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S. Joy Calhoon S. Joy Calhoon Originals - Artist Portfolio

Resume

Education Joy Calhoon began sculpting in 1993 with a gift of a sculpting workshop with Jack Johnston. In an effort to continually develop her skill, Joy has pursued courses with many artists within the doll and fine art industries, including:

Jack Johnston Patricia Rose Ankie Daanen Marlaine Verhelst Beverly Stoehr Pat Moulton Hildegard Gunzel Sissel Skille Diane Keeler Mark Dennis

Dr. Wilfred Steadman Phillipe Faraut Vala Ola Susan Wakeen

Art Associations Joy is a proud member of the following organizations: PDMAG – Professional Doll Makers Art Guild UFDC – United Federation of Doll Clubs Lakeland Art Guild, Lakeland, Florida NIADA – National Institute of American Doll Artist – 10 year Patron member

Industry Experience NIADA Helper Room Chair : 2007 through 2014, 2016 to current NIADA Patron Chair : 2013 to 2014 Class Instructor - Sculpting Classes

Quinlan Doll & Teddy Bear Convention - 2012, 2014, slated for 2017 United Federation of Doll Clubs, Inc. (UFDC) - slated for 2017

Presentation Coordinator - Blackhall & Associates : 1995 to 2001 Coordinated buyer presentations for Home Shopping Network (HSN) buyer representatives

On-Air Pre-Staging Coordinator - Blackhall & Associates : 1995 to 2001 Prepped dolls for showcase for Home Shopping Network (HSN) on-air programs

Coordinated and organized sculpting workshops and classes in home studio Beverly Stoehr, Pat Moulton, Diane Keeler, Sissle Skille

Personal Life Joy currently resides in Lakeland, Florda. Joy and her husband, Michael have been married since 1976. They are the proud parents of four children with one grandchild. Joy is fortunate to utlize two workspaces for her art. Her residence features a separate home, the original on the property, in which she has transformed fully into her own studio space for sculpting and sewing. Additionally, Joy leases space within 1026 SOFLO Fine Art Gallery & Marketplace where she is able to create as well as showcase her work to the public.

Commerce Representation Joy’s work can be acquired through the following venues: Diane’s Doll Shoppe The Alcove More details can be provided on request for current availability

Resume

Joy Calhoon’s J o u r n e y in

First C l a s s by Barbara Campbell

W ith more than 20 years of sculpting dolls and a wall full of major awards earned from those designs, Joy Calhoon still considers herself a student. “I continue to learn, improve, and stretch my work,” she

says. Joy’s journey to master-artist began in 1992, with her husband’s birthday present to a Jack Johnston class. That

class was her introduction to sculpting with polymer clay, then a popular material with doll artists. She wasn’t versed in how to complete a figure in that medium or yet aware of artists using synthetic clays to sculpt one-of-a-kind dolls. “So,” she recounted, “I taught myself mold-making, bought a kiln, and began sculpting my designs in porcelain.” For the next 10 years, Joy designed small editions of porcelain children and babies, and built a career noted for its firsts. Beginning with her first trip to Toy Fair in 1994, firsts have been synonymous with Joy’s career. Hope was her first doll to sell and the entire edition of 25 sold out the first day.

Building a story has been of major importance to Joy, and themed series became a significant method of portraying those stories. In a discussion about the ongoing series “Mother and Baby,” Joy spoke of, “Finding both challenge and reward in capturing children’s purity and the sweetness expressed between mothers and their babies.” Another series, “Rhythm of the Moon,” was partially made from early 1900s boudoir lamps. .

Hansel & Gretel

A Royal Affair

33 artdollquarterly.com |

Exhibitions Trade shows and public venues have been Joy’s primary portal of showcasing her art since the beginning of her career. Most notably, Joy has participated as an artist the following shows: New York Toy Fair Doll & Teddy Expo IDEX Terry & Susan Quinlan’s Doll & Teddy Bear Convention International Doll and Teddy Bear Show Exhibitor at Gateway Center for the Arts in DeBery, Florida Lakeland Art Guild Juried Exhibit

Publications On many occasions Joy’s work has been featured in DOLLS magazine, Doll Reader and Contemporary Doll. In July 2014, Pretty Toys featured her on the cover of their publication. In summer 2015, a retrospect of Joy’s entire art career was featured in ART DOLL Quarterly.

