Cherry Ring Brooch
Regular price $260.00A sterling silver ring crowns this one-of-a-kind brooch. Handmade of Forest Stewardship Council certified, fumed cherry wood. Finished with natural bee's wax.
4" x 4.25" x .5"
Ships within 3 days.
STATEMENT
My training and personal development have led me to believe that humans surpass biological processes by creating. The desire to create is the vehicle by which we, as humans, extend our minds and souls beyond the limits of our physical selves. Through the material and creation of the work, I consider the complexities of the cycle of life. I recognize the truth that we are more of the natural world than of the created world. I parallel the ephemeral nature of wood to the experience of life and ask the viewer to consider the stages of life that are often overlooked by society. I have a deep appreciation for nature’s beauty and rather than working against the grain, I work with it.
My training and personal development have led me to believe that humans surpass biological processes by creating. The desire to create is the vehicle by which we, as humans, extend our minds and souls beyond the limits of our physical selves. Through the material and creation of the work, I consider the complexities of the cycle of life. I recognize the truth that we are more of the natural world than of the created world. I parallel the ephemeral nature of wood to the experience of life and ask the viewer to consider the stages of life that are often overlooked by society. I have a deep appreciation for nature’s beauty and rather than working against the grain, I work with it.
BIOGRAPHY
Gustav was exposed to the creation of art as a young boy on the southwest side of Chicago. After working long hours as a laborer, his father spent his free time creating jewelry. This special time passed watching his father would be some of his happiest childhood moments. As a young man, Gustav attended the Art Institute of Chicago where his horizons and understanding of art were greatly broadened. He also spent time at the Chicago Bauhaus Academy where he developed a strong understanding of and appreciation for furniture, cabinetry and the finer aspects of woodworking. His formal training, hands-on experience, and years of dedication to his craft have allowed him to find the point where nature breathes through the form, striking a balance between the contemporary and the ancient and crafting fine art that is deeply personal, contextual and alive.
Stoneware Brooches
Regular price $86.00White stoneware and black glaze is used to create these eye catching brooches. Each is hand made by the artist and is unique.
2" diameter
Ships within 3 days.
STATEMENT
I am intrigued by contrast, the play of dark against light, the pull of empty space against the inclination to fill it up, the placement of line and shape, the use of subtle texture.
For the past six or so years I have worked almost exclusively in a palette of black and white in a conscious effort to simplify process and design. In the end, process is never simple and good design is always balanced and strong.
My current work is wheel-thrown and altered stoneware with slips, underglaze and glaze, and slab-built white stoneware with black stoneware inlay.
I am influenced by minimalist art and design and the long traditions of Asian pottery and British studio ceramics.
BIOGRAPHY
Lori Katz is well known for the striking strength and simplicity of her black and white dinnerware, wall installations and innovative teapot designs.
Her work has been included in definitive shows and collections throughout the world, including the American Craft Museum's "Tea Party" invitational, the permanent collections of the Wustum Museum of Fine Arts in Racine, Wisconsin, the US Embassy in Bandar Seri Begawan and IBM Corporation. Her work has been featured in numerous publications including Home and Design and Where magazines, and the book 500 Plates and Chargers.
Lori is an instructor in the Ceramics Departments of the Art League School in Alexandria, VA and the Workhouse Art Center in Lorton, VA. She maintains her studio at The Torpedo Factory Art Center in Alexandria, VA.
Crown Valve Brooch
Regular price $420.00The wood in this one-of-a-kind brooch was been dyed and injected with resin, then laminated with black horn. The two materials were carved together using a tiny rotary tool. The pin finding is handmade from sterling silver with a steel pin stem.
2.6” x 2.2” x 2.5”
Ships within 3 days.
STATEMENT
My vision when creating jewelry is based on what I would want to wear. The pieces tend to be larger in scale, with a solid weight that allows them to withstand daily wear. Often simple and modern in form, I pay a lot of attention to details such as movement, mechanisms, and material. In both craft and art, creating something simple that can stand on its own and garner attention is often more difficult than creating something busy. Every line, plane, and surface becomes more important, and the skill of the maker is called on to execute the details of the piece masterfully.
As a perfectionist, I invest a lot of time in the design and execution of every piece; but I also value the handmade, and the physical process a maker chooses to create a finished product. A visual sense of imperfection (minor as it may be) is a beautiful reminder of the maker’s work, and is often what distinguishes a handmade item from a manufactured one. While I repeat certain design or create variations on them, the process of hand-soldering, hand-sanding, and hand-finishing every piece ensures that each one is unique in some way. It also ensures that the “hand” is evident in each one.
