I finally finished her!

I am amazing, and amazed by myself! Jadis, The White Witch, The Snow Queen, the Ice Queen, as I always imagined her.

I’d been wanting to make a doll like this since the early 90s in St. Paul. At a fancy shop in Summit Hill I saw a teacup fairy by Stephanie Blythe and Susan Snodgrass.

The delicacy, the precision, the tiny, tiny crystals- there was something about it that moved me deeply.

I had no idea you could get such tiny materials. The thought of handling such tiny things was exhilarating to me. I imagined I could make tiny dolls of characters I loved. I could make a tiny world.

I was still waiting to start my dollhouse then, still holding a space for that project open in my future.

I didn’t want to open the door to even more collecting and supply hoarding madness, I didn’t dare try such things myself, but I bought some porcelain doll parts and kept them.

I held my love for the teacup fairy in my heart, held the space for those tiny crystals dotting her bodice in my mind, setting the image gently in my mental room for miniature art.

Every time I moved, I packed my craft materials. My porcelain doll heads and limbs, my ever-growing collection of wired ribbon and metallic organza and silver cord and microbeads and glitter, travelled from St. Paul to Hartford to DC to Arlington to Alameda to Albany to Berkeley to North Berkeley to Albany to Glenview to West O to Oakland.

In Berkeley in 2000 I began building my dollhouse at last and collecting 1/12th scale action figures.

I subscribed to miniature magazines and went to miniature shows.

I met Monique Motil, dollmaker extraordinaire. I started sculpting little things with polymer clay for the dollhouse and reading about action figure customizing techniques.

I scoured the internet for methods, materials and supplies. And at our little Craftsman flat in Oakland in 2011, I finished my dollhouse and started making dolls.

I started my Snow Queen project in 2013.

I had been home to New York for holidays with my husband’s family and I had just seen snow for the first time in fifteen years. On a magical Christmas Eve we went to church in Freehold, New Jersey and when we came out delicate flakes were falling.

The night before In the city I’d stood at the rail of the skating rink in Bryant Park; a tween wiped out and came up laughing, clapping his cold hands over mine.

I fell in love with the cold again, the way the stars get lean in a winter sky and the way everything is so sharp.

I remembered the way I loved the cold in WInter’s Tale, the way it muffled my footsteps when I walked through a silent Chinatown to buy heroin on New Year’s Day in 1989, the sparkling lavender twilight of April snow at the treatment center in St. Paul.

In the dark California January I drove to Michael’s and JoAnn Fabrics and Beverlys and bought bags full of 90% off Christmas decor. Icicles and glitter snow and white fur and pale iridescent sequins.

I ordered Swarovski crystals in colors like Silver Shadow, Moonlight and Opal. I discovered the amazing doll supplier MorezMore. I ordered nail decals of flocked snowflakes from China and Ball-jointed Doll clothing buckles from Taiwan. I bought pearlescent microbeads and fusible fairy films.

I learned the sizes Swarovski crystals come in, and where to get the very tiniest.

I made the sledge first. The sledge is made of three different plastic Christmas ornament sleighs, some pvc holiday ornament pieces, polystyrene sheets and strips, clear polythene sheeting, crazy glue and balsa wood.

It’s all stuck together with epoxy clay, polished and sanded smooth. The shafts are the bow pieces of dollar sunglasses!

I got so many materials in the basement of Ace Hardware in Berkeley, in the huge model and railroad hobby section. I’d lean on the counter and talk techniques with the guys there for hours.

I primed the sledge with Krylon Primer for Plastics. You can read about my adventures with priming mixed plastics here and here. Then I spray-painted it with four shades of Tamiya pearl and flake model car paints, one of the most fascinating rabbit holes of materials I went down.

I spent a lot of time on model car boards, reading about how to avoid the dread “orange peel effect” and how to clear coat.

Our back steps were my spray room, and the California drought of those years was a huge asset, I gotta admit.

I used crazy glue and Zap-A-Gap to bond the styrene, plastic and balsa elements.

I used a Japanese product called Sakura 3D Crystal Lacquer, which is used by Lolis and Harajuki girls to adhere bling, aka “decoden”, to their phones, to attach a lot of the sledge decor.

