the small fantasies show
Cliff Kepple and I met in 1979 at the Tribune Democrat where we were both employed as graphic artists. After he retired we lost touch but renewed our friendship several years ago.
The creation of this show took 16 months and was an amazing adventure. At times frustrating and exhausting but mostly exhilarating, fun and immensely satisfying. We are both intensely creative people who not only used our established skills but also learned new ones in the course of this project.
The creation of this show took 16 months and was an amazing adventure. At times frustrating and exhausting but mostly exhilarating, fun and immensely satisfying. We are both intensely creative people who not only used our established skills but also learned new ones in the course of this project.
Small Fantasies in the Goldhaber-Fend gallery at the Community Arts Center of Cambria County, Johnstown, PA
the spider pearl cave
The Spider Pearl Cave illustrates an incident that was alluded to in my first novel Ten Thousand Gods. Cliff created the rocks by carving building foam insulation with heated wire tools and painting them with transparent acrylic washes. I made both trees from the branches of a broken rhododendron bush. The lyrille tree to the left was covered in plaster cloth, plaster and various paints. Each leaf cluster and hanging flower raceme was put on individually. The water effects were done in pieces and painted. This set comes apart in five large pieces and is the easiest to put up.
The dolls are both Iplehouse sculpts with added articulated hands. Rasong on the left wears fancy Lallourean traveling clothing, an embroidered shirt, decorated brocade vest, wide double buckle belt and trimmed pants. The boy on the right wears plainer human clothing, a leather vest and baldric, off white shirt and buff colored pants.
The story: While in an unfamiliar forest gathering plant samples, Rasong discovers a large spider pearl cave. The female pearl spider creates nacreous nests for her eggs which are left behind when the young hatch. This cave, full of pearls, has been a favored nesting site for many years. The empty pearls are valuable both as jewelry and paint additives. Rasong, however, tells no one about the discovery until the Lalloure brings the human female Vilian there years later.
A human boy wandering through the forest has spotted Rasong and stands in amazement concealed behind a tree. Lalloure are rare neuter humans, considered by standard humans to be almost ethereal, and encountering one is momentous and frightening. The boy is too shocked to speak and only watches. Rasong never sees him.
The dolls are both Iplehouse sculpts with added articulated hands. Rasong on the left wears fancy Lallourean traveling clothing, an embroidered shirt, decorated brocade vest, wide double buckle belt and trimmed pants. The boy on the right wears plainer human clothing, a leather vest and baldric, off white shirt and buff colored pants.
The story: While in an unfamiliar forest gathering plant samples, Rasong discovers a large spider pearl cave. The female pearl spider creates nacreous nests for her eggs which are left behind when the young hatch. This cave, full of pearls, has been a favored nesting site for many years. The empty pearls are valuable both as jewelry and paint additives. Rasong, however, tells no one about the discovery until the Lalloure brings the human female Vilian there years later.
A human boy wandering through the forest has spotted Rasong and stands in amazement concealed behind a tree. Lalloure are rare neuter humans, considered by standard humans to be almost ethereal, and encountering one is momentous and frightening. The boy is too shocked to speak and only watches. Rasong never sees him.
The doll (Iplehouse EID Chase) is stabilized on the set by a hidden steel rod, velcro on the boot bottoms and monofilament line. The wig is from Monique wigs and was cut to my specifications by a local hairstylist. The boots are from Iplehouse.
The boy (Iplehouse SID Felix) leans into the tree for stability and is also secured with monofilament line. For the weeping tree, I took apart three faux garlands and wired the greenery bunches onto spray painted branches.
The cave was lit with a small puck light.
The water looked so real, we expected it to gurgle.
Rasong’s satin shirt was machined embroidered on the cuffs, collar, sleeves and front and decorated with tiny amber rhinestones. I hand beaded the brown and rust colored vest at shoulders.
The double buckle belt was made from embossed faux leather and Ultra Suede. The gold studs are scrapbooking brads. The buckles came without tongues so I had to fashion those, as well as the filigree bits at the belt ends. The miniature knife, in perfect proportion to the doll, was a lucky find on eBay. 
A view of the lyrille tree racemes.
