Posts by Caitlin McDiarmid — APP Administrator

Point 88: LBP 2019 Review

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by Luis Garcia

Photos by Autumn Swisher

I had the pleasure to attend the 6th Congreso Internacional de Perforadores Profesionales, and as  usual the Latinoamérica Body Piercing A.C. did not disappoint. Usually held  in fall during Dia de los Muertos, 2019 brought a change with it being held in the first week of April. Many attendees and instructors welcomed this, as the warmer weather made for more recreation time by the pool. The conference was held in Taxco, Mexico for the second year in a row. Taxco is a small mining town known for silver mining and silver jewelry.

The journey to the conference starts in Mexico City. Attendees and instructors met at LBP Board Member Axayacatl Nochipa’s studio, Ónix MX Estudio Tatuaje Piercing, for registration and to wait for the four large buses that would take us all down to Taxco for LBP. Many would dread a several hour bus ride, but the ride is always a lot of fun as everyone is excited for the conference and in great spirits. Before we knew it two hours had gone by and we were at the host venue. We had a few hours to settle down and have some lunch. Then there were classes before the opening party; a relaxed dinner by the pool with traditional local performers and dancers.

Now, let’s get to the best part of the conference: the classes and instructors! This year the instructors consisted of Sergi Tinaut, Didier Suarez, Emmanuel Rodriguez, Mauricio Torres, Aldo Gissi, Alicia Cardenas, Autumn Swisher, Paul King, Elayne Angel, Danny Yerna, Erika Gomez, Jef Saunders, Roberto Briseno, and yours truly. I got the chance to check out most of the classes taught by these instructors (except for the ones that were going on while I was teaching), and as usual all were stupendous. A personal stand out for me was Mauricio and Aldo’s class How to Elevate Your Studio to its Maximum Potential. They did some interesting things to make studio owners consider how they deal with their employees, and employees consider how they deal with their managers and bosses. Their approach created a great dialogue between the two groups. Another stand out for me was Paul King’s XXX History of Piercing in Porn, which isn’t shocking, as Paul’s classes tend to be very informative and entertaining.

Let’s not forget about the coveted jewelry expo, held in a lovely old church building. This year had more vendors than ever, featuring Namaste Adornments, Xamacalli, Gold Piercing, Tsar Jewelry, GL Pyrex Jewelry, Biometal, Industrial Strength Mexico, Diamonds MX, Kraken Jewelry, Ukuri Jewelry, Inari Organics, Quetzalli Jewelry, Gorilla Glass, Kiwi Jewelry, Sacred Symbols, Maya Jewelry, and Auris Jewelry. The expo hall was often packed between classes (and a little during classes), with everyone trying to maximize their time for buying all the gorgeous jewelry.

Mid week, the organizers set up a caminata (translation: walk or hike) through town to the center of Taxco and back. Guided by locals with donkeys carrying beverages, and local musicians, we walked through the small streets taking in the local architecture and artwork until we reached the zócalo (or “main square”), where we milled about the lively area and mingled with the locals. It made for an amazing evening.

As the conference came to an end, the Gala provided an interesting way to close out the event. After  dinner we were treated to a very powerful performance from Grupo de Danza Ozomahtli and Alfredo Martinez. The performance was a fusion of traditional Mexica (Aztec) and traditional Japanese butoh dance. They took us on a journey of all the animal energies of the Aztec calendar using slow rhythmic dancing that paid homage to Tlaloc, the Aztec god of rain.

The LBP always puts on a great conference for the Latin American piercing  community,  and  I  look  forward to hopefully being invited again to participate in the future. If you are a Spanish speaker, I highly encourage you to go and take part in this amazing experience.

Point 88: Membership Committee Update

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by Monica Sabin, Membership Liaison

Membership Committee

  • Monica Sabin, Membership Liaison*
  • Pablo Perelmuter, Membership Coordinator*
  • W. Barron
  • Sabrina Egan**
  • Vivi Madero**
  • Johnny Velez
  • Cody Vaughn

* New position

** Incoming committee member

APP Membership Corner (Series 1)

Now that we’ve returned home after the 2019 APP Annual Conference and Exposition, are you feeling inspired to join the growing number of industry professionals becoming Members of the Association of Professional Piercers?

We have membership types1 for piercers, counter staff, jewelry specialists, business owners, and many more!

