Modern art jewelry designed and hand made in the U.S.A. by contemporary American artists. Orders over $100 Ship Free to the USA.
Decorative Pearl Drop Silhouette
Regular price $66.00These two-dimensional earrings, hand-cut by the artist from brass sheet, reference large pearl drops. Powder coated gloss color, in Cream. Sterling silver posts.
.75" x .5"
Ships within 3 days.
STATEMENT
My current body of work is a series of hand-cut, powder coated jewelry that focuses on image, pattern and decoration in order to reference ornamentation and historical jewelry. I am interested in a reality that exists through images and representations and how the appearance of an object can substitute for the original. The use of repeated iconic imagery is important to my work in order to establish a familiar identity between the viewer and the object.
BIOGRAPHY
Ashley Buchanan (b. 1986, Atlanta, Georgia), received her BFA in Jewelry and Metalsmithing from the University of Georgia. Drawing on common jewelry motifs and iconic imagery, she individually hand-cuts silhouettes from sheet metal using a traditional jeweler’s saw. She then applies color using an industrial process called powder coating. This method of painting electrostatically covers metal with a dry pigment, which is then cured under heat to create a durable, uniform finish. Finally, she assembles these components together in order to create new simplified pieces of jewelry that maintain a clean contemporary aesthetic.
Flat Pearl Ring
Regular price $80.00The "pearl" in this hand-carved ring, is made from white acrylic, which is then laminated with old stock black bakelite.
1.6” x .9” x .14”
Made to order, ships within 2 weeks.
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
Little Pearl Ring
Regular price $85.00This ring is entirely hand carved from faux bone plastic. The resulting monochrome pearl ring has a lush matte finish. Made to order, each piece is unique and will vary slightly.
1.375” x .875” x .125”
Ships within 3 weeks
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
Whistle Pipe Ring
Regular price $95.00This bold, orange, one-of-a-kind ring, is hand carved from old stock black bakelite laminated with retired acrylic pipe stem. Ring size is 6 - 6.5.
2.3" x 1" x .75"
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
Peek-A-Boo Ring
Regular price $95.00This ring is entirely hand carved from faux bone plastic. The technique creates a lush matte finish. Made to order, each piece is unique and will vary slightly.
1.75” x 1” x .125”
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
Cup and Ball Ring
Regular price $110.00Cup and Ball ring is hand-carved by the artist from a solid block of Corian countertop material reclaimed from kitchen countertop installations. Many colors available, examples shown (l to r) malachite, cold white, bone. Each piece is unique and will vary slightly.
1.3” x 1.2” x .4”
Made to order, ships within 3 weeks.
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
Faux Bone Fill Ring
Regular price $115.00This hand carved ring is made from faux bone plastic and then inlayed with resin and pigment. Choose purple or gold. Each piece is unique and will vary slightly from those shown.
1.5” x .75” x .2”
Made to order, ships within 3 weeks
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
Balance Earrings
Regular price $135.00These drop earrings are hand carved and fabricated by the artist from reconstituted turquoise and sterling silver.
Ship 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
Leaf and Berry Drops
Regular price $145.00These drop earrings are hand carved and fabricated by the artist from Corian, reconstituted stone and sterling silver.
Ship 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
Red Bauble Earrings
Regular price $155.00These drop earrings are hand carved and fabricated by the artist from reconstituted stone and sterling silver.
Ship within 2 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
Double Dip Earrings
Regular price $185.00Hand carved by the artist from Corian. Sterling posts. Hot red/lilac.
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
Little Red Roboleaf Earrings
Regular price $195.00Hand fabricated sterling silver Roboleaves feature red laminate.
1.75" x .375" x .1875"
Ships within 3 days.
STATEMENT
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
I draw inspiration from the patterns, shapes and color of vintage fabrics; and the clean lines and minimalist aesthetics that characterized the international style of mid-century modern furniture. True to my materials, I choose them and their treatment first based on functionality and then second based on beauty. By hand forming, fabricating and incorporating alternative repurposed materials, a standard shape or form becomes dynamic and vibrant. My finished idea is visually simple yet technically complex.
BIOGRAPHY
Carrie Hoffnagle grew up on a farm in rural Iowa, where she helped her father build fences, and her mother construct her own clothes. She can catalog her entire childhood with handmade projects. These experiences instilled in her the strong value of "build it yourself."
