My parents and grandfather are biologists; from them I learned to inspect the world in great
detail. I have always collected seeds, sticks, and interesting stones. My studio resembles an
untended garden as these things mingle with piles of copper bean pods, stacks of forged
silver twigs, and lengths of woven wire. I design and handcraft jewelry in an intuitive process
that begins with laying out designs for three-dimensional objects directly on sheet metal with
an awl and dividers. Through trial and error I decide how best to connect seemingly disparate
shapes into unified, wearable pieces by weaving, soldering, fusing and riveting.
The assumption of jewelry as tactile is a basic component of the definition of jewelry as
distinguished from other art forms, and it is part of the intimacy of the medium. Because of
this, texture and movement are as important as color in my work. Many of my pieces open or
close, have moving pieces, bells, or secret elements that rattle within hollow spaces. I use
mixed metals in my work, building up dimension and texture through shell forming, folding,
forging, punching, repoussé and chasing techniques. In a simple process where silver dust
and filings are fused to copper sheet, I have found a method that produces wonderfully
reticulate surface textures and beautiful color contrast. The excitement of the unknown and
the timely recollection of previous ideas, the practice of creating and distilling forms and
concepts, and the pleasure of seeing others' reactions to my jewelry encourage me to keep
working.
detail. I have always collected seeds, sticks, and interesting stones. My studio resembles an
untended garden as these things mingle with piles of copper bean pods, stacks of forged
silver twigs, and lengths of woven wire. I design and handcraft jewelry in an intuitive process
that begins with laying out designs for three-dimensional objects directly on sheet metal with
an awl and dividers. Through trial and error I decide how best to connect seemingly disparate
shapes into unified, wearable pieces by weaving, soldering, fusing and riveting.
The assumption of jewelry as tactile is a basic component of the definition of jewelry as
distinguished from other art forms, and it is part of the intimacy of the medium. Because of
this, texture and movement are as important as color in my work. Many of my pieces open or
close, have moving pieces, bells, or secret elements that rattle within hollow spaces. I use
mixed metals in my work, building up dimension and texture through shell forming, folding,
forging, punching, repoussé and chasing techniques. In a simple process where silver dust
and filings are fused to copper sheet, I have found a method that produces wonderfully
reticulate surface textures and beautiful color contrast. The excitement of the unknown and
the timely recollection of previous ideas, the practice of creating and distilling forms and
concepts, and the pleasure of seeing others' reactions to my jewelry encourage me to keep
working.
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