We would like to offer some tips to help you through the application process, including some of the common questions we receive!

  • Shoot your 360° studio walk through video horizontally—or you will have to reshoot 🙁
    • Videos that are shot side-to-side (rather than upand-down) provide an easier and more comprehensive viewing of the studio.
    • Generally this results in higher quality footage that makes the little details easier to see.
  • Before starting the application, use the Membership Requirements2as a checklist to gather all necessary documents.
    • Each application is specific to the membership type. During the application process, the applicant will be prompted for each item on this checklist, so preparing everything in advance will make the application process much more streamlined.
    • It can be handy to have all your documents organized in a folder on your computer. It will make life easier when it comes time to upload all your documents, since they’ll all be in one place!
      • This is especially helpful in situations of multiple applicants (coworkers) applying for the same studio!
    • Personal Criteria apply to all piercing membership types: Business and Associate Piercer.
    • Environmental Criteria apply to the studio location where the applicant will hold membership. Items under this heading will be required on all Business and Associate (Piercer and Non-Piercer) membership applications.
  • Renewal/resubmission of studio environmental criteria is required at least every two years if a Member joins the staff or if significant changes are made in the studio.
  • Print out the ‘Video Walkthrough’ section and carry it around with you while shooting your membership video! Everything we  are looking for is listed there, both requirements and suggestions. This will keep you from missing any areas or items, as missing items can cause a delay in application processing
  • Complete your application in one sitting
    • Neither yourself, the Membership Committee, or our Administrators will be able to access a partially completed application!
  • We want you to become a member!
    • We are our own worst critics. Many applicants tell us they fear rejection or harsh judgement. Our committee members work with every applicant directly and discreetly with any requirements or suggestions in order to help them achieve membership.
    • Every committee member is an active industry professional, working in studios. Many of us have been where you are and have all worked hard to obtain APP membership, just like you.
    • Think about it more like a mentorship, if anything!
  • Want to gain membership by the time your business opens or to attend our events as a Member? Plan ahead!
    • Application review and decision turn-around time can be upwards of 6 to 8 weeks, although the committee tries to keep that time as low as possible.
    • Pay attention to deadlines!

There are deadlines for obtaining membership for certain events such as our annual Camp APP: Members’ Retreat and our annual APP Conference and Exposition.

  • Research your jewelry companies and ask for mill or material certificates
    • There has been an influx of jewelry distributors or manufacturers using  non-conforming  titanium and making claims to meet APP minimum jewelry standards. Buyer beware! You can read more about this in Issue 873 of The Point: Journal of Body Piercing.
  • Mill certificates are typically many pages and are updated as often as a manufacturer obtains new material stock.
  • If you are provided with a one page mill certificate that is some years old, there may be an issue!
  • When in doubt, reach out to a Membership Committee volunteer or email members@safepiercing.org.

  • Checks & Balances
    • Committee members can not review applications for applicants that work in their own area.
    • Acceptances and Declinations are based off a set of fixed, publically available criteria known as our Membership Requirement.This means there is no room for personal biases to keep someone from gaining membership.
    • In all cases, applicants are notified of additional suggestions from the committee to increase health and safety in the studio.

If you have questions, someone may have already asked it in the APP Future Members4 forum. Of course, you’re also always welcomed to contact the Membership Committee by emailing members@safepiercing.org.

  1. “Membership Types,” Association of Professional Piercers, accessed August 7, 2019, https://www.safepiercing.org/membership_types.php
  2. “Membership Requirements,” Association of Professional Piercers, accessed August 7, 2019, https://www.safepiercing.org/membership_requirements.php
  3. “Issue 87,” The Point: Journal of Body Piercing, Association of Professional Piercers, published Summer 2019, https://www.safepiercing.org/docs/The_Point Journal_of_Body_Piercing-Issue87-Summer2019.pdf
  4. “APP Future Members,” Groups, Facebook, accessed August 7, 2019, https://www.facebook.com/groups/APPfuturemembers/

Point 88: The BPA Contributes to the Musēe de L’Homme

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The Body Piercing Archive contributed material and guidance for the Piercing exhibit at the Musēe de L’Homme in Paris, France. The exhibit will run March 13, 2019 to March 9, 2020.

