Oriole Brooch
Regular price $610.00This one-of-a-kind brooch is hand carved by the artist from reused corian countertop material, formica and reconstituted stone. The sterling silver pin finding is handmade. Made to order. Your piece will vary from the image shown.
3.7" x 2.3" x .5"
Ships within 3 weeks.
by Emily Watson
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
Frequency Brooch
Regular price $245.00Inspired by the ordered chaos of electrical diagrams, the Frequency brooch is hand fabricated from sterling silver with an oxidized and brushed finish. The circles feature inlay of Rosewood and eco-friendly, soy-based resin. The resin is hand tinted with non-toxic pigments, and the wood has an oil and wax finish. The brooch features a rigid steel pin mechanism.
2” x 1” x .375”
Ships within 5 days.
STATEMENT
I create modern jewelry that merges my graphic design and furniture making backgrounds, with my interest in mid-20th century design.
BIOGRAPHY
Matthew Smith began his creative career as a freelance graphic designer. Through his years in this field, he developed what he terms a “visually concise” design language. He also maintained a long running hobby as a woodworker and furniture maker. When a move to a new city required a dramatic downsizing of his studio, Smith began to focus on jewelry as a compact way to merge his diverse interests. He found inspiration from the jewelry designers of the mid-20th century who’s work emphasized strong design and alternative materials, over precious metals and gems.
Smith’s pieces begin as a graphic design which is worked and re-worked to develop the most concise expression of the concept. Design elements such as line weight, color, and pattern are translated into silver thickness, resin tint, and wood grain. Recently Smith has begun working with a new non-toxic casting resin made from soybeans and peanuts, which he tints with non-toxic painter’s pigments.
Matthew Smith received his BA in Fine Art from Wake Forest University. While there he focused on printmaking and sculpture. His education in silversmithing began by taking classes at the Cultural Arts Center in Columbus, Ohio as well as a jewelry class at the Penland School of Crafts. He has combined traditional silversmithing techniques with his woodworking skills to create a hybrid method of jewelry making.
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Matthew's work can also be found at the following museum stores and non-profit shops:
Asher Gallery, Houston Center for Contemporary Craft, Houston, Texas
Craft Alliance Gallery, St. Louis, Missouri
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.
Cardinal Brooch
Regular price $560.00This one-of-a-kind cardinal brooch was hand carved by the artist from corian counterop material and reconstituted stone. The sterling silver pin finding is handmade.
4.25" x 2.7" 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
Dove with Gaspeite Leaves Brooch
Regular price $515.00The stylized dove in this one-of-a-kind brooch is hand carved from faux bone. Formica and reconstituted stone form the branch and leaves. The sterling silver pin finding is handmade.
2" x 3" 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
Bird with Pink Buds Brooch
Regular price $525.00This one-of-a-kind brooch is hand carved by the artist from reused corian countertop material, formica and reconstituted stone. The sterling silver pin finding is handmade.
1.75" x 3.2" 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
Yellow Dove Brooch
Regular price $415.00The stylized dove in this one-of-a-kind brooch is hand carved from reused corian countertop material. It carries a stylized silver sprig with carved acrylic leaves. The silver pin finding is handmade.
3.1" x 2.7" x .4"
Available now.
by Emily Watson
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
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
Peace Brooch
Regular price $415.00Share a subtle message with this one of a kind brooch. The stylized bird in the Peace Brooch is hand carved from faux bone. It sits atop a carved found wood branch with cultured marble hand carved leaves. The silver pin finding is handmade.
2.75" x 2.25" x .375"
Ships within 3 days.
by Emily Watson
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.
MORE
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.
Leaf Brooch
Regular price $375.00A pair of modern leaves, handmade in brushed sterling silver, is inlay with a combination of soy-based resin and wenge wood. The inlay is secured with sterling silver rivets. Wood has an oiled and waxed finish. Back features a custom dual-pin mechanism. Ivory shown on model.
2.25” x 2” x .25”
Ships within 5 days.
STATEMENT
I create modern jewelry that merges my graphic design and furniture making backgrounds, with my interest in mid-20th century design.
BIOGRAPHY
Matthew Smith began his creative career as a freelance graphic designer. Through his years in this field, he developed what he terms a “visually concise” design language. He also maintained a long running hobby as a woodworker and furniture maker. When a move to a new city required a dramatic downsizing of his studio, Smith began to focus on jewelry as a compact way to merge his diverse interests. He found inspiration from the jewelry designers of the mid-20th century who’s work emphasized strong design and alternative materials, over precious metals and gems.
Smith’s pieces begin as a graphic design which is worked and re-worked to develop the most concise expression of the concept. Design elements such as line weight, color, and pattern are translated into silver thickness, resin tint, and wood grain. Recently Smith has begun working with a new non-toxic casting resin made from soybeans and peanuts, which he tints with non-toxic painter’s pigments.
Matthew Smith received his BA in Fine Art from Wake Forest University. While there he focused on printmaking and sculpture. His education in silversmithing began by taking classes at the Cultural Arts Center in Columbus, Ohio as well as a jewelry class at the Penland School of Crafts. He has combined traditional silversmithing techniques with his woodworking skills to create a hybrid method of jewelry making.
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Matthew's work can also be found at the following museum stores and non-profit shops:
Asher Gallery, Houston Center for Contemporary Craft, Houston, Texas
Craft Alliance Gallery, St. Louis, Missouri
