s important to keep busy and creative, I started cleaning out my studio shelves. That’s always a recipe for inspiration.

I found lots of duplicates of things I thought I’d lost, and then bought more of – right? Every happen to you? Case in point – a bunch of bar magnets. I must have three dozen of these guys!

Why? Back in 2014, I taught an online class with Artful Gathering that featured little clip-on art-to-wear pieces that also function as displayed artwork. These pieces were one-of-a kind mixed media collages designed with a super-heavy-duty bar magnet on the back so they can also be displayed in a frame. I called them “Magnetic Adornments”.

Here are some examples from an old class worksheet:

Those re-discovered magnets were the kick-start for me, and I decided to play with that project again. I needed something small to work with, something that I could use as art therapy, something that was fun and had no real rules.

The base of the little collage is archival matboard. You choose a focal piece and just start building a miniature assemblage. I used my clay faces, but you could use an old piece of jewelry, a shell – whatever!

Once the magnet is glued on the back, you can wear the assemblage on a scarf or a hatband. You can also clip them into a frame by putting the back piece of the magnet on the back of the frame. Here’s one that I just finished:

A few more of the “Magnet Adornments” I’ve put together the past couple of days:

Here’s that last piece taken out of its fame and clipped onto a scarf:

Small magnetic assemblage clipped on a linen scarf

OK, that’s it for today. I may go hibernate for a bit – I hope you’re well, staying inside and still staying in touch with friends in whatever way is best for you. I’ve been Zooming a lot with my family. Who even knew what that meant last year??

Please find some small comforts to work on today in your own creative space. It really is good for you. Better than Cheetos. Maybe.

 

 

 

 

For Love of Leonardo – a fiberart sculpture

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That’s the title of a new fiber art sculpture I (almost) just finished. Where these ideas come from, I’m not sure, but I was looking at some of Leonardo da Vinci’s anatomical drawings and thinking about insides and outsides and metaphors, so I photocopied some of his drawings and notes onto linen fabric.

Then I started building a form with no real plan . . . I use sticks and sinew and gauze and all kinds of things to engineer the armature.

At this point, I just go happily along with no idea of where this figure might be going, but trusting the process. It’s like reading a book that you can’t skip to the end of to find out what happens, but I knew it would have something to do with the Da Vinci notes on linen.

The big step is finding the face that helps tell the story.

Now the “it” has become a “her,” and I look at her in different light and different places to get to know her better.

The linen layers are in progress, and I’m refining some of the details, like skewering her headpiece to add sinew. I got so engrossed at this point that I forgot to take process photos!

Her linen-wrapped legs are anchored into a wood block covered with faded Turkish carpet scraps.

The plot thickens – there are pieces of stitched linen with hearts and babies and love letters . . . it’s complex, and a bit disturbing, but terribly intriguing!

She has an ivory silk braid hanging down her back.

Here is the (almost) completed piece – she’s 20″ high.

For Love of Leonardo, Lyn Belisle, 2019, Fiber sculpture with mixed media

I borrowed a lot of techniques I developed for last year’s “Boro Horse,” (below) which I love, but the Leonardo piece feels more personal somehow.

Next up – a wall piece that celebrates the complexity old fiber rugs and weavings.  I plan to incorporate some of the found objects I’ve collected in the last couple of weeks for the Collage Challenge.

This piece is just barely started, but we shall see what we shall see –