Carrie studied fine art at Iowa State University and fell in love with metal. Her focus began early when she discovered that she could have almost absolute control over it. She learned to manipulate metal with traditional construction and hollow forming techniques, while she developed an admiration for mid-century modern and Scandinavian design.
Just weeks before graduation in 2006, she found a garbage bag full of discarded architectural laminates: her first inspiration for creating wearable jewelry. Following graduation she embarked on a journey to learn more. She carried those materials with her and found more along the way. While working for goldsmiths and silversmiths, she developed her own style through exploring the possibilities of repurposed materials.
Little Grenadine Box Earrings
Regular price $195.00Hand crafted boxes of sterling silver, show just enough flash of grenadine laminate.
1.5" x .5" x .1875"
Ships within 3 days.
STATEMENT
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
I draw inspiration from the patterns, shapes and color of vintage fabrics; and the clean lines and minimalist aesthetics that characterized the international style of mid-century modern furniture. True to my materials, I choose them and their treatment first based on functionality and then second based on beauty. By hand forming, fabricating and incorporating alternative repurposed materials, a standard shape or form becomes dynamic and vibrant. My finished idea is visually simple yet technically complex.
BIOGRAPHY
Carrie Hoffnagle grew up on a farm in rural Iowa, where she helped her father build fences, and her mother construct her own clothes. She can catalog her entire childhood with handmade projects. These experiences instilled in her the strong value of "build it yourself."
Carrie studied fine art at Iowa State University and fell in love with metal. Her focus began early when she discovered that she could have almost absolute control over it. She learned to manipulate metal with traditional construction and hollow forming techniques, while she developed an admiration for mid-century modern and Scandinavian design.
Just weeks before graduation in 2006, she found a garbage bag full of discarded architectural laminates: her first inspiration for creating wearable jewelry. Following graduation she embarked on a journey to learn more. She carried those materials with her and found more along the way. While working for goldsmiths and silversmiths, she developed her own style through exploring the possibilities of repurposed materials.
Little Red Dot Earrings
Regular price $195.00Hand made by the artist using sterling silver and red laminate.
1.5" long x .5" wide x .25" deep.
Ships within 3 days.
STATEMENT
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
I draw inspiration from the patterns, shapes and color of vintage fabrics; and the clean lines and minimalist aesthetics that characterized the international style of mid-century modern furniture. True to my materials, I choose them and their treatment first based on functionality and then second based on beauty. By hand forming, fabricating and incorporating alternative repurposed materials, a standard shape or form becomes dynamic and vibrant. My finished idea is visually simple yet technically complex.
BIOGRAPHY
Carrie Hoffnagle grew up on a farm in rural Iowa, where she helped her father build fences, and her mother construct her own clothes. She can catalog her entire childhood with handmade projects. These experiences instilled in her the strong value of "build it yourself."
Carrie studied fine art at Iowa State University and fell in love with metal. Her focus began early when she discovered that she could have almost absolute control over it. She learned to manipulate metal with traditional construction and hollow forming techniques, while she developed an admiration for mid-century modern and Scandinavian design.
Just weeks before graduation in 2006, she found a garbage bag full of discarded architectural laminates: her first inspiration for creating wearable jewelry. Following graduation she embarked on a journey to learn more. She carried those materials with her and found more along the way. While working for goldsmiths and silversmiths, she developed her own style through exploring the possibilities of repurposed materials.
Little Black Dot Earrings
Regular price $195.00Hand made by the artist using sterling silver and black laminate.
1.5" long x .5" wide x .25" deep.
Ships within 3 days.
STATEMENT
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
I draw inspiration from the patterns, shapes and color of vintage fabrics; and the clean lines and minimalist aesthetics that characterized the international style of mid-century modern furniture. True to my materials, I choose them and their treatment first based on functionality and then second based on beauty. By hand forming, fabricating and incorporating alternative repurposed materials, a standard shape or form becomes dynamic and vibrant. My finished idea is visually simple yet technically complex.
BIOGRAPHY
Carrie Hoffnagle grew up on a farm in rural Iowa, where she helped her father build fences, and her mother construct her own clothes. She can catalog her entire childhood with handmade projects. These experiences instilled in her the strong value of "build it yourself."
Carrie studied fine art at Iowa State University and fell in love with metal. Her focus began early when she discovered that she could have almost absolute control over it. She learned to manipulate metal with traditional construction and hollow forming techniques, while she developed an admiration for mid-century modern and Scandinavian design.