Project leader: Alexix Amen

Scientific Commissioner: Franz Manni

Piercing: L’ Exposition

Parallèlement à l’exposition Dans ma peau, Piercing propose un point de vue anthropologique sur le piercing. Mêlant représentations artistiques, objets préhistoriques, photographies et bijoux, l’exposition présente des pratiques du piercing depuis 45 000 ans. Différentes traditions seront abordées : des Kayapos du Brésil aux Dayaks du Bornéo, des «Primitifs Modernes» aux États-Unis aux usages contemporains.

Trouer la peau et y placer un objet visible est une pratique qui remonte à la préhistoire et dont on trouve des traces sur tous les continents, une pratique qui a perduré jusqu’à aujourd’hui. Ces modifications du corps prennent des  significations  diverses  : appartenance à un groupe, rites de passage, signes de prestige ou marques d’infamie, signes de soumission, de beauté et de force.

Si en Europe seule la boucle d’oreille semble avoir traversé les époques pour devenir une tradition bien ancrée, aujourd’hui les Occidentaux ont adopté de nouvelles modes et utilisent l’ensemble du corps comme moyen d’expression.

Parti de la Californie libertaire des années 1970, le renouveau de cette pratique ancestrale est inspiré par des précurseurs qui cherchaient à libérer le corps. Se définissant eux-mêmes comme « Primitifs Modernes », ils réinventent et réinterprètent les pratiques dans un nouveau contexte où le piercing se réalise désormais dans des conditions stériles et maîtrisées. C’est ainsi que le premier studio de piercing voit le jour en 1975.

D’abord réservée aux subcultures naissantes (gay, punk, SM), cette pratique va progressivement s’étendre à toute la société et s’imposer à l’échelle mondiale grâce à un phénomène d’imitation, soutenu par l’essor d’Internet, et s’imposer désormais sous un nom mondialisé : le piercing.

1 http://www.museedelhomme.fr/fr/programme/expositions-galerie-lhomme/piercing-3791

From prehistory to the present day, discover the variety of piercing traditions and practices around the world.

Piercing: The Exhibition

Piercing offers an anthropological perspective on piercing. Combining artistic representations, prehis- toric objects, photographs, and jewelry, the exhibition presents piercing practices for 45,000 years. Different traditions are discussed: from the Kayapos of Brazil to the Dayaks of Borneo, from the “Modern Primitives” in the United States to contemporary uses.

Finding the skin and placing a visible object on it is a practice that dates back to prehistoric times and has been found on every continent, a practice that has continued to this day. These changes in the body take on various meanings: belonging to a group, rites of pas- sage, signs of prestige or marks of infamy, signs of submission, beauty, and strength.

If in Europe only the earring seems to have crossed the ages to become a well-established tradition, today the Westerners have adopted new fashions and use the whole body as a means of expression.

Starting in liberal California in the 1970s, the renew- al of this ancestral practice was inspired by precursors who sought to liberate the body. Defining themselves as “Modern Primitives,” they reinvent and reinterpret practices in a new context where piercing is now per- formed in sterile and controlled conditions. This is how the first piercing studio was created in 1975.

Initially reserved for emerging subcultures (gay, punk, SM), this practice has gradually spread to the whole of society and impose itself on a global scale thanks to a phenomenon of imitation, supported by the rise of the Internet, and now impose itself under a globalized name: piercing.

Piercing: The Exhibition

Piercing offers an anthropological perspective on piercing. Combining artistic representations, prehistoric objects, photographs, and jewelry, the exhibition presents piercing practices for 45,000 years. Different traditions are discussed: from the Kayapos of Brazil to the Dayaks of Borneo, from the “Modern Primitives” in the United States to contemporary uses.

Finding the skin and placing a visible object on it is a practice that dates back to prehistoric times and has been found on every continent, a practice that has continued to this day. These changes in the body take on various meanings: belonging to a group, rites of passage, signs of prestige or marks of infamy, signs of submission, beauty, and strength.

If in Europe only the earring seems to have crossed the ages to become a well-established tradition, today the Westerners have adopted new fashions and use the whole body as a means of expression.

Starting in liberal California in the 1970s, the renewal of this ancestral practice was inspired by precursors who sought to liberate the body. Defining themselves as “Modern Primitives,” they reinvent and reinterpret practices in a new context where piercing is now performed in sterile and controlled conditions. This is how the first piercing studio was created in 1975.

