Taking Advantage of Natural Resources

Lisa Kinoshita reflects on her artistic process, and advises that, yes, small women can wear big jewelry.

When I first met you – back when City Arts first launched in late 2006 – I remember your work being generally much smaller than it is now. What made you “go big?” I look for materials with unusual characteristics (color, shape, crystal formation) and the large scale often shows these to best advantage.

What materials do you enjoy working with the most? Why? I like stones with unusual color and personality – raw crystals, white turquoise, pink opal, petrified wood. A current favorite is pyrite (fool's gold) which has childhood associations. I also love tactile materials such as deerskin, which is incredibly soft; hemp; and most lately, blown glass. I use mostly semi-precious stones, and “rocks.”

To me, these have an unsung beauty that is every bit as valid as that of precious gems. The show I had last year at Vetri in Seattle was entitled “Non-precious” and embodied this idea that every natural resource is profoundly valuable.

Do you collaborate with anyone in the procuring or preparation of those materials? For some of the sterling pieces, I create a model out of silver, wax or clay and have them cast by James Maggiatore in Seattle, who I have worked with for years. For the glass pieces, I worked closely with a local artist who blew them to my specifications.

I’ve tried on one of your “big-ball” necklaces (pardon my base terminology). They’re whimsical and beautiful, but thinking about actually going to a party with one of these necklaces on, I found they would be better suited for women of, how can I say this, “less endowed” frames?

Do you find yourself doing commissioned pieces in this line that have to take on more functional considerations? Yes, my own topography is more plains than mountains, so that's one of the hazards of using myself as the model's form! A very large, flat geode slice on a necklace will tilt upward on a bosomy woman, taking on the aspect of a mirror...

However, women who are more generously endowed can rock pieces that drop into the cleavage. I've had this discussion many, many times, and the best thing to do is for a woman to come to my studio and try on a lot of jewelry to figure out what she wants.

Oftentimes, clients are surprised by how easy it is to wear a humongous choker, or something they wouldn't ordinarily be drawn to. I think it's because while the stones may be large, the shapes I prefer are clean-lined and simple, so the effect isn't overdone.

One significantly large piece actually looks less fussy than several small pieces of jewelry – necklace, bracelet, watch and earrings. And yes, small women can wear big jewelry.

What is the best part about being an artist living and working in Tacoma? Low rent, people like Amy McBride [the City of Tacoma’s Arts Administrator], an amazing, multi-layered creative community.

I am astonished by Tacoma's commitment to the arts, the network of support between artists, and the way the arts are so integrated into the fabric and culture of the city. At the same time, life here is not so hectic, and you can be left alone to work. Having moved from Seattle seven years ago, the difference is like night and day.

By the way, I never dreamed of opening a gallery space here (I'd never done it before); it was an opportunity that just happened – affordable rent, beautiful space, right timing. Things like that happen here; I believe Oliver Doriss [owner of Fulcrum Gallery] termed it “having a Tacoma moment.”

Right now the economy is suffering and there are, sadly, a lot of vacant storefronts downtown; but the city is commissioning artists to create installations to fill them. Can you believe it? On a small scale, that's the kind of thinking outside the box Tacoma is known for.

What is the worst part? (Be honest.) It can be difficult to survive on one's work here (as anywhere).

If you had access to all the money in the world –what would you do first? I wouldn't want all the money in the world. I'd never get anything done...

Have you ever had to put a hold on a creative project because of financial issues? Of course! The time-and-money issue is a kind of inexorable equation. When people say, “But you get to make your own schedule,” I laugh, because if you have free time but no income, there's a constant sense of unease beneath it.

Again, this is a reason the [Greater Tacoma Community] Foundation award is so important – I'm thinking about new projects with more freedom.

As for putting ideas on hold because of financial issues, that is a constant theme. Let's just say I carry a lot of ideas around in my head, and hopefully eventually some of them come to fruition.

What’s next in your work? As for jewelry, I am learning how to crochet and hope to incorporate that in my work. I have also been thinking about men's jewelry for some time.

I'm also looking at a lot of art and planning shows at [my gallery] Mineral, including a sequel to last year's chastity belt group show.

What advice do you pass on to young artists? Remember who you are. It may not always be possible to be a full-time artist, but you can imbue art into almost anything you do. This practice can return to you in unexpected ways. •