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Cliff painted the murals on the back and sides of the set to create depth.
The spider, a jeweled brooch, guards her pearly eggs.
The boy wears a muslin shirt, embroidered at the collar and cuffs, a leatherette vest with decorated baldric, leather belt and suede pants. The boots are from Iplehouse, though I toned down their red parts.
The four brightbirds on the set. I challenged people to find all four during the show.
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Carved styrofoam, plexiglass and water effects made up the stream bed. All the flower petals drifting across the set were glued on one by one.
Four views of the waterfalls. Cliff painted Woodland Scenics water effects over the rocks and on pieces of plexiglass and acetate. The effects went on white and dried clear. Once dry, Cliff went over them with white acrylic paint.
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victorian fantasies
This set depicts an elaborate Victorian parlor eclectic in style and overflowing with excesses of ornamentation. Cliff created the moldings, stained and painted woodgrain on all the wooden surfaces. He built window frames, hand crafted a Victorian fireplace complete with marble hearth and brick firebox, and fashioned a sideboard from a cassette tape storage box. I made drapes, the purple tablecloth, and created set furnishings—the bird in its cage, miniature books, tiny hats, and pillows. There is actual wallpaper on the walls and real parquet wood tiles on the floor.
While not from any of my books, I wanted to do a more historical set. This started as a Steampunk inspired layout but Cliff and I soon realized we knew very little about the genre and decided it would be easier to do straightforward Victorian. There are still whimsical elements, such as most of the costumes, hence the title.
The story: Lady Jocelana Sparks-Bronzington returns home to Bronzington Manor to find her niece, Jiang Li, having an elaborate tea in the parlor. Jiang Li, recently arrived from the Orient with her father Lord Alexander Sparks, Lady Jocelana’s brother, is fascinated by all things English. Too newly arrived to have been presented or made acquaintances, she has taken dressmaker mannequins, adorned them in Jocelana’s fancy gowns, costumes and hats and has had tea served for her and her “friends.” Lady Jocelana, being an indulgent aunt to her foreign relative, soon joins Jiang Li in the fun.
While not from any of my books, I wanted to do a more historical set. This started as a Steampunk inspired layout but Cliff and I soon realized we knew very little about the genre and decided it would be easier to do straightforward Victorian. There are still whimsical elements, such as most of the costumes, hence the title.
The story: Lady Jocelana Sparks-Bronzington returns home to Bronzington Manor to find her niece, Jiang Li, having an elaborate tea in the parlor. Jiang Li, recently arrived from the Orient with her father Lord Alexander Sparks, Lady Jocelana’s brother, is fascinated by all things English. Too newly arrived to have been presented or made acquaintances, she has taken dressmaker mannequins, adorned them in Jocelana’s fancy gowns, costumes and hats and has had tea served for her and her “friends.” Lady Jocelana, being an indulgent aunt to her foreign relative, soon joins Jiang Li in the fun.
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Lady Jocelana and costumes on the left side of the set and Jiang Li on the right side.
Close up of the mantle and picture above it. The knick-knacks are from my collection, local antique shops and Etsy. The brass pineapple (Victorian symbol of hospitality) is a lamp finial. The battery operated clock keeps accurate time.
Cliff's fireplace made entirely from scratch. The 'carvings' are either 1/12th scale doll house details or furniture appliques. The grate was made from a cut down chafing dish. Flicker lights create the illusion of a crackling fire.
The firebox is back splash bricks and the hearth marble tiles. The fireplace is the heaviest of all the set pieces, weighing in at around 20 pounds.
Brass vase decorated with a beaded garland and stuffed with hairy gold holiday picks from my stash. The booze table in the back was put together from a finger towel holder, candle holders, jewelry findings and fluted globes.
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Another view of the mantle.
Be sure to click on this picture to get a good look at Grandma Bumbalazoombala and her teacups.
The little bird cage came from a hobby/home decorator store. I painted it gold, added the perch and a Victorian newspaper I found online on the bottom. The bird is covered in bits of shiny brocade fabrics and burgundy feathers.