Initially reserved for emerging subcultures (gay, punk, SM), this practice has gradually spread to the whole of society and impose itself on a global scale thanks to a phenomenon of imitation, supported by the rise of the Internet, and now impose itself under a globalized name: piercing.

Point 88: 2019 Members’ Meeting Update

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APP Officers

APP Board of Directors

  • Cody Vaughn, President* — president@safepiercing.org
  • Becky Dill, Vice-President** — vp@safepiercing.org
  • Cale Belford, Outreach Coordinator** — outreach@safepiercing.org
  • Monica Sabin, Membership Liaison** — members@safepiercing.org
  • Steve Joyner, Legislation & Regulatory Affairs — legislation@safepiercing.org
  • Brian Skellie, Medical Liaison — medical@safepiercing.org
  • Jef Saunders, Public Relations Coordinator* — pr@safepiercing.org

APP Outgoing Board Members

  • Luis Garcia, International Liaison
  • Kendra Jane B, Events and Operations
  • Ryan Ouellette, Outreach Coordinator

* New position

** Incoming Board Member

Point 88: APPE (Asociacion Profesional de Perforadores Espanoles)

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by Luis Garcia

Photos by Ruben Mac-Lean and Kent Tonning

APPE Attendees

The APPE (Asociación Profesional de Perforadores Españoles) is a newer organization— about 4 years old—and I’ve been lucky to have been invited to teach at their conference for the last two years. Held an hour outside of Madrid at a camping style resort with cabins, it’s a relaxed and laid back event. Attendees meet in Madrid and then board buses for the hour-long drive to the resort. The conference organizers and instructors are taken a day early to the venue, so we can get everything ready for the attendees to arrive. I enjoy this time, helping the APPE Board, and watching how they’ve evolved and improved everything over the last year.

The next day around noon, the attendees arrived at the venue, got assigned to their cabins, and had a few hours to get settled before the welcome meal. APPE doesn’t mess around and had four classes scheduled for the first afternoon and evening of the conference.

Checking out the
jewelry selection

Being a newer, smaller conference, there were only a few of us as instructors, with most of us teaching two classes. This year they had Anskar Caballero teaching Piercing History of Spain and Empathy and Laughter, and it’s Application in Piercing, Lani Soleil teaching Piercing Kids’ Earlobes, Eugenia Delphine teaching Optimizing Buying, Selling, and Displaying Jewelry, Laura Vikt teaching Nipple Piercing and Sterilization, Ruben Lew teaching Mystical Daiths and Photography and Portfolio, and lastly I taught Honing in on High Nostrils and Industrials: Keeping it Simple. The classes were all great, and it made me happy to see newer instructors like Lani and Eugenia kill it with their first classes.

Lani Soleil, Luis Garcia, Jesus “Sala” Cabanas, Laura Vikit, Anskar Caballero, Gladix Porca Miseria, & Ruben Lew

The time between classes was designated to use in the Expo for jewelry buying. Expo vendors included Quetzalli Jewelry, Sacred Symbols, Millennium Body Jewelry, Kraken Body Jewellery, Maya Jewelry, Industrial Strength Europe, Auris Jewellery, NeoMetal, Tsar Jewellery, Neilmed Piercing Aftercare, and Inari Organics. The Expo and the classes were in the same area and separated by a curtain, so this worked well to keep people focused on classes when needed, and gave vendors some breaks in between rushes.

Luis giving a presentation

On the evening of the second day they had their gala dinner at the resort’s restaurant and then the closing party, featuring sideshow entertainment from Håvve Fjell, Princess Tweedle Needle, and then a dance party with Norwegian DJ, MDR. Spirits were high, and the dancing went on well into the early hours of the morning.

Havve Fjell performance being captured by an attendee

The APPE Conference this year was a great experience, and I hope to be invited back for next year, so I can continue to see the organization grow and evolve. Many thanks to Jesus “Sala” Cabanas, Gladix Porca Miseria, and Jose Carlos Calvo (who are the three sole Board Members for the APPE), and all the instructors, attendees, and vendors that helped make this conference so great!