Pretty Toys - July 2014

Afternoon Stroll

32 | SUMMER 2015

ART DOLL Quarterly - Summer 2015

Best Friend’s Collectibles Susan Quinlan Museum

Resume (continued)

2016 - DOLLS Award of Excellence Industry’s Choice Alice – OOAK Child doll Michiline –OOAK more than $1250

DOLLS Award of Excellence – Public Choice Michiline – OOAK more than $1250

2015 - DOLLS Award of Excellence Industry’s Choice Curtain Call – OOAK more than $1250

Helen Bullard Doll Artist Award – Quinlan’s Doll and Teddy Bear Convention Luna – The Moon Maiden

2014 - DOLLS Award of Excellence Industry’s Choice Hansel and Gretel – OOAK Child Doll Gabriel and His Goat – OOAK less than $1250 Dance of the Golden Bells – OOAK more than $1250

2013 - DOLLS Award of Excellence Industry’s Choice One more Day – OOAK less than $1250 Rhythm of the Moon - OOAK more than $1250

Jack Johnston PDMAG – Best of Show Rhythm of the Moon

2012 - DOLLS Award of Excellence Industry’s Choice Love’s Pledge – OOAK less than $1250

2011 - DOLLS Award of Excellence Industry Choice Grandma’s Gown – OOAK Fashion Doll Laurel – OOAK – less than $1250

Doll Reader Magazine –Doty Industry’s Choice Afternoon Stroll – OOAK

Helen Bullard Doll Artist Award – Quinlan’s Doll and Teddy Bear Convention Afternoon Stroll -OOAK

2010 - DOLLS Award of Excellence Industry’s Choice Playtime – OOAK –excluding baby dolls – over $1500

Doll Reader Magazine – Doty Industry’s Choice Award

The Key – OOAK less than $1500 2009 - DOLLS Award of Excellence Industry’s Choice

A Mother’s Joy – OOAK less then $1500 Doll Reader – Doty Industry’s Choice

A Mother’s Joy – OOAK less than $1500

Doll Reader – Doty Public’s Choice A Mother’s Joy – OOAK less than $1500

2008 - Doll Reader - Doty Industry’s Choice Best Loved Doll – OOAK When In Doubt - OOAK

Awards & Honors Awards & Honors Joy has been the recipient of many awards for her art dolls from DOLLS magazine’s Dolls Award of Excellence, DOLLS magazine Public’s Choice Award, Doll Reader Magazines DOTY Industry Choice Awards, DOTY Public’s Choice Award as well as two Helen Bullard Doll Artist Awards of Excellence.