The sledge is decorated with hundreds of the very, very tiniest Swarovski crystals, some smaller than the head of a pin, laboriously applied while watching all seven (at the time) seasons of Supernatural (twice!) and tiny, tiny flocked and glittered snowflake nail art decals. And upholstered with silver velvet, button-tufted using pretty antique silver scrapbook art brads and quilt batting over cardstock. I glued the velvet to the cardstock with my beloved Quick Grip/Quick Grab, which is my absolute favorite for small textile work.

As any burner or steampunk can tell you, assemblage art lives or dies by its adhesives.

The reindeer is made of a cellulose acetate reindeer from the ’50s, legs sawed off and replaced with new sculpts, and head, body and neck heavily re-sculpted.

This kind of Frankensteining is a classic action figure customizing technique; the materials and techniques for creating the miniature harness come from the model horse customizing community, and the handling of the mohair mane from the dollmaking world.

(I’m allergic to mohair, like wool, it turns out.)

I also used the 3D Crystal to get a clear dome over the reindeer’s eyes and a gloss of mucus in his nostrils. The flocking on his ears is nail artist’s flock- much cheaper than the art store!

The tiny silver leather strips for the harness came mostly from a handbag making supply company in Los Angeles; I found it on etsy. I bought many different silver cords and strings at a passementarie shop in the New York Garment district during my second trip back East for the holidays. And for four years I saved every single piece of silver stuff I got, from silver elastic on dress tags to silver pvc on packaging.

Then I had to make a Snow Queen figure!

I was totally ok with customizing an existing figure; my many hundred hours on action figure boards has made me very comfortable with the idea of remixing sculpture.

I would never, ever, ever copy another artist’s drawing or painting- or even their style- or use elements of someone else’s drawing or photograph in one of my drawings or paintings. I just don’t do that.

But sculpture is play to me, something I do for pleasure. I like the idea that assemblage art incorporates existing elements. And dollmakers commonly use finished porcelains from well-known sculptor to paint and dress. It’s a medium where collaboration is normal.

So ultimately I decided to use the top of a commercial resin mermaid and the legs of a resin fairy to build my Snow Queen.

I sawed and sanded as needed, then fit the two halves together, and then I used epoxy clay to bulk out her body. Because I love muscle on women’s shoulders, and a big butt, aesthetically! I left her ribcage and waist slim because they would have layers of tiny fabric corseting on them.

And she needed boobs too, sculpted to fit in a square Elizabethan type bodice. Then I had to completely resculpt her face, to give her the strength and archness she needed.

And I needed to bulk up her thighs and sculpt boots on her feet. And lengthen her fingers. And sand off and resculpt her ears. I think she was resculpted, primed and sanded about ten times altogether. Her final finish was partly achieved with Mr. Surfacer priming medium, which i learned about from Daria’s dollmaking. Daria is streets more advanced than my crazy haphazardness!

By December of this year, my Jadis was close to finished at last.

I got the project box I brought over in the shipping container out, intending to paint and dress her.

But I got nervous about working on the project suddenly and instead I used up some of the extra materials in the project box making Fearless Pink Gay Santa and his Jolly Ally Reindeer. Which came out great! And I used the fusible fairy film and it was super cool!

Then I made a whole bunch of other dolls!  And sculptures! And mixed media stuff! And a mantis doll! Was my poor Snow Queen doll ever gonna get finished?

Yes, she was. Because even though it was now April, and she was no longer seasonal, I had just finished my leafy green beaded Swamp Thing corset (reveal soon!), the second to last of the projects I brought from Oakland.

I really wanted to knock out the last unfinished thing and get rid of the last “project box”. So I can start all my new Berlin projects!

With that thought in mind, I nerved myself up and just went for it. I used nail art brushes I bought for 1€ to paint her face because I didn’t want to buy expensive tiny brushes. I’d never painted anything tiny before and didn’t know if I’d like it. But it went great! And I love her snotty smug 80s made-up face! She looks like Jennifer Connelly in Labyrinth and Mia Sara in Legend, right?

Wigging and dressing her was easy, after that; Daria gave me a personal doll-wigging workshop last year and I have made so many tiny corsets now it’s NBD. And then she was, done, suddenly, after four years. In the green and glowing Spring, but so what? There will always be another Winter. She will look beautiful in the dark winter nights.

I’ve learned to trust the process with making art; I finish most things when it’s time for them to be finished.

What I’m saying here is, it’s okay to have a long game as an artist. In fact, the long game is pretty much the only game in town for most of us.