Just weeks before graduation in 2006, she found a garbage bag full of discarded architectural laminates: her first inspiration for creating wearable jewelry. Following graduation she embarked on a journey to learn more. She carried those materials with her and found more along the way. While working for goldsmiths and silversmiths, she developed her own style through exploring the possibilities of repurposed materials.
Cone Earrings
Regular price $220.00These drop earrings are hand carved and fabricated by the artist from malachite-colored Corian and sterling silver.
Ship 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
Sunrise Crater Earrings
Regular price $230.00These earrings are hand carved and fabricated by the artist from reconstituted turquoise, coral, acrylic and sterling silver.
Ship 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
Roboleaf Pink Sapphire Necklace
Regular price $240.00This hand fabricated leaf form is constructed of sterling silver, laminate and pink sapphire. Included sterling silver snake chain is available in two lengths.
leaf is 1.125" x .5" x .25"
Ships within 3 days.
STATEMENT
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
I draw inspiration from the patterns, shapes and color of vintage fabrics; and the clean lines and minimalist aesthetics that characterized the international style of mid-century modern furniture. True to my materials, I choose them and their treatment first based on functionality and then second based on beauty. By hand forming, fabricating and incorporating alternative repurposed materials, a standard shape or form becomes dynamic and vibrant. My finished idea is visually simple yet technically complex.
BIOGRAPHY
Carrie Hoffnagle grew up on a farm in rural Iowa, where she helped her father build fences, and her mother construct her own clothes. She can catalog her entire childhood with handmade projects. These experiences instilled in her the strong value of "build it yourself."
Carrie studied fine art at Iowa State University and fell in love with metal. Her focus began early when she discovered that she could have almost absolute control over it. She learned to manipulate metal with traditional construction and hollow forming techniques, while she developed an admiration for mid-century modern and Scandinavian design.
Just weeks before graduation in 2006, she found a garbage bag full of discarded architectural laminates: her first inspiration for creating wearable jewelry. Following graduation she embarked on a journey to learn more. She carried those materials with her and found more along the way. While working for goldsmiths and silversmiths, she developed her own style through exploring the possibilities of repurposed materials.
Rhodolite Drop Wing Necklace
Regular price $298.00Hand made by the artist using sterling silver, grenadine laminate and rhodolite. Includes a 16" sterling silver chain.
Pendant is .875" high x .5" wide x .25 deep.
Ships within 3 days.
STATEMENT
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
Using traditional silversmithing techniques and materials paired with alternative materials, I explore the potential of a well-made hollow form and non-traditional possibilities for color in a conventionally achromatic media.
I draw inspiration from the patterns, shapes and color of vintage fabrics; and the clean lines and minimalist aesthetics that characterized the international style of mid-century modern furniture. True to my materials, I choose them and their treatment first based on functionality and then second based on beauty. By hand forming, fabricating and incorporating alternative repurposed materials, a standard shape or form becomes dynamic and vibrant. My finished idea is visually simple yet technically complex.
BIOGRAPHY
Carrie Hoffnagle grew up on a farm in rural Iowa, where she helped her father build fences, and her mother construct her own clothes. She can catalog her entire childhood with handmade projects. These experiences instilled in her the strong value of "build it yourself."
Carrie studied fine art at Iowa State University and fell in love with metal. Her focus began early when she discovered that she could have almost absolute control over it. She learned to manipulate metal with traditional construction and hollow forming techniques, while she developed an admiration for mid-century modern and Scandinavian design.
Just weeks before graduation in 2006, she found a garbage bag full of discarded architectural laminates: her first inspiration for creating wearable jewelry. Following graduation she embarked on a journey to learn more. She carried those materials with her and found more along the way. While working for goldsmiths and silversmiths, she developed her own style through exploring the possibilities of repurposed materials.
Fruit On The Branch Earrings
Regular price $335.00Sterling silver "branches," cast using the lost wax method, are mated to hand carved antique jet to create these one of a kind earrings.
1.3” x .3” x .6”
1.5” x .6” 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
Cellulose Earrings
Regular price $375.00This one of a kind, asymmetrical pair of sterling silver earrings, feature cellulose elements made with wood that was dyed, injected with resin, then carved using a tiny rotary carving tool.
1.8” x .9” x .8”
1.7” x 1.2” x .7”
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
