Batik Masters Shell Choice
By: Helen Badulak
“It is the aim of the
Master's Program to further the art of egg decorating and to help all egg
artists to develop to their fullest potential. It is designed to uplift the
technical and artistic level of IEAG members by designing an egg in a specific
category and having it judged against standards established for that category.
The Master's Program is available to all members who are interested in a
progressive certification of their egg art expertise. It is strictly a
learning tool to help us achieve excellence in the art.”
© IEAG Web Site, masters page 1
I was approached at the Dallas
Egg Show by the IEAG committee to give my opinion concerning the Masters Program
on Pysanky and provide my suggestions and expert advice on ways to improve it.
My name is Helen Badulak and I
am a juried Master of Pysanky through the IEAG. When I first entered the Masters
level, I submitted an Ostrich shell and failed because of the egg’s finish. On
the next opportunity I again entered an Ostrich shell and passed, acquiring my
Masters title. The decision to work on larger shells rested with me; the shell
requirement was not in existence at that time. I believe I was the first juried
Pysanky Master. I chose this path not only because I wanted to excel and push
myself to the limit, but also because the harder I worked the more recognition
Pysanky would gain in the IEAG world and beyond.
The new requirements for choosing
chicken, goose, swan, rhea, or ostrich shells for the specific categories in the
newly revised program may seem disheartening to you, but the shell progression
between categories shows an artist’s growth in design execution. My goal is to
put minds at ease by explaining why this advancement in each category is
important not only to the goal of achieving a Masters title within the IEAG, but
also in attaining personal achievement and growth.
The first rule of thumb is to
compete within yourself and be the best you can be. The IEAG Batik Folk Art
Category/Masters Program does not exist to compare one artist to another; that
is why the point system exists and more than one Novice, Intermediate, and/or
Master can be awarded during any judging period. Moving forward and decorating
on larger shells symbolizes the natural progression of personal achievement.
The degree of difficulty does increase with the
use of each shell. The eggshell’s area will gradually become larger and more
challenging, and therefore much more care, thought and creativity must go into
the design. By the time the Masters level is reached, one will show confidence
in the use of symbols and technique. Larger shells possess the beauty of
monotonous repetition and demonstrate the artist’s ability to be consistent. As
a Master, applicants must be able to show control in these areas, otherwise we
would not be striving for excellence.
So the question still remains as to why have
shell requirements now within the program? Traditional batik eggs were not
traditionally decorated on swan, rhea, or ostrich shells as far as we know.
Please refer back to the quote in which I started this article with. The Masters
Program is “a learning tool to help us achieve excellence in the art.” Perfect
chicken shells can be decorated, but true excellence is when we push to do the
impossible. As artists we rely on the IEAG to provide the means for us to
achieve greatness through its judging provisions; the newly revised Batik Folk
Art Category is a step in the right direction.
| 