My modern designs generally have soft edges and organic elements that humanize them and encourage touch.
BIOGRAPHY
Material is a driving element of Emily's work. She is an enthusiastic traveler, and collect bits and pieces of exotic materials whenever possible. She also believes in saving materials that might otherwise be discarded, and transforming them into something new. She has worked with cut-offs of counter top materials from kitchen installations, wood scraps from furniture building, pieces of vulcanite and meerschaum discarded by retiring pipe makers, and chunks of bakelite sourced from defunct costume jewelry manufacturers. Other materials she consistently uses include: faux bone plastic, acrylic, bowling ball plastic, bone, horn, fossilized mammoth bone, synthetic opal, semi-precious stone, reconstituted stone, vintage amber, jet, and resin.
Education:Material is a driving element of Emily's work. She is an enthusiastic traveler, and collect bits and pieces of exotic materials whenever possible. She also believes in saving materials that might otherwise be discarded, and transforming them into something new. She has worked with cut-offs of counter top materials from kitchen installations, wood scraps from furniture building, pieces of vulcanite and meerschaum discarded by retiring pipe makers, and chunks of bakelite sourced from defunct costume jewelry manufacturers. Other materials she consistently uses include: faux bone plastic, acrylic, bowling ball plastic, bone, horn, fossilized mammoth bone, synthetic opal, semi-precious stone, reconstituted stone, vintage amber, jet, and resin.
MFA Metal, State University of New York at New Paltz, New Paltz, NY May 2003
BA with concentration in studio art, Oberlin College, Oberlin, Ohio May 1996
Carbonated Orange Pin
Regular price $350.00This one of a kind pin is hand-carved from laminated exotic woods with carved and polished "bubbles" of orange acrylic, post set, and tie tack pin finding. The wood and acrylic are both carved from the scrap materials of lathe-turned pen handles, using a tiny rotary carving tool. They are sealed with Renaissance Wax to protect the surface.
2” x 1.2” x 1.1”
Ships within 3 days.
STATEMENT
My vision when creating jewelry is based on what I would want to wear. The pieces tend to be larger in scale, with a solid weight that allows them to withstand daily wear. Often simple and modern in form, I pay a lot of attention to details such as movement, mechanisms, and material. In both craft and art, creating something simple that can stand on its own and garner attention is often more difficult than creating something busy. Every line, plane, and surface becomes more important, and the skill of the maker is called on to execute the details of the piece masterfully.
As a perfectionist, I invest a lot of time in the design and execution of every piece; but I also value the handmade, and the physical process a maker chooses to create a finished product. A visual sense of imperfection (minor as it may be) is a beautiful reminder of the maker’s work, and is often what distinguishes a handmade item from a manufactured one. While I repeat certain design or create variations on them, the process of hand-soldering, hand-sanding, and hand-finishing every piece ensures that each one is unique in some way. It also ensures that the “hand” is evident in each one.
My modern designs generally have soft edges and organic elements that humanize them and encourage touch.
BIOGRAPHY
Material is a driving element of Emily's work. She is an enthusiastic traveler, and collect bits and pieces of exotic materials whenever possible. She also believes in saving materials that might otherwise be discarded, and transforming them into something new. She has worked with cut-offs of counter top materials from kitchen installations, wood scraps from furniture building, pieces of vulcanite and meerschaum discarded by retiring pipe makers, and chunks of bakelite sourced from defunct costume jewelry manufacturers. Other materials she consistently uses include: faux bone plastic, acrylic, bowling ball plastic, bone, horn, fossilized mammoth bone, synthetic opal, semi-precious stone, reconstituted stone, vintage amber, jet, and resin.
Education:Material is a driving element of Emily's work. She is an enthusiastic traveler, and collect bits and pieces of exotic materials whenever possible. She also believes in saving materials that might otherwise be discarded, and transforming them into something new. She has worked with cut-offs of counter top materials from kitchen installations, wood scraps from furniture building, pieces of vulcanite and meerschaum discarded by retiring pipe makers, and chunks of bakelite sourced from defunct costume jewelry manufacturers. Other materials she consistently uses include: faux bone plastic, acrylic, bowling ball plastic, bone, horn, fossilized mammoth bone, synthetic opal, semi-precious stone, reconstituted stone, vintage amber, jet, and resin.
MFA Metal, State University of New York at New Paltz, New Paltz, NY May 2003
BA with concentration in studio art, Oberlin College, Oberlin, Ohio May 1996
Bubble Bath Brooch
Regular price $380.00The tub holding our bubble bath is hand carved from faux bone in this one of a kind piece. The bubbles are hand-carved cultured marble. The sterling silver pin finding is handmade.