Point 88: The Remembrance Altar

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by Alicia Cardenas

Photos by Marina Pecorino

As the professional community grows in so many ways, we also have experienced some profound losses including industry pioneers, longtime vendors, and close supporters of the APP. This year at Conference and for the coming years, we will have a community remembrance space that is open to all to participate in. It is an ongoing movement to learn our past as we spring into the future. Each and everyone of us has also experienced loss and some of that loss makes us who we are. This is also the space to honor those people as well.


Point 88: The Golden Ticket Raffle

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Thanks so much to the above Conference Sponsors that contributed generously to the Golden Ticket Raffle and allowed the program to be a success.

  • Adeline Roz
  • Auris Jewellery Saint Petersburg
  • Body Gems
  • Buddha Jewelry Organics
  • Danila Tarcinale
  • Designs by Helen Andrews
  • Diablo Organics
  • Gold Heart Woodworks
  • Gorilla Glass
  • Grand Standard Displays
  • H2Ocean
  • Industrial Strength Body Jewelry
  • Jewelry This Way
  • LeRoi Inc
  • Maya Jewelry
  • Namaste Adornments
  • Netherworld Body Piercing Jewelry
  • Obscureye Designs
  • Oracle Body Jewelry
  • Origins Handmade
  • Onetribe
  • Precision One Jewelry
  • Pupil Hall
  • Quetzalli Jewelry
  • Sacred Symbols Jewelry
  • Scylla Fine Jewelry
  • Seasons Handmade Jewelry
  • Sleeping Goddess Jewelry
  • Steri-Wash
  • Steve Haworth Modified LLC
  • Tawapa
  • Tether Jewelry
  • Tsar Jewelry
  • Uzu Organics

Golden Tickets were provided (at no additional cost) to the first 500 eligible attendees who registered
for a full or partial Conference pass.
There were 50 unique winners, who received a $50 or $500 gift certificate from one of our Sponsors.
That’s a 1 in 10 chance of winning, just for registering early

Point 88: Technical Innovator Award

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Gorilla Glass “Cells” Collection

Interview by Kristina Outland

There is beauty in the complexities of nature. Gorilla Glass has done an incredible job capturing those complexities in their limited edition 2019 collection entitled “Cells”, winner of this year’s Technical Innovator Award.With this design, Gorilla Glass celebrates the building blocks of life; the creation of their jewelry is even environmentally friendly.

“The process used to make this collection involves up-cycling our waste glass to create a high quality, limited edition jewelry line. Reducing our impact on the environment is a major concern for Gorilla Glass, and the new techniques that we are developing are showcased in the ‘Cells’ collection. The ‘Cells’ line is a way to acknowledge and celebrate life on the most basic level,” Jason Pfohl, owner of Gorilla Glass, remarked.

Jason went into an in-depth description of the creation process, and it is incredibly fascinating. “The concept always comes first. In this scenario I wanted the technical innovations that we are developing at Gorilla Glass to be reflected in the design and theme of the collection as well, so the design is married to the up-cycling process. The ‘Cells’ collection is a contemporary version of a very ancient technique that the Venetians perfected, called murrini. The core elements of these pieces are made through a pattern bar technique, where stacks of different strips of colored glass are grouped together somewhat randomly and fused into blocks in a specialized fusing oven. You never see or touch the glass after it is shut in the oven. The result depends on the viscosity of each color, and how gravity manipulates the stacks. Afterwards, the pattern bars are picked up on a steel rod (punti) and dipped in a crucible full of molten recycled glass, creating an even layer of color around the bar. Using gravity, the encapsulated pattern bar is stretched into a long rod using heat as well. Later, the rod is cut into sections and reassembled in a mosaic pattern. The mosaic design is fused again and then cut up, ground, carved, and polished into the final forms. It is a very labor intensive process.”

The process of up-cycling even helped determine the color scheme for this beautiful line.

 The designs include understated off-white tones, with an intense black for contrast. Jason mentioned the hidden transparent blue pictured, can only be seen when the pieces are backlit.

“I enjoy when the colors shift and are revealed, creating a surprise discovery for the viewer. The colors were also chosen from stockpiles of waste glass.”

Twelve different specialized artisans have their hand in this process, and usually work in teams. Jason is personally involved in the hot working of all the murrini up-cycling designs. He mentioned he definitely enjoys being a part of the production process.