Old perfume bottles stand in for wine decanters. The cut glass whiskey decanter is a miniature antique I found on Etsy from Paris, France. I added the chain and identifier (which says Napier as it's a filigree and a bracelet tag). Several drops of food coloring in water create red wine, whiskey, Galliano and absinthe. |
The doorway grille is two laser cut 1/12 scale pieces put together and embellished with beads. Cliff made the doorway moldings, corners and painted all the wood grain. The photo background creates the look of another room beyond.
The back table with miniature books, a lace tablecloth and double globe oil lamp. We put the lamp together from a broken country decor chandelier (purchased specifically for its swirled, fluted globes), a metal and marble lamp base and specially purchased lamp connectors.
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A Juliet cap and top hat in round craft box covered with striped quilt fabric and trim, complete with gold tissue paper. The base of the table is a lamp base and iron filigree candle holder.
I made the six books between the griffin bookends. The magazines and other books are from Etsy as is the lace doily. I added the metal drops on each lace point. |
The Italian renaissance costume on the one of back mannequins worn by Lady Jocelana in a blond wig. This is a gown style I’ve often made full-size for myself and friends. The undergown is teal Dupioni silk with satin windowpane sleeves to which I added more criss-cross trim and pearls. I bought the overgown fabric in Boulder, CO, years ago at a little store called Elfriede’s Fine Fabrics and, being such an odd combination of colors, was never able to find a use for it until now. Jewelry by Facets.
Several views of Jiang Li's (Iplehouse Asa on a SID body) gown. The fabric is a glitzy synthetic, using left over scraps from a pair of palazzo pants. The lace over gown was a squeeze since I only had a very small piece. The jewelry is from Facets, though I made the hair decoration.
One of the best features of BJD's is their versatility and interchangeable parts. Iplehouse dolls come with static hands as in the standing doll photo above. I replaced all of them with articulated hands from either Illusion Spirit or Doll Family-H as shown below.
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Four views of Lady Jocelana's (Iplehouse EID Jessica) gown. My interpretation of a Victorian outfit, in no way authentic. No lady wore her corset on the outside and this is a real brocade corset, with seven separate pattern pieces, complete with stiff monofilament line boning, cotton lining and back lacing, though the closures on the front are just for decoration. The skirt is a 3/4 circle with box-pleated trim and trimmed velvet ribbon panels. She wears a lace half-blouse to show off her lovely bosom.
The wig is from Monique Wigs as are many of the wigs on my dolls. Necklace and earrings from Facets. I found the tiny brooch in my jewelry box and added more metal roses to it. The little fascinator made from flocked satin, buckram, trims, netting, ribbon roses, beads and rhinestones completes the ensemble. 
A close up of Jiang Li's Chinese style wig and Carol Ley's fantasy Victorian chair.
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The table, a cut down candle holder, is attached to a steel plate under the rug for stability. The miniature patterned rug is from Ollies, a local bargain outlet.
Above and right, views of the central table and tea set. This miniature china set was a lucky find on Etsy. Most readily available doll furnishings are for 18" size and 1/12th size dolls. Most of my dolls are 1/3 size. Searching local thrift shops and online for the properly proportioned accoutrements was like a treasure hunt.
I made the draperies, valances, tassels and 'nets' (British for sheers). Cliff fashioned double-hung windows complete with latches and handles. Ceiling corners on both sides helped to stabilize the set walls.
An Edwardian hat festooned with ostrich feathers and silk flowers sits on the end of the sideboard along with a china floral basket, the desserts, goldware and brass candlesticks.
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Above on Jocelana and left as it appeared on the set, a purple beaded gown trimmed in velvet ribbon displaying a slightly more typical Victorian silhouette. The fabric of the bodice and pouf part of sleeves is from the Mood Fabrics store of Project Runway fame. The beaded motifs are from a thrift store circa 1980 white wedding gown which I dyed purple with special polyester dye. I call it my Worth Gown as it is my interpretation of a Charles Frederick Worth ensemble from the late 1800’s, with a bit of artistic license, of course.
The golden carriage holds a dried flower arrangement.
The mirrors are Syroco home decor (popular in the 1960's) from local thrift shops. Most of the tiny Victorian tea foods were made by Cindy Teh of Singapore. Cliff fashioned the sideboard from an old cassette storage box.
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