3.125" x 1.25" x .5"
Ships within 3 days.
STATEMENT
My vision when creating jewelry is based on what I would want to wear. The pieces tend to be larger in scale, with a solid weight that allows them to withstand daily wear. Often simple and modern in form, I pay a lot of attention to details such as movement, mechanisms, and material. In both craft and art, creating something simple that can stand on its own and garner attention is often more difficult than creating something busy. Every line, plane, and surface becomes more important, and the skill of the maker is called on to execute the details of the piece masterfully.
As a perfectionist, I invest a lot of time in the design and execution of every piece; but I also value the handmade, and the physical process a maker chooses to create a finished product. A visual sense of imperfection (minor as it may be) is a beautiful reminder of the maker’s work, and is often what distinguishes a handmade item from a manufactured one. While I repeat certain design or create variations on them, the process of hand-soldering, hand-sanding, and hand-finishing every piece ensures that each one is unique in some way. It also ensures that the “hand” is evident in each one.
My modern designs generally have soft edges and organic elements that humanize them and encourage touch.
BIOGRAPHY
Material is a driving element of Emily's work. She is an enthusiastic traveler, and collect bits and pieces of exotic materials whenever possible. She also believes in saving materials that might otherwise be discarded, and transforming them into something new. She has worked with cut-offs of counter top materials from kitchen installations, wood scraps from furniture building, pieces of vulcanite and meerschaum discarded by retiring pipe makers, and chunks of bakelite sourced from defunct costume jewelry manufacturers. Other materials she consistently uses include: faux bone plastic, acrylic, bowling ball plastic, bone, horn, fossilized mammoth bone, synthetic opal, semi-precious stone, reconstituted stone, vintage amber, jet, and resin.
Education:Material is a driving element of Emily's work. She is an enthusiastic traveler, and collect bits and pieces of exotic materials whenever possible. She also believes in saving materials that might otherwise be discarded, and transforming them into something new. She has worked with cut-offs of counter top materials from kitchen installations, wood scraps from furniture building, pieces of vulcanite and meerschaum discarded by retiring pipe makers, and chunks of bakelite sourced from defunct costume jewelry manufacturers. Other materials she consistently uses include: faux bone plastic, acrylic, bowling ball plastic, bone, horn, fossilized mammoth bone, synthetic opal, semi-precious stone, reconstituted stone, vintage amber, jet, and resin.
MFA Metal, State University of New York at New Paltz, New Paltz, NY May 2003
BA with concentration in studio art, Oberlin College, Oberlin, Ohio May 1996
Disc Cluster Pin
Regular price $120.00Discs of mokume gane, reclaimed wood and sterling silver strike the perfect balance in this demure handmade pin.
.875" x .5", magnetic clasp
Ships within 3 days.
STATEMENT
l make contemporary jewelry with many materials, Mokume Gane being the most dominant. I use copper and silver because of their similar working characteristics and contrasting color. I'm inspired to use wood as it complements the Mokume Gane patterns. Fragments of maps find their way into one-of-a-kind pieces if the place has significant relevance.
BIOGRAPHY
Eric has been working with the Mokume-gane technique for nearly 20 years. Drawn to the organic wood-like patterns, it is the primary material in his jewelry and the focus of his workshops. His goal is teaching jewelers and metalsmiths a low-tech, low-cost, and efficient method to making traditional diffusion bonded Mokume-gane. He lives in Silver Spring, Maryland with his printmaker partner, Gretchen and adventure dog, Carmela.
Eric has been working with the Mokume-gane technique for nearly 20 years. Drawn to the organic wood-like patterns, it is the primary material in his jewelry and the focus of his workshops. His goal is teaching jewelers and metalsmiths a low-tech, low-cost, and efficient method to making traditional diffusion bonded Mokume-gane. He lives in Silver Spring, Maryland with his printmaker partner, Gretchen and adventure dog, Carmela.
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Mokume Gane, a technique born out of Japanese metalsmithing translates into English as “wood eye metal”. It is a time consuming process where two or more different metals are alternately stacked, clamped and heated to high temperature. The result is the lamination of all layers into a solid mass of metal, or billet. The billet is then prepared for patterning by forging to half its original thickness. The pattern is started by carving through layers and forging the billet even thinner, or by bumping the surface and grinding through the first several layers. In both cases a very organic wood grain pattern develops. The billet is now usable as sheet metal which can be formed, forged, and soldered.