“I remember in high school looking at slides through the microscope.  There  was  an amazing feeling of discovery looking at these incredibly beautiful alien and hidden worlds surrounding us and inside us. Cells are the building blocks of life, creating the basic structure, functional, and biological units of all known life. The word ‘cells’ come the the Latin ‘cella’ meaning ‘small room’. Every element in the ‘Cells’ designs are encapsulated in one or two layers of up-cycled glass, creating random geometrical designs in the finished jewelry. I do not try to control the designs, but allow the glass to find its own patterns. The artwork of the German zoologist Ernst Haeckel was also an inspiration for this collection. Haeckel documented thousands of new species as a marine biologist, including many microscopic organisms. His book Art Forms in Nature, has been a big influence for me over the years. What I love about the cells theme is that on the microscopic level everything becomes disembodied and abstract.”

In summary, much time, consideration, curation, and research has gone into this line, making this an award-winning experience jewelry fanatics can wear and enjoy.

“I would like to acknowledge the hard work and dedication of my team at GG. I would also like to thank all our great customers and the body modification community at-large, for their long and ongoing support that made this innovation possible. Thank you!”

Point 88: Creative Innovator Award

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Onetribe’s “Crystal Castle” Displays

Interview by Marina Pecorino

Onetribe’s award winning “Crystal Castle” display.
Jewelry by Alan Dumond of Origins Handmade

For the second year in a row, Jared Karnes of Onetribe took home the Creative Innovator Award. Last year it was the multidimensional “Topo” ear weight design. This year, the prize-winning pieces were the “Crystal Castle” displays. I, once again, had the honor of interviewing Jared about running a production queue based business in the piercing industry, and expanding horizons into working with a broader range of materials.

Marina Pecorino: In last year’s interview, you explained the metamorphosis your business made from having numerous employees across several continents, to a small, homebased, personal endeavor. Usually you hear of business models moving in the opposite direction. Can you tell us more about your vision for the future of Onetribe?

Jared Karnes: It’s been a wild ride. It’s easy to find a roadmap for growth, and I became accustomed to thinking about my business as something that  should  continuously  grow.  It was much more challenging to take a step back and decide to be dramatically smaller. Going forward, I’m very interested in play, agility, and unpredictability. I want to spend more time making because I love to do it and not because of a production queue. My sketchbooks need liberation! I will never stop making body jewelry, but I am less interested in being perceived as just a body jewelry company. I have been making a serious effort to explore new forms and use materials in new ways. Ceramic has been an exciting diversion and something I intend to spend a lot more time doing.

MP: I’ve been watching the development of the Crystal Castle displays on social media, and it has been fascinating. Can you explain the development process?

JK: I have always had a fascination with crystalline shapes. The unique facets of quartz crystals and the stacking of perfect pyrite cubes captivate me, but I found myself wondering what these shapes would look like in beautiful colors and textures. I wanted to see these shapes in coral, periwinkle, or sparkly matte black.

There’s been an explosion of body jewelry display options, and I have loved many of the unique shapes from display specific companies, but the use of wood does not inspire me. I thought ceramic would be a great challenge, and it can fit well with a high-end aesthetic for displaying precious metals and stones. Also, a bunch of my friends are making outrageously good ends and hinged rings, and I thought it would be rad to give that work a stage.

I started working with clay in January as a way to let my  hands and mind wander with a forgiving material and meditative process. After hand-making solid prototypes of crystal forms, I realized they were far too heavy to have around glass display cases. I decided to learn slip casting, which uses plaster molds and liquid clay “slip” to cast thin walled hollow objects. After teaching myself mold making and slip casting, I was able to finalize a process and select (or in some cases custom grind) quartz crystals in suitable shapes for single Cryst displays. The larger Crystal Castles are then hand built by modifying and attaching single cast crystals into a more massive structure which I fire as one piece.

MP: Has the result diverged from your original vision at all? What joys and challenges did you face along the way?

JK: They have manifested true to my original intent primarily because I used the crystals as a tool to learn ceramic processes. Early on in the project, I created a specific goal for the product that would require me to learn specific methods in order. It was a challenge to develop a product and processes in a new medium in a little over 90 days, but I enjoyed going for it. Watching something that was soft clay and gloppy liquid glaze transform into stone coated in a layer of glass is mind-boggling.

