Today we interview the three jurors for AJF’s Solo Exhibition Award: Caroline Broadhead (from the UK), Grace Lai (NZ), and Mike Holmes (US).
This prize offers US$20,000 for the creation of a show by an artist of any age or nationality working in art jewelry. Applications are currently being accepted, but not for much longer—the call for entry will close January 12, 2025. You can find the guidelines here.
The winner will be announced in Munich, during Schmuck, in March 2025.
Art Jewelry Forum: First, a little background. Please explain how you were introduced to contemporary jewelry, and what you’re doing now in relation to it.
Caroline Broadhead: I became aware of the term “contemporary jewelry” when I started visiting and exhibiting at Electrum Gallery, in London, when it opened in the early 1970s. There were exhibitors, such as Emmy [van Leersum] and Gijs Bakker, Onno Boekhoudt, Marion Herbst, and Gerd Rothmann, who were making work from a very different set of objectives than I had been used to, which was very exciting. Working with beads at the moment, I’m fascinated with their history and the potential for creating structures from the repeated actions of joining small units together. The act of making things by hand and the time invested in each piece are also important.
Grace Lai: My introduction to contemporary jewellery was as much serendipitous as it was inevitable. Since beginning my role in 2017 as curator of applied arts and design at Tāmaki Paenga Hira Auckland War Memorial Museum, where I oversee a remarkable collection of national and international craft, I have always been captivated by the jewelry drawers. Traditional pieces from the past neighbor dynamic contemporary innovations, mapping a wide range of materials, techniques, and forms from around the globe. Engaging with the collection has inspired acquisitions, exhibitions, writing, and research projects.
From my first collaboration with the CLINKProject in 2017, where contemporary jewelry students were invited to respond to the Museum’s collection and spaces, to last year’s presentation of Sweet Labour at Radiant Pavilion, which questioned the value society places on labor through the lens of contemporary craft, I have worked to center jewelry in conversations and spaces where it is often overlooked. This ongoing exploration has influenced my curatorial practice, becoming a framework to examine complex narratives within cultural, social, and environmental contexts.
Mike Holmes: I took my first jewelry class at the College of Marin, in the Bay Area, when I was 17. I then studied at the University of Alaska Fairbanks, where my advisor was well-known Inupiat sculptor and jeweler Ron Senungetuk. His jewelry is featured in the important Objects USA book from 1970. Although I earned my degree in geography, I went on to study jewelry and metalsmithing at the California College of Arts and Crafts. I participated in a number of San Francisco fairs until a group of friends and I opened Velvet da Vinci, in 1991. I closed the physical gallery in 2017 to care for my parents but remain active in the field. In addition to talks, writing, and curating, I continue to sell (a bit under the radar) through my @velvetdavincigallery Instagram feed. And I still collect and wear jewelry.
This is the first time AJF is presenting this award, and it’s thanks to Linda Peshkin’s generosity and love for art jewelry. The award benefits a solo exhibition. What do you think is important for a solo show and how it can impact an artist’s career?
Grace Lai: A solo exhibition offers artists an unparalleled opportunity to present a cohesive body of work that captures the essence of their practice at a specific moment in time. It offers a platform for exploration—whether through challenging material and conceptual boundaries or a more reflective look at their creative journey. Ultimately, it becomes a powerful vehicle for storytelling, allowing artists to communicate ideas with clarity and intent for a wider audience. For emerging artists, a solo show often marks a transformative milestone—often the first chance to define their voice, push creative limits, and establish their identity within the field.
From a curatorial perspective, solo exhibitions are critical in providing the depth and focus necessary to contextualize an artist’s work within broader cultural or artistic discourses. Solo exhibitions facilitate meaningful engagement with diverse audiences, from critics and collectors to fellow practitioners and the general public. This level of visibility can open doors to substantial career opportunities, including critical reviews, acquisitions, or invitations to future projects such as exhibitions, collaborations, or residencies. Beyond the immediate gallery context, a well-realized solo exhibition leaves a lasting impact, helping to shape the trajectory of an artist’s career and solidifying their contribution to the field. It is both a culmination of past efforts and a springboard for future possibilities.
Mike Holmes: I mounted many one-person shows at Velvet da Vinci and understand how important these projects can be. I also know how much work it is. Shows allow an artist to stretch their practice, to focus on a coherent body of work that may lead to new concepts, new materials, or ways of working. Consideration of how an artist’s work is installed is a vital part of this effort. A thoughtful installation reinforces the ideas of the exhibition and, along with a well-designed catalog, gives the show enhanced significance. Marketing the exhibition to collectors through social media and other press outlets is also important. The combination of all of these elements reinforces the idea that the artist takes their work seriously and wishes the public to do so as well.
Caroline Broadhead: A solo exhibition can be a pinnacle of a career. It is an exciting opportunity to build a body of work focused on a strong idea, and gives the opportunity to develop and understand works in relation to one another and, as such, it marks a particular moment in an artist’s development, a summing up of ideas so far. It also allows an audience to enter into the world of an artist’s concerns and skills. And, of course, concentrating on making work for a time without the associated financial worry is very special.
What do you think is the single most important conversation for artists to be having today?
Mike Holmes: The long-standing challenge for artists and those passionate about the contemporary jewelry field is how do we increase the visibility of what we do.
Caroline Broadhead: The most important conversation for an artist is the one that is a response to being alive at this particular moment in time, one that is personally felt and driven by the need to explore, express, and communicate.
Grace Lai: While there are many critical conversations to be had today, one that continually resurfaces within craft is the ethics of production. Contemporary artists face the dual challenge of not only considering how they make but also why they make. Central to this discussion are issues of ethical sourcing, waste reduction, and the life cycle of materials. These conversations demand a deeper interrogation of the environmental and social impacts of creative practices.
In contemporary jewelry, which exists at the intersection of art, craft, and design, the crossing of these boundaries enables artists to engage with broader questions of identity, culture, and environment. By addressing these wider narratives, jewelry becomes a powerful medium for reflecting and shaping a more conscious, equitable, and enduring future—one where the act of making is as meaningful as the work itself.
Besides grants such as this one, in what other ways do you think that artists can be encouraged and supported?
Mike Holmes: Wear jewelry. Support artists and the galleries that show them by buying jewelry. Our jewelry has stories to tell, and selecting what to put on for each situation is part of the enjoyment of the field.
One of my favorite jewelry moments was while [I was] wearing an interesting artist brooch. A stranger asked, “What does it do?” I replied, “It’s doing it …”
Caroline Broadhead: Grants like this—for someone with a specific project in mind and which are open to international applicants—are brilliant. Although only one person can win, those who apply can benefit from the process of putting together a submission—preparing the application and putting thoughts into words—which can solidify an aim and future direction.
In general, I think access to education—formal or short-term workshops, etc.—is important, in that it serves to prompt dialogue and discussions as well as to build a community of interested parties.
Grace Lai: Artists can be encouraged and supported through acquisitions, mentorship, and meaningful engagement with their work and ideas. Acquisitions, whether by private collectors or public institutions, are vital for sustaining an artist’s practice. They not only provide financial backing but also ensure the longevity and visibility of an artist’s work. Mentorship is equally significant. By sharing knowledge, techniques, and insights, experienced practitioners can guide emerging artists, fostering both community and continuity while helping them navigate the complexities of a creative career.
From my perspective, curatorial work also plays a key role in supporting artists by representing diverse materials, techniques, and narratives in collections, as well as through contributions to the discourse. By linking creative practices to broader societal issues, such as sustainability, we can encourage fresh perspectives to ensure the field remains deeply connected to the world around it.
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