These beaded earrings feature little fan dangles in the shape of lotus
flowers. They are woven with faceted gemstone beads in various shades
of indigo blues. The little rings and ear wires are sterling silver.
They are fancy enough to be noticed, yet still casual enough for day
wear. The colors match blue denim perfectly.
The stones include
dazzling microfaceted London blue topaz briolettes, blue kyanite, and
faceted blue sapphire. The seed beads frame the gemstones, allowing the
light to travel through the transparent topaz. The earrings look the
same on the front and the back.
These little earrings are small enough to be comfortable and fancy
enough to be noticed. I made them by stitching together glass seed
beads in deep forest green and earthy amber yellow. I chose the colors
to look like little daisies. The green and cream stripes remind me of
old Victorian or Edwardian fabrics. All of the wire is sterling silver.
These are the photos I took of the assembly of the Genie Bottle at Burning Man.
We arrived to the Playa on Monday night, and on Tuesday, we were placed, found our trucker, unloaded the truck and put up some caution tape and lights.
We had over 200 pieces to assemble. Fortunately, we had many helping hands.
This is Marty Kenney, working so hard, he trapped himself inside.
This is the dump truck that brought us decomposed granite (DG). We covered the ground with a 3.5 inch layer of DG to protect it during the burn.
While waiting for the ground stakes and DG to arrive, we organized all of the pieces.
Here's what the neighbors were doing at the same time. This piece is called "Squared" by Charles A. Gadeken.
This is Embrace by The Pier Group.
After dinner, we built the deck. Tiling a pentagon with rectangles is no easy feat!
The next morning, we finished the top of the deck and raised the main struts.
Everybody is strutting!
Zelda Lin inside
Adding walls.
Hats off to Marty Kenney for making construction work look classy!
The crane came...
... while the sky put on a show for us.
A little dust storm blew through.
The crane lifted the top part onto the base.
While we guided the piece into place with long ropes.
That's Jim Crowley inside bolting the pieces together.
We worked at night to finish the last round of panels.
You weave it like cubic right angle weave, but with tetrahedrons and prisms instead of
cubes. This tutorial is designed for experienced beaders, and it
includes charts like those found on my blog here.
This tutorial assumes you already how to do cubic right angle weave and
know how to connect two ends to make a continuous strip. If you don’t,
check out this link at my blog to learn how. You should
also probably already know how to bead a dodecahedron or at least know
what a dodecahedron is before trying this design. This is a dodecahedron.
With most of the same materials, you can make Coxeter Beads in two sizes (26 mm and 20 mm).
This is the main design, the larger version that I used in the step photos. It uses 3 mm Toho beads and half Tila beads, tiny drop seed beads and some size 15° seed beads.
And this is the smaller version that I describe at the end of the pattern with some extra drawings and photos.
As a
beaded bead, six large holes run through the center of a Coxeter Bead. So you can easily
string it on chain or cord.
Although it might sound
complicated from that introduction, the structure of this thing is
actually quite elegant. Once you get the hang of it, it's quite
intuitive, and my tutorial is designed to give you that intuition. Click on the photo below to see the materials list.
The
tutorial is 14 pages, including over 100 illustrations and photographs.
The tutorial is a PDF file that gives charts and explanations for
reading the charts to make Coxeter Beads in two sizes.
I recently returned from a long epic journey, camping in the Nevada desert,
and making large art for the Burning Man Art Festival.
I was the lead
artist for a 25 foot tall Genie Bottle, a furnished wooden gazebo and
climbable sculpture made by a crew of over two dozen people. The Genie Bottle was supported, in part, by a grant from Burning Man.
I worked
on the Genie Bottle most days in some way since April, including 13 nights on Playa. Last week, my
friends and crew mates burned down the Genie Bottle to ash, and we
cooked s'mores over its smoldering hot coals. That
was five months of creation burned away in less than a day. The art
was ephemeral. It was a study in detachment. However, not everything
about the Genie Bottle is gone. There remain numerous artifacts,
including stickers, buttons, photographs, pillows, tassels, and the
countless memories of festival goers who climbed in and around the
piece, sat inside on its couch, enjoyed its light, danced on its pole,
and watched it burn throughout the dark night.
Here is what it looked like at night. It's a blurry photo, because that's how I remember it.
Here's a clearer shot with The Man in the background.