In 1992, from the first lump of clay placed in my hand, a felt my life’s path directed towards what would come to be my career as an artist. Having always been a lover of dolls since a young child, it was the gift of a sculpting class from my husband that kindled the inspiration to expand my knowledge of the doll industry and seek the experience of being a doll maker. Jack Johnston was my first teacher, guiding the very beginning of my abilities into sculptures. The finished products were not beautiful, technically or aesthetically, but I was so excited about my ability to create some- thing from clay that I was hooked. Without awareness of the doll industry, much less the sculpture aspect of the fine art industry, I wasn’t quite sure what to do with my new found desires to sculpt. Within my local com- munity, I sought out doll artists for direction and advice, finding almost all of them to be succeeding within the limited edition porcelain doll market. Heeding their advice, I began what would become a ten year adventure into the world of porcelain doll making. During this period of time in the late 1990’s, I designed a line of dolls for Home Shopping Network. My experi- ence with HSN was invaluable in expanding my knowledge of how the reproduction aspect of the doll industry operates. Through this relationship, I discovered that the joy I experienced when creating a new doll was lost when the detailing was minimalized for reproduction. This led me to try using resin for smaller limited-edition collections of dolls where more detailing could be maintained. Still, I found that the need to source enough materials to replicate the same doll multiple times hinged my ability to utilize the antique laces and rare mate- rials that I loved to incorporate into my pieces. Simply put, this period of my career truly showed me that I found the most joy in my art when creating dolls that didn’t need to be replicated. From here, I decided that I wanted original one of a kind pieces to be the focus of my work. As I withdrew from the world of porcelain and resin in search of a medium more fitting of a one of a kind artist, I felt a weight lifted. With the boundaries of requirements needed for reproduction removed, I began to create anything and everything I felt inspiration towards. My breadth of subject matter and style became inconsistent. I was creating and trying new things - new clays, new armature techniques, new painting methods – anything I could do to challenge myself. I pursued educational courses to further my skills and understanding of sculp- ture from all corners of the industry, hoping to learn as much as I could about the world of sculpting and creat- ing finished work. In an unexpected way, once of the most pivotal moments in my career was a course with E.J. Taylor. I enrolled in the course with E.J. in hopes of learning the art of oil painting. Before diving into the paints, E.J. had us sculpt a head from paper clay – a medium I had never experienced before. Having experience in mostly oil-based and polymer products, I expressed apprehensiveness about the paper clay in which he joked with me that once I tried it, I would never go back to polymer. He was right. With the paper clay, I was able to achieve the softness and detailing of a one of a kind piece that I had been searching for. This was the point where my style I felt really began to take form. Inspired, I tried all varieties of paper clay, stone clay, different armatures, different painting methods, and different costuming methods. I sought guidance from other artists in the industry as I worked to hone my skills for full-body sculpture through more courses. Friendships were developed with artists like Diane Keeler and Mark Dennis as I continually sought their mentorship regarding my work. For the first time, I truly felt that I developing my art into the style that was entirely me. I wasn’t creating pieces by request or based on what I thought would sell. I was giddy with the idea of creating art that I felt truly represented me as an artist. With this new clarity of who I was as an artist and the style I wanted to achieve, I began working with a fresh outlook. My work took form into a collection of consistent pieces that could be stylistically recognized as my own; something I always knew I was lacking. Looking towards the future and always in pursuit of refining my skills and methods, I aspire to incorporate more realism and movement into my work while maintaining my soft, romantic, ethereal style. The journey to this point has been long – over twenty years in the making – but every step has brought me closer to who I am as an artist and the legacy I hope to leave in the art world. I hope that my art will bring joy to others in the same way it has brought joy to me to create.

Artist Statement

Size & Medium : 18" full body sculpt in Creative Paper Clay over wire armature Dress : Ivory silk with antinque lace collar as overskirt Hair: Mohair with vintage flowers throughout Shoes: Painted ivory pearl with rose leather soles Base : Crystal acrylic

Luci

Lucia

Size & Medium : 18" full body sculpt in Creative Paper Clay over wire armature Dress :Silk chiffon with antique Tambour lace collar as overskirt Hair: Mohair with antique braid, vintage feathers, and rhinestone medallion Shoes: Painted ivory pearl with rose leather soles Base : Crystal acrylic

En

Size & Medium : 14" full body sculpt in Creative Paper Clay over wire armature Moon - 24” Creative Paper Clay over styrofoam

Dress : Sheer vintage chiffon Hair : Mohair Base & Stand : Wood

Lun The Moon Maiden

Size & Medium : 18" full body sculpt in Creative Paper Clay over wire armature

Dress: Ivory silk with vintage lace cuff for bodice, velvet sash Hair : Mohair with vintage flowers Shoes: Painted ivory pearl Base & Stand : Wood

Michelin

Lucia Size & Medium : 18" full body sculpt in Creative Paper Clay over wire armature Dress : Antique handmade ivory Limerick lace with silver and gold coils Hair : Mohair with velvet flowers Shoes : Antique ivory lace with leather soles Base & Stand : Crystal acrylic

Saty

Lucia Detail Image

Detail Images

Ena

Detail Images

Ena during sculpting process

Detail Images

Luna, the Moon Maiden

Detail Images

Detail Images

Micheline

Detail Images

Sally

Other Works

A Promise to Keep

Other Works

Rhythm of the Moon

Other Works

Afternoon Stroll

Other Works

Curtain Call

Artist Membership Questionnaire

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How long have you been creating dolls? I have been creating dolls since 1992

How did you get started in dollmaking? I was given a sculpting workshop for my birthday in 1992

How did you find out about NIADA? I subscribed to the doll magazines before I took my first workshop and learned about NIADA from the articles in the magazines.