One of the hardest problems to solve was how to handle the bottoms of both the single Cryst and the Castles. I made several two and three-piece plaster molds that cast pieces with a solid base and a hole in the center. These were faster to cast and clean up, but the molds are more time consuming and fragile. This option also created more waste while building the Castles, limited my access to the interior for installing hardware, and prevented me from being able to adjust the angle of view. I went back to one piece open molds for most shapes and created a “pool” mold for casting a bottom onto each piece. With this additional step of adding the bottom last, I can trim the walls of a display and reduce the height or allow it to lean back for a better viewing angle in different kinds of display cases.

MP: How have you felt about working with these new mediums? What similarities and differences have you discovered that you didn’t expect?

JK: Clay is AMAZING. I never worked it in high school or art school, but it has long been an interest. I recently dug up some notes from a meeting with my employees in 2008; we were discussing options for ceramic in our industry. I started carving and polishing fired porcelain like a stone around 2012, but did not touch soft clay until this year. The profound differences in process and feel changed how I think about materials. Stone carving is both literally and figuratively abrasive. The hands take a lot of abuse, and the process is very loud. Clay is soft and nearly silent. It yields to the touch in a wet state, it maintains a memory of each contact with tool or hand, and it carves easily in a dry state. Through the process of introducing heat, it becomes a hard stone, made from the same essential elements as the stones I carve every day. Once I realized that working ceramic encompasses both this new soft character and the hard nature of the rocks I already work, I was hooked in a way that I did not expect.

MP: Do you have a favorite memory or story to share about this year’s Conference?

JK: My best memories from this year were the result of an unfortunate travel clustercuss. The airline canceled several of my flights, and my booth bag was incorrectly routed. I showed up to the Expo floor in Vegas with no jewelry or booth materials. Many people reached out to me to offer help or to check in and see how I was doing. I felt like I had a big community rooting for me, and that was wonderful. My bag eventually showed up, and all was well.

MP: Every time I walked by your booth this year, you had a small crowd. How has your vendor experience changed over time and in the new space?

JK: My first few years vending I was concerned about bringing a certain amount of product and meeting sales goals that I had set. My outlook overall has shifted, and my conference attendance is now far more rooted in teaching and learning. I am there to make money and create more opportunities for myself, but while doing that I want to see the evolution of our industry, build up newcomers, feel like I am part of a community, and be transparent about what I do and how I do it. Especially now that I am one person in a tiny workshop, the conference experience helps me feel connected to my customers and other makers in a way that the internet cannot replicate.

The new location made everything a little more tense than usual, but I liked it. The Expo floor worked well, and I think most enjoyed the location of the classes, Expo, and rooms relative to each other.

MP: If studios or individuals want to contact you about Onetribe products, what is the best way to reach you? Is there a current average turn-around time that can be expected, or does it vary from project to project?

JK: The shop is always open at onetribe.net and I can be reached directly via the contact form there. I am most active on Instagram and post daily production process and material eye candy @onetribejewelry.

Turn-around times vary wildly on a per-project basis. Products ordered on my site usually ship within 10-14 business days. Custom jewelry work is on average three to four weeks, with complex projects taking longer. Stocked displays ship within a few days, while custom display sets and Crystal Castles depend on all of the other workloads, but are worth the wait.

MP: Is there anything else you’d like to share with The Point readership?

JK: I was delighted to see so many young companies showing great work at Conference this year. While there are some pervasive style trends, I have seen quality from a lot of people who deserve the opportunity to show us how far they can go. I encourage everyone to support small makers whenever possible. This diversity of ideas and the growing culture of positivity over pettiness are hella exciting to see.

Point 88: BPA: Fakir Musafar, In Pursuit of the Spirit

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From Inside the Archive: by Devin Ruiz-Altamura

I wasn’t prepared for the magic I felt when entering the completed exhibit room for the first time. I had probably handled each object in that room more than a dozen times over the past nine months, and written down their item numbers or descriptions just as many times. It didn’t make this collection any less powerful for me. I hope everyone else who got a chance to see the exhibit found it as moving as I did. This year’s  Body Piercing Archive exhibit, “Fakir Musafar: In Pursuit of the Spirit,” was our most ambitious to date. It was also the most comprehensive exhibit that has ever been seen on Fakir Musafar’s life and legacy. Featured were over 2,000 square feet of original images, digital media, and fabricated items, many of which had not been collected or displayed together under one roof since their creation. Visitors were led through the exhibit by a diverse crew of docents, all who had unique and personal experiences with Fakir himself and the Fakir Intensives School.