This was the interior design. Zelda Lin was chiefly responsible for leading the interior design crew. She created those stencils on the pillows specifically for this project. Sarah Leyrer painted the "By Struggletent" and other signs that decorated the interior. You'll be happy to know that we removed the pillows, cushions, tassels, lights and signs before we burned the bottle.
The Genie Bottle had 20 facets per layer and 7 faceted layers, so a total of 140 facets. Of these, 120 were laser cut with arabesque designs designed by Marty Kenney.
The Genie Bottle stood 25 feet into the air.
It weighed approximately 4500 pounds, with about a quarter of that weight in the pentagonal deck. The deck was bolted to the ground with 10 long ground anchors that took a special machine to hammer them into the ground and remove later.
We had to bolt the piece to the ground to keep it from falling over in high winds or when people climbed on it. People climb just about everything at Burning Man, so it was important to make it safe.
We could see the genie bottle all the way from our camp, which was maybe a half mile away. (This photo was not taken from our camp.) Here on the horizon, you can see The Temple and The Volcano on the left and Embrace on the right.
The Burn
We set the Genie Bottle on fire on a Friday night at Midnight. We removed all of the interior decorations, the crown on top and the steel pole in the center. We loaded it up with fire wood. We strategically cut into some of the main struts to help control how the piece fell. Then about 20 people formed our fire safety perimeter crew, led by Greg Whitehead. We made a circle about 63 feet away from the ground deck in order to keep watchers at a safe distance. By this time, a few art cars had parked and a couple hundred people waited patiently for the burn to start, Mike Ryan added a few gallons of "accelerants" (that's a fancy name for diesel fuel). Then Paul McGlaughlin threw a couple flares inside to ignite it. The burn started with a BANG! More people amassed like moths to a flame.
Within minutes, the entire structure was engulfed in flames.
The laser cut, 3/4" plywood burned off first, revealing the 2 by 4s, 4 by 4s and the two upper decks.
Eventually, one of the main struts failed, and the washer deck (16 feet up) came crashing down to the ground. It fell beautifully, with only one large beam falling outside the pentagonal base.
And then it came down completely. Once our safety perimeter was released, a line of revelers danced circles around the fire.
Here's a little video to give you a sense of the mood when the perimeter dropped. I simply spun around in a circle so you could see all the things going on. Forgive me if it makes you dizzy. Next time, I promise to bring a tripod.
The fire burned all night, and a small group of us stayed up to watch and tend the fire. Once the fire died down enough to get close to it, we made do-it-yourself s'mores. Dawn broke at about 7 AM with a red sun.
Then the Yin-Yang near us was set on fire.
And then at some point, I looked closely at our pile of coals and noticed foil wrapped potatoes. Potatoes. Somebody threw potatoes into our coals when we weren't looking. Nobody tending the fire saw who did it. I ate one. It was a little dry, but I appreciated the thought.
Then I headed home and tagged in our Leave No Trace Crew to clean up the mess: coals, metal bits, and thousands of screws. And potatoes. Susan Staley and Mike Katell lead the crew of mighty genies (including Theresa Whitney-Corvino, Sarah Leyrer, and Marty Kenney). They didn't finish until 3PM. Next time, we need a larger crew to help.
The Genie Bottle was a creation by an intentional community, collectively known as Struggletent. We are multifaceted in our skills and contributions. Over two dozen "strugglers" helped with the Genie Bottle at some point along its creation and burn. Many new friendships between
crew members were created, many old ones were strengthened and, sadly, a few are now broken. Through the ups and downs of this
project, I learned a lot about my friends, and more about myself, and
for these insights, I am grateful. I am also relieved to be home again,
back to work, and I remain confident that I will continue to create
beautiful and complex artwork for and with my community.
Here I am with some of my fellow genies. Christy Burback, Susan Staley, me, Theresa Whitney-Corvino, and Danielle Deckard. All of these women did more than their fair share in this project. Thank you ladies!
This is Paul Brown at the top of the Genie Bottle. He was the chief engineer for the Genie Bottle. Without Paul, this project never would have happened. He was the one that turned my sketches into workable plans, with everything specified to the nearest 1/1000th of an inch (a mil) and 1/10 of a degree.
The stones include
dazzling microfaceted London blue topaz briolettes, blue kyanite, and
faceted blue sapphire. The seed beads frame the gemstones, allowing the
light to travel through the transparent topaz. The earrings look the
same on the front and the back.
For
information on how you can learn to make earrings like these, visit
http://www.beadinfinitum.com/Kits/Lotus_Drop_Links.html.
Thanks for looking! 
