Polymer clay is the medium of choice for Sara, a 21 year old Italian artist. She researches and designs clay charms and scenes that revolve around anything from mythology, cute critters, Amish culture, and of course, one of her favorites, pirates.

Toonari Post (TP): What is it about pirates that has inspired you to include them in your adorable polymer clay creations?

Sara (S): Pirates have probably been my personal style turning point: they were one of my first subjects, but in the beginning I was not so sure about including them in my collection because that theme totally contrasted both the style and the colors from other charms I was modeling. But then I decided trying to create something around that theme to offer people the opportunity to see something different from the classical clay charms of cartoons or popular films and tales’ characters. In particular, I chase pirates because I have always been fascinated by their world, by its flavor, its colors, and their style of life.

TP: You have said that issues in history, mythology, as well as classical literature are also sources of your inspiration. Could you give me a few examples of your favorites from each of these categories and tell me about the aspects of each that have fueled your creativity?

S: Yeah, absolutely! About history, I love the age of the Holy Roman Empire, but also the period of French Revolution. Concerning literature, I like the Iliad and the Odyssey by Homer and with regard to mythology, I appreciate a lot of the Greek and Roman ones, but these are just a few examples! Since I attended a high school specializing in classical studies, these themes are a part of my store of knowledge and I never saw jewelry of them, so I decided trying to create charms about literature and myths both to give people interested in classical themes the possibility to wear some related pendants and also to try to make the others understand that these topics can be cool!

TP: What artists would you consider working with to do a piece?

S: I’ve never considered the idea of a partnership with another artist, but it would be really interesting especially if I would have to mix my style with a totally different one. I’ve always been fascinated by weird combinations, they often give the possibility to see aspects of a single component that generally goes unnoticed.

TP: If there was any art medium that you wish you could master, what would it be and why?

S: I wish I could manage the art of sculpture in general. One day I’d love to be able to model both complex miniatures and real sculptures.

TP: What are your goals in life?  Do you plan to continue art as a hobby or make it a career?

S: It started almost as a joke and just for fun, I didn’t ever think I would be able to create something with clay, and sometimes it still seems incredible to me, but in a few months it became my hobby and now, although I don’t have clear goals, I absolutely dream of making it a career. I believe in this! I see every day that it makes me happy, so I hope to be one of the lucky people who can say they do the job they love. It’s kind of like finding the love of a lifetime; really rare.

TP: Do you feel that your culture has influenced you in some way that makes you different than other artists?

S: I’m Italian, I come from a nation with a big historical and cultural heritage, this surely influenced me in my chosen themes, but I’m also really interested in knowing about other cultures and other nations’ traditions and history.

TP: Can you tell me more about your background?  What experiences brought you to be the person you are today?

S: We are made of what we lived, every single aspect of our character is our personal way to react to what has happened to us. This makes every single person unique with her qualities and imperfections, weak points, and skills. So whatever we are is a consequence of what we were and a base of what we’ll be. It’s unthinkable that every single experience of our life has not influenced and has not brought us to who we are today.

Image Courtesy of  Sara

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Anna Pankratova has been a participant in numerous art competitions and in 2002 she won at the Kent Sister City Association, USA International Art Competition. Her jewelry designs are intricately detailed pieces made from polymer clay that one looks at in wonder.  Anna also tutors kids in art and gives them the support they need to begin to master their craft.

ToonariPost (TP): If there was any art medium that you wish you could master, what would it be and why?

Anna Pankratova (AP): I am a supporter of specified ideology. I believe that a man must engage in business that he enjoys and brings pleasure and heartfelt harmony to the being. For me, art is my heartfelt harmony. I enjoy art for its many, different displays – painting, drawing, sculpting, graphic arts, and through education of art.

TP: What are your goals in life? Do you plan to continue art as a hobby or make it a career?

AP: Confucius once said that if one engages in a favorite business, one will never have to work. Art was never simply the hobby for me. Similarly, I would call it a job or a responsibility. Art is the air that I breathe, which separates me from reality, and into my own world. In the near future, I hope to advance my artistic mastery, and I would like to establish my first art studio.

TP: Do you feel that your culture has influenced you in some way that makes you different than other artists?

AP: It is relatively difficult to answer this question. To me, all artists have a non-standard perception of the world, however they have distinctions toward a particular direction of an idea. I would not like to place myself superior to somebody. I put myself parallel to others. I find that people, of any background, all have the ability to exert potential. I am very interested in visiting modern art exhibitions, finding inspiration and awe in the grand works of art masters.

TP: Can you tell me more about your background? What experiences brought you to be the person you are today?

AP: I am an artist, a designer, and an architect from Kherson, Ukraine. I was born into a family of architects. Therefore, it is accurate to say I have the genetic predisposition to the arts. After studying for a few years in art school, I progressed to study in an architectural academy. I took part in many exhibitions and competitions. In 2002 I won in an international artistic competition in Kent (USA) “No borders – only friends“. Today as a side-job I take the time to private-tutor young children, encouraging and engaging them to fine arts and design.

