Evaluators
Meet our team of evaluators.
We know how hard you’ve worked to make your submissions the best they can be. But how can you be sure your pieces will be evaluated fairly?
We’ve solved that issue by making this a double-blind process. Neither the evaluators nor you will know who the other is.
This protects our evaluators’ privacy, and ensures they have no pre-conceived expectations of you personally to sway their critique of your work.
Although you won’t know exactly which ones will be assigned to your submissions, the list below shows you who the high caliber experts we’ve asked to be a part of this process are.
Be sure to scroll below the evaluators names to read some thoughts Tim McCreight has about the benefits of being open to an honest and knowledgeable critique your work.
EVALUATORS
Anna Mazon
Although she has degrees in sociology and psychology, Anna’s passion turned to designing and making metal clay jewelry in 2008. Her tiny treasures have been published on the covers of magazines like Metal Clay Today, Handmade Business, and Metal Clay Artist Magazine. Committed to perfecting even the smallest details, Anna has been sharing her sculpting technique since 2013, while teaching throughout Europe and the U.S.A.
Barbara Becker Simon
As one of the early adopters of metal clay, Barbara Becker Simon earned a BS in Art Education and an MFA in metalwork and jewelry. She has been a goldsmith for over 40 years and has been teaching metal clay exclusively since 1997.
Carol Douglas
Carol is an international teacher, instructor and lecturer of over 35 years, and has earned a Master’s degree in Creativity and Educational Management. Her work and tutorials have been published in several books and magazines and she’s been awarded prizes for her artwork and jewellery.
Corina Gheorghe
Corina’s background lies in economic studies, but when she discovered metal clay in 2012, she knew it was the perfect medium to focus her attention on. She is the founder and director of Artkimia – Art & Jewelry Studio, the first metal clay school and the main supplier of metal clay and tools in Romania. Corina has taught throughout Romania, Spain, Belgium and the UK.
Holly Gage
With a BS degree in Fine Art and Education at Kutztown University, Holly’s work has appeared in numerous national publications including Handmade Business; Metal Clay Today; and Lapidary Journal/Jewelry Artist among others. Holly discovered metal clay in 2002 and has been traveling the world teaching, speaking, and sharing her knowledge with others.
Linda Kaye-Moses
Linda Kaye-Moses was invited to the first PMC Master Class in the mid 90’s and began teaching the following year. She became a Certified Precious Metal Clay Artisan in 1999 and has taught workshops throughout the U.S. and internationally.
Noortje Meijerink
Noortje’s original expertise with wheel thrown ceramics moved into high gear when she began combining her porcelain work with metal clay. Certified with metal clay in 2003, Noortje immediately began teaching in workshops around the world. Her beautiful work has been featured in books and magazines – most notably Metal Clay Today , Art Jewelry Magazine, and PMC Technic.
Patrik Kusek
Patrik’s artistic education began at the Fashion Institute of Design and Merchandising and The Academy of Art University. After discovering metal clay, he earned certifications with PMC and Art Clay, and was a Senior Instructor for Rio Grande. Patrik’s work has been published in numerous books and publications and he was the recipient of the 2007 Saul Bell Award 1st place and 2016 2nd place in metal clay.
Tracey Spurgin
Having created a dedicated metal clay studio called Craftworx Jewellery Workshops in Yorkshire, England – Tracey travels extensively around the UK, Europe and North America teaching workshops and master classes in galleries, shops, colleges and museums. She is a qualified Senior Art Clay & PMC instructor having completed courses with Artclay World UK, PMC Connections & Rio Rewards. Tracey has trained to the highest level with some of the world’s leading metal clay artists & tutors.
The Voices of Critique
By Tim McCreight
When we share something we’ve made, whether it’s a piece of jewelry or a plate of cookies, we sort of know in advance that we’ll receive a compliment. Many of us were taught as children that, “If you don’t have anything nice to say, don’t say anything at all.” And I, for one, do not want to contradict that good advice. That spontaneous cheery response to whatever we’ve done is what I’ll call one “voice” of critique.
Another voice, and perhaps one you know firsthand, is the internal voice that seems to take the opposite position. You started your project with a brilliant vision of a lovely piece in which every line, texture and sparkle contributes to a breathtaking piece, and there it is lying lifeless on the bench. If you were to make the effort to describe your disappointment, the words would be harsh and dramatic. This voice is not only unkind; it is also unhelpful.
Fortunately, there are other voices available to us. An example that is probably familiar to most of us is that of a healthcare professional — a doctor, nurse or dentist for instance. This is someone who knows us only in a business relationship, but has our best interests at heart. And, importantly, has background that makes what they are saying valuable and probably important. It doesn’t make much sense to go to a doctor then disregard everything they’ve said.
That’s a good reference for an art critique as well. A proper critique starts from a position of best intention; the point is to provide useful guidance in a manner that is clear and honest. Just like in the doctors’ office, this might not be something you want to hear, but that doesn’t mean it is meant to be hurtful or disrespectful. It’s important to avoid a knee-jerk reaction and instead allow the comments time to settle in.
It’s tempting to respond to a critic’s voice, to explain your reason for choices you made regarding materials, colors or references. Personally, I start with the idea that an artwork should be able to speak for itself. The artist is not always going to be on hand to explain their work, and if the work is good, it can speak for itself. That’s why it was made in the first place.
The Mastery Modules provide a valuable voice for anyone interested in elevating their work. The first part of the equation is to find knowledgeable artists whose judgement and intentions you can trust. The other part is to open yourself to comments that you might find jarring or even disappointing at first. You don’t have to agree with every voice of critique you hear, but you owe it to yourself to reflect on what you hear with objectivity and interest.