Fakir memorial altar, photo by John Balk

The exhibit opened with a timeline of the life of Roland Loomis, also known as Fakir Musafar. The timeline acted as a guide through the room and the objects. Next, a series of banners displaying all of the various personas that Fakir inhabited: Roland Loomis, Yogi Ankora, Fakiki, The Perfect Gentleman, Ibitoe, Golden Apollo, etc. Some of the first items displayed were examples of early corseting inspiration, and original National Geographic issues that planted seeds in a young Roland’s mind. It was extremely gratifying to see what parts of Fakir’s history were a surprise to the various docents and speakers. These little surprises really showed the amount of dedication that Paul King and Becky Dill put into their research, and the generosity that Cléo Dubios showed us in sharing some never before seen photos and artifacts. From there was a chance to see many of the various handmade masks, devices, jewelry, and tools that Fakir designed and fabricated for his own use in photoshoots and personal play.

Part of the Exhibit, photo by Devin Ruiz-Altamura

The transitional space between the first and second half of the exhibit held some of the work that served as an introduction to Fakir for many people, myself included. The film Dances Sacred and Profane could be viewed here alongside a performance Fakir did with Cléo Dubois, his wife and partner.

Photo by Paul King

Standing amongst the tour group for Paul King’s first guided tour of the exhibit, seeing Fakir on screen taking Kavadi, was another truly surreal moment for me. I remembered  being 12 or 13 watching that clip for the first time and thinking this was exactly what interested me the most. All these years later with half a decade of counter work at Cold Steel under my belt and a relatively new position with the Body Piercing Archive, I couldn’t help but be so thankful for Fakir’s unexpected influence on my life.

Photo by Paul King

The second half of the exhibit highlight ed Body Play Magazine and the Fakir Intensives School. Printed media, photography, and graphic design were all large parts of Fakir’s life; Body Play Magazine was the culmination of all of these passions and interests. Original working layouts of the magazine could be seen alongside their completed counterparts and final editions.

Photo by Paul King

The Fakir Intensives School was many people’s first hand experience with Fakir, and the foundation of so many memories. It was great photos or even be able to see themselves evolve over the many years they had attended or been an instructor. I love knowing that Fakir got to spend the second half of his life immersed in the community he desperately searched for in his early years. He got to witness first hand the impact he had on our industry, and on so many people’s lives—not something many get to experience in their lifetime.

Photo by Paul King

The backdrop for this more recent history was a grand display of the most iconic hand fabricated objects and sculpture associated with Fakir. The Bed of Blades and Bed of Nails from his first public performance at the 1977 international tattoo convention in Reno, Nevada, the Sword Swing and wooden and aluminum “encumberments” seen in various photoshoots, the horizontal suspension rig used for countless people’s spiritual flights, the Witches Cradle seen in Body Play Magazine, and the Kavadi featured on the poster for Dances Sacred and Profane. The sheer amount of work and devotion Fakir put into his spiritual endeavors and “body play” was inspiring.

Photo by Paul King

The culmination of the exhibit was a small curtained room that, once entered, dazzled the viewer with a bright display of red and gold. Before this room had even been filled, the impact of the change of color and tone brought those of us there to tears. The alter that was set up within was lovingly curated by Grin, a Fakir Intensives instructor and close friend of Fakir and Cléo. Flowers, candles, and sentimental objects were all present and served as a beautiful tribute to a person whose vast career and extraordinary life could hardly be contained within any exhibit walls.

The Body Piercing Archive would like to thank all docents, speakers, and volunteers that gave their energy, love, and time.

Special Thanks to: Cléo Dubois, Jim Ward, Annie Sprinkle, Veronica Vera, Ken Coyote, Paul King, Becky Dill, Ian Bishop, Allen Falkner, Dustin Allor, Cody Vaughn, Betty Ann Peed, Jef Saunders, Cynthia Wright, Yossi Silverman, Grin, Paul Fox, Jamie Biggers, Matte Erikson, John Balk, Theo Williams, Jenna Dittrich, Rafael Diaz, Pablo Perelmuter, Danny Greenwood