TP: What made you decide to tutor young children?

AP: I had a long history in terms of my passion for art. During a period, prior to working a job, my teacher from art school referred me to tutor students who may be interested in pursuing art. Effortlessly, I took her advice and began tutoring a female student who had the desire to enter an architectural academy. Through teaching a few students, nowadays, I also develop my own professional artistic abilities. Most important is not to impose the ideas and manner of work to the students, but to create ground for the height of their own capabilities and ideas.

TP: What types of art do you have them work on? Can you give me an example of some of the works your students have created?

AP: They are natural life form, geometrical figures, domestic objects, architectural compositions and details, sketches of people, and the like, all possess vivacious life. Through this life exists an endless abundance of vivid opportunities. As for my art students, I begin teaching them through developing an individual program for every one of my students. Generally, I assess what may be the student’s interests or what may peak his or her curiosity.

Here are few examples of their work: “bottles and shells” Author Anna Marinicheva”, “Still life with a shell Author Anna Marinicheva”, “Fruits Author Anna Marinicheva”.

TP: What advice do you give your students when they become frustrated with their art?

AP: In order to achieve a guarantee of success in any field, one must have the passion for the type of work he or she engages in. The same applies to the field of art. Generally, as an aspiring art student, one must have the ambition, the drive, the love, and the passion to design and draw. For instance, the art of still life. Firstly, an individual may see the emotion portrayed through the inanimate object and he must try to transfuse it. The inanimate object exerts a special aura or energy.

Image Courtesy of  Anna Pankatrova

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Sara is a 21 year old artist from Italy with a passion for mythology, witches, and pirates, as well as polymer clay. Whenever she creates one of her daringly cute designs she throws herself into the world of the subject she wishes to design. Her dedication to portraying every detail accurately is astounding and can be seen in every one of her adorable clay creations.

Toonari Post: How and when did you first start practicing your art (are you traditionally trained or self-taught)?

Sara (S): I started creating with clay in March 2009, and I am practically totally self-taught. I started using clay as “base” for altered art charms but, immediately after I discovered how amazing this material can be, so I abandoned my first idea to start creating my charms completely with polymer clay. So I developed this medium totally by chance, only after I tried making a little mouse with my first piece of black clay, I looked online at all the possible uses of this material and I saw it permits you to create in practice everything you want. Wow..I was amazed!!

TP: What mediums do you use for your art work?  Which is your favorite and why?

S: Generally I use only clay, which is my favorite medium and the base of my all jewelry, it allows me to create what I would like (my skills permitting), but sometimes I love matching fimo with other materials to create different effects. My “Arctic Animals” in jars are an example: I use clay to make the tiny animals and resin to fill the jars to give a “water effect”; quite often I also love adding “real components” like  little jars filled with sand, pebbles or musk or real runes to charm bracelets (generally in little jars or fixed on a clay base) or necklaces to suggest more the idea of the theme I chase.

TP: What piece of your work is your favorite and why?

S: My favorite pieces are probably:

“‘Witch’s shelf’ Necklace”: I worked hard on it to give the idea of the typical shelf you can see in a film or on an illustration about witches. In fact, always, before treating a theme, I spend weeks searching illustrations (online and in books), watching films and reading tales about the topic I am going to deal with, just to lower myself into the part as best as possible.

”Alchemy Bracelet”: I spent months trying to find a good way to personalize all the typical objects concerned with the ancient world of alchemy from the little Chimera to the little Ourobos.

TP: When you first started did you ever hit any bumps in your art process? How did you overcome them?

S: In the beginning I hit thousands of bumps and still every single day presents its own difficulties, in particular, my Achilles heel are the little dolls I insert in necklaces, bracelets, and earrings. Since I started, I had several problems with them, and I’m still searching my personal style trying to create them as shapely and natural as much as I can, in particular face details (eyes and mouth) and hair.

In conclusion, I think the most useful way to overcome bumps are patience and perseverance. Every time the result is not what I hoped, I don’t give up and back down and I try again and again, without forcing anything, but also never letting it pass. It’s not the first time I have been thinking for months how I should create a particular subject and then the flash of genius comes in the most casual moment like during the night or when I’m doing totally different things or other projects.

TP: Who or what are your inspirations and why?

S: It’s really hard to list and remember them all! Since I was a child I have always been in love with tales and mazes books with detailed illustrations. I spent hours on them catching every single detail. I remember I loved Tony Wolf’s illustrations, but I was totally obsessed by Rien Poortvliet and Wil Huygen books like The Book of the Sandman and the Alphabet of Sleep and Gnomes and by Beatrix Potter’s little tales and illustrations.

When I grew up, thanks to my brother, I started becoming very fond of folk tales, from here my interest for Celtic legends or real tales about witches in the past, and the world of fantasy, and from the legends of Avalon to the classical fairies was inspired (also, in this case, I can’t forget to mention the awe-inspiring “Faeries” by Brian Froud).

