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New Jewelry from Our Member Galleries

September 2026, Part 2

Right now, we all could use a treat. It feels good to get a terrific piece of art jewelry for ourselves while celebrating and supporting artists and the galleries who show them!

Art Jewelry Forum’s international gallery supporters celebrate and exhibit art jewelry. Our bi-monthly On Offer series allows this extensive network of international galleries to showcase extraordinary pieces personally selected to tempt and inspire you. Take a look. You’re bound to find a fantastic piece you simply can’t live without! (Please contact the gallery directly for inquiries.)


Linda van Niekerk, Silver Cloud Burst, 2025, neckpiece in sterling silver, silk, 19 ⅝ inches (500 mm) long, chenier ⅜ inches (8 mm) in diameter, photo: Peter Whyte Photography
Linda van Niekerk, Silver Cloud Burst, 2025, neckpiece in sterling silver, silk, 19 ⅝ inches (500 mm) long, chenier ⅜ inches (8 mm) in diameter, photo: Peter Whyte Photography

Gallery: Zu design, Adelaide, Australia (click the gallery name to link to its website)
Contact: Jane (click the gallerist’s name for email)
Artist: Linda van Niekerk
Retail price: AU$1,750

Linda van Niekerk’s Clouds series is inspired by the vast Tasmanian skies. This piece reflects both the shapes of clouds as well as their constantly shifting and evolving forms.

  • We published an interview Jane Bowden, the owner of Zu design, here

Catarina Silva, Untitled, 2026, pendant in oxidized silver, lapis lazuli, tinted agate, 2 x 2 x ⅜ inches (50 x 50 x 8 mm), chain 9 ⅞ inches (250 mm) long, photo: Pedro Tropa
Catarina Silva, Untitled, 2026, pendant in oxidized silver, lapis lazuli, tinted agate, 2 x 2 x ⅜ inches (50 x 50 x 8 mm), chain 9 ⅞ inches (250 mm) long, photo: Pedro Tropa

Gallery: Galeria Tereza Seabra, Lisbon, Portugal (click the gallery name to link to its website)
Contact: Tereza Seabra (click the gallerist’s name for email)
Artist: Catarina Silva
Retail price: 750€, plus shipping

This brooch is Catarina Silva’s most recent work for her solo exhibition Jardin d’agrément, part of the third Lisbon Jewellery Biennial program. Jardin d’agrément imagines a lush, utopian garden inspired by the gardens of paradise and the gardens of the gods found across cultures. Here, humans, animals, and plants coexist beyond hierarchy, in a shared ecology of reciprocity and wonder. Jewelry becomes a living constellation of symbols: apples, unicorns, flowers, birds, and Marian imagery evoke knowledge, care, fertility, and transformation. At the heart of the exhibition, the snake emerges as a guardian rather than a tempter—a symbol of wisdom, regeneration, and the continuous cycle of life. Rather than a lost Eden, Jardin d’agrément is a poetic fiction that invites us to imagine new ways of inhabiting the world, where coexistence is not an ideal, but a living practice.

  • The endless mysteries of love, desire, and memory make up Once Upon a Time, a solo exhibition by Catarina Silva. The catalog for the show is here

Carin Jones, On a Whim Tattoo, 2026, brooch in vintage tin, sterling silver, acrylic, signature bolts in brass, stainless steel, 2 ½ x 2 ¼ inches (64 x 57 mm), photo: Kassadi Williams
Carin Jones, On a Whim Tattoo, 2026, brooch in vintage tin, sterling silver, acrylic, signature bolts in brass, stainless steel, 2 ½ x 2 ¼ inches (64 x 57 mm), photo: Kassadi Williams

Gallery: Heidi Lowe Gallery, Lewes, DE, US (click the gallery name to link to its website)
Contact: Kassadi Williams (click the name for email)
Artist: Carin Jones
Retail price: US$350

Carin Jones focuses on historical specimens, such as vintage tins, replacing traditional gemstones with found objects set in finely crafted precious metals. This juxtaposition challenges traditional notions of value and grandeur, inviting viewers to reconsider the relationship between material worth and artistic merit.

  • Interested in innovative jewelry made from recycled sources? Radical Jewelry Makeover invites volunteer “miners,” “smelters,” “refiners,” jewelers, and metalsmiths in a project that’s both performance and event. In collaborative work sessions, they mine people’s jewelry collections for materials—earrings that lost their mate, an old class ring, a dated necklace, a broken chain, anything languishing at the bottom of jewelry boxes—to reinvent into one-of-a-kind pieces. RJM was our guest for AJF Live. Watch a recording here.

Alexander Blank, Bones & All, 2025, brooch in Corian, silver, 2 ⅜ x 2 x ½ inches (61 x 50 x 12 mm), photo: Mirei Takeuchi
Alexander Blank, Bones & All, 2025, brooch in Corian, silver, 2 ⅜ x 2 x ½ inches (61 x 50 x 12 mm), photo: Mirei Takeuchi

Gallery: Four Gallery, Umeå, Sweden (click the gallery name to link to its website)
Contact: Karin Roy Andersson (click the gallerist’s name for email)
Artist: Alexander Blank
Retail price: 460€ (excluding VAT)

Hands are tools that make things happen. They cook, build, clap rhythms, make fires, kill, and heal, and nowadays they swipe and press all sorts of buttons. It seems like they are mostly intended to carry out what the brain has planned, but there is another story. What if the hands had enough? What if they wanted to break free and create a new reality? In Alexander Blank’s latest work, we get a glimpse of this speculative evolutionary path where hands and fingers become independent and free—become themselves.