Have you met any NIADA artists? Yes, I know many NIADA artists.

List any art, dollmaking, or collecting organizations to which you belong. Professional Doll Makers Art Guild - PDMAG, United Federation of Doll Clubs - UFDC I am an active patron member of NIADA, and a member of the Lakeland Art Guild

In what medium do you work? Paper clay and polymer

If you work in reproductive media, do you make your own molds? I currently am creating only one of a kinds without the use of molds. I have experience in making my own molds from my work in porcelain over the course of ten years.

What type of paint do you use? Do you have a preferred painting technique? Liquitex Professional – soft body acrylics & Deco Art Traditions –Artist Acrylics are my preferred paints. I also use Americana or Ceramcoat - acrylic paints for color variations.

Do you make your own wigs? Please describe your process. Yes, I make my own wigs. I start by making a wig cap. Next I brush on a layer of glue over the wig cap material and lay a thin fabric over it and coat with additional glue. Let it dry. I fan the hair out to a small thin layer and coat ends with glue and let dry. I then mark hair growth lines around the wig cap with a pencil. I select wefts and begin gluing wefts of hair on the underside of the wig cap - being sure to cover the edges of the wig cap around the inside. Then I begin gluing wefts on the pencil lines, repeating the gluing process all the way around being sure to slightly overlap the row below. When the glue is dry, I wet the hair and use hair gel to hold the style I am working to create. When it is completely dry, I spray it with a strong hold finish spray.

10.  Do you make your own accessories? Please describe your process\ I make my own accessories whenever possible. I sometimes use found objects or antique props

11.  Do you make your own clothing? Please detail any help you may have in pattern drafting or construction of clothing.

Yes, I draft my own patterns with light weight cloth or soft paper toweling and transfer it to my fabrics. Most times I hand sew most of my clothing directly on to the doll to ensure a proper fit with as little bulk as possible

12.  Do you have assistants? What do they contribute to your work? I do not have assistants.

13.  Have you designed dolls, toys or other work for commercial manufacture? (list) In the mid 1990’s, I created a line of porcelain dolls for Home Shopping Network. (HSN)

Artist Membership Questionnaire

14.  How do you sell your dolls? (wholesale, retail, consignment, commissioned work) The majority of my sales for many years was wholesale to the doll shops for the retail market since I marketed mainly through major trade shows.

Once I began creating one of a kind pieces, I have built a collector base for my dolls. I have also been commissioned to sculpt pieces similar to ones the collectors may have missed. I have been commissioned to sculpt portrait dolls.

15.  Do you advertise? (if so, where)

Yes, I have always advertised in many of the doll magazines. I continue to advertise in DOLLS magazine at this time.

16.  To assure a degree of involvement, NIADA requests attendance at its annual conference at least

every third year. This and the annual dues of $50.00 are the main membership requirements. Do you have any problem with this?

I do not have a problem with the $50 membership fee or attending an annual conference at least every three years. I have been attending the annual NIADA conference for ten years.

17.  Why do you want to be a member of NIADA?

There are many reasons why I would like to become an artist member of NIADA but these are just a few:

First and foremost, in the years that I have been a doll artist, I have found the NIADA artists to be the most sharing, caring and giving artists in the doll industry. I have had the good fortune to have been a NIADA patron member for ten years. In that time, I have been able to experience firsthand the way the NIADA artists share their ideas, tips and techniques with other artists. They care for other artists whether they are a newbie or seasoned NIADA artist. They give of their time, talents and experience to help inspire other artists, all while creating their own work to share with the world. This is something that I hope to be able to do as well, should I become a NIADA artist.

I want to become part of the fifty-three-year-old NIADA legacy that has shown the dedication for the art of the doll while continuing to hold the highest standard for their members. The high standards that NIADA holds for artist members is tough without a doubt, but NIADA has inspired me to learn more, work harder and always strive to be a little better each time. To be able to continue to reach other artists and collectors, from all around the world with such strong devotion to an art form is amazing.

Sharing with other artists and the world, this crazy thing we do, may bring pleasure to others and make this world a happier place to be – even for just a little while. To me, it is all about being part of something bigger than yourself.