But I’m sure I’m forgetting so many sources of inspirations. As often as not I find really inspiring things in video games, backgrounds, and lots of works created by wonderful illustrators I can see online. Every time I find something cool, it’s not simply looking at an illustration, it’s almost like breathing in deeply the atmosphere the artist emits.

Image Courtesy of  Sara

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Anna Pankratova is a jewelry artist from Ukraine who creates masterfully crafted polymer clay pieces. Most of her pieces include aspects of nature, one of biggest inspirations.

ToonariPost (TP): How and when did you first start practicing your art (are you traditionally trained or self-taught)?

Anna Pankratova (AP): I began to draw at the age of four. Ultimately, after a year, I earned admission to art school, and studied for twelve years. Speaking in terms of my education in the arts, I consider art to be an immense relation to my self-worth. Art defines me as an individual. Art is a huge aspect to my being. I began to do handiwork through designing and handcrafting jewelry pieces approximately three years ago in 2009. Personally speaking, I have gained a sufficient amount of artistic ability and experience through three years of extensive work. I decided I did not need to take classes or lessons. I learned by my own accord, my ambition, and by my passion.

TP: What mediums do you use for your art work?  Which is your favorite and why?

AP: The use of polymer clay, gouache, and acrylic are the predominant ingredients to my unique handiwork, so to speak. However, I prefer to work with polymer clay in particular because it is a very pleasant material. The use of polymer clay is quite pliable and trouble-free. I can create any color in any intensity of shade as well as molding complementary and decorative patterns. During the process of working with polymer clay, the only instruments I use are a hobby-knife and a toothpick.

TP: What piece of your work is your favorite and why?  Which one are you most proud of?

AP: From the several jewelry pieces or artworks I have created, I do not think I can choose a particular piece of art that I can be proud of the most. I believe that all of my artworks are what I can be proud of. I have several future creative pieces to mold and be proud of. Mastery only grows with gradual time and experience. It is too early in my “career” to call any piece the pinnacle of best work. Self-criticism is the source of advancing and developing my artistic abilities. I am the one to judge my handiwork. I find the negatives and the positives to my work. What am I lacking in a particular art piece? What can I add or modify to a particular art piece?

TP: You say that you are the one who finds the mistakes in your art or the areas where improvement is needed. How do you handle negative feedback or critique from others?

AP: To me, I find it normal to take constructive criticism from others, for example, from people who have more artistic experience. It is imperative to receive such reasonable, objective opinions from others and mold such critiques in an optimistic manner. By accepting criticism an individual seeks an alternative approach(s) to improve. I think it is very useful to hear from those who intend kindly to improve a particular area of someone’s work. Critique is significant in the work of an artist, which enables the ability for someone to make a comment on another, in turn, improving oneself towards future endeavors. Critique allows me to look at the picture from a different standpoint.

TP: When you first started did you ever hit any bumps in your art process. How did you overcome them?

AP: Yes, I have had some difficulties, from time to time, while working with my handiwork. The errors I stumbled across were related to the imperfection of artistic materials that I used since the beginning in 2009. When making a mistake during the handcrafting process, meticulously I removed bits and pieces and then modified the overall art piece. Gradually, I picked up more quality analogues. By making mistakes yet modifying the errors, with time and patience, I have gained artistic experience. I learned to avoid such errors that could dwindle my artistic ability. I yearned for quality and precision. When I work, I aim for striving excellence. I take time in my work.

TP: Who or what are your inspirations and why?

AP: Since my early childhood, I was immensely inspired and awed by the works of old grand-masters of art related to the different historical epochs. In the period of my studies in art school, Japanese decorative art and painting truly inspired me. In addition, Art Nouveau, became another bona fide discovery. I find virtually anything in nature as a grace for me in my artistic ability. Throughout nature, I find harmony – whimsical bends of tree branches, penetrating light from the sun, a graceful dragonfly sitting upon a thin leaf, decorative patterns, casual imprints of paint… What can be seen gives rise to abstract character in my mind, almost like a sketch. Subsequently, this abstract character becomes clearer than a sketch. The character becomes an imprint. Inspiration molds the sketch to the imprint or the final product. For instance, when I sit down before a blank sheet of paper to design a pattern or before a wood base for designing a bracelet, I see inspiration pour out almost immediately. The rest is a matter of technique and skill through the movements and strokes of my fingers.

TP: What artists would you consider working with to do a piece? Why, and what type of work do you think would come from this partnership?

AP: To me, it is difficult to find a man who has a spiritual affinity as I do. Working with someone would open opportunities, however, there may be differences in various ideologies and ways of thinking. There may be some problems along the way. However, compromise and coming to a mutual agreement is important. It would be interesting for me to do some work with a designer – for instance, painting on silk. To me, working in conjunction with a designer would be an immensely worthwhile and useful experience.

Image Courtesy of  Anna Pankatrova

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