  • We present an interview with Alexander Blank here

Kerianne Quick, .223 Remington (Oh Well), brooch in titanium, vegetable-tanned leather, cotton, 6 ½ x 17 x 1 inches (165 x 432 x 25 mm), photo: artist
Kerianne Quick, .223 Remington (Oh Well), brooch in titanium, vegetable-tanned leather, cotton, 6 ½ x 17 x 1 inches (165 x 432 x 25 mm), photo: artist

Gallery: In the Gallery at Brooklyn Metal Works, Brooklyn, NY, US (click the gallery name to link to its website)
Contact: Brian Weissman (click the gallerist’s name for email)
Artist: Kerianne Quick
Retail price: US$1,750

Oh Well is a collection of leather and titanium necklaces and brooches that draws from historical and contemporary forms of body armor, including bibs, utility wear, aprons, and tactical vests. Titanium “wound” inserts, informed by slow-motion projectile testing and forensic images of high-caliber bullet wounds, transform evidence of bodily trauma into objects of adornment while exploring notions of manufactured protection and a false sense of security.

  • Kerianne Quick took part in the La Frontera exhibition, curated by Mike Holmes. We reviewed that show here

Gitte Nygaard, Earstud, in silver, bronze, sponge, porcelain, size varies, photo: artist
Gitte Nygaard, Earstud, in silver, bronze, sponge, porcelain, size varies, photo: artist

Gallery: Objects Beautiful, London, UK (click the gallery name to link to its website)
Contact: Yael Reisner (click the gallerist’s name for email)
Artist: Gitte Nygaard
Retail price: £270 GBP (without tax)

This porcelain ear stud by Gitte Nygaard explores porosity as both form and meaning, something permeable and changeable—an imprint of relations in constant transformation. Inner structures surface sensuously, shaped by the materials’ own capacities to absorb, resist, and release. Porosity functions as a way of making and of thinking—a cautious hope that jewelry can echo the fragile ongoing making of the world itself. Nygaard is one of the most important European art jewelers today. See www.gittenygaard.com

  • Corrina Goutos also uses porcelain—in the form of broken figurines—in her latest series of works, combining it with e-waste. We interview the finalist for the 2026 Young Artist Award here

Sowon Joo, Ring, in 18-karat gold, diamonds, ring size 6.25, photo: Pistachios
Sowon Joo, Ring, in 18-karat gold, diamonds, ring size 6.25, photo: Pistachios

Gallery: Pistachios Contemporary Art Jewelry, Chicago, IL, US (click the gallery name to link to its website)
Contact: Meg Nash (click the name for email)
Artist: Sowon Joo
Retail price: US$16,795

A statement ring that is truly unlike anything you’ve ever seen. Solid 18-karat gold is intricately crocheted by Sowon Joo and then adorned with diamonds throughout. Joo’s work is focused on the rites of passage that all living creatures experience: birth, death, and the growth and development that happens between them. She uses nature to describe these moments metaphorically.

  • Arline Fisch was also famous for incorporating textile techniques in the jewelry she made. She passed away in 2024. Thomas Gentille remembered her here

Gésine Hackenberg, Precious Fluids #1, 2012, brooch in silver-plated glass, red brass, photo: artist
Gésine Hackenberg, Precious Fluids #1, 2012, brooch in silver-plated glass, red brass, photo: artist

Gallery: Galeria Reverso, Lisbon, Portugal (click the gallery name to link to its website)
Contact: Paula Crespo (click the gallerist’s name for email)
Artist: Gésine Hackenberg
Retail price: €940

The Kitchen Glass Brooches are part of the Still-lives Collection. “The Still-lives Collection can be seen as a contemporary interpretation of 17th- and 18th-century Dutch still-lives,” states Gésine Hackenberg. “Those paintings usually depicted items of everyday life that were economically and emotionally significant for people of that time. I cut vintage glassware and rearrange the pieces into new compositions, new still-lives. It is a perfect translation from three- to two-dimensional shapes, from down-to-earth glasses and bowls to precious jewellery. The body of the wearer takes on the role of canvas as it were… In this collection I also pay homage to the history of European glass manufactures and their designers, especially those in The Netherlands, Germany, and Scandinavia.” The piece on the left in the photograph is available.

  • Susan Cummins interviewed Gésine Hackenberg here

Marty Ornish, Fringe Benefits, from the On the Fringe collection, 2026, collar in historical 100-year-old cotton quilt, batting, letterpress ink, fringe, 24 x 20 x 22 inches (610 x 508 x 559 mm), photo: Steve Ornish
Marty Ornish, Fringe Benefits, from the On the Fringe collection, 2026, collar in historical 100-year-old cotton quilt, batting, letterpress ink, fringe, 24 x 20 x 22 inches (610 x 508 x 559 mm), photo: Steve Ornish

Gallery: Wearable Art Museum (click the gallery name to link to its website)
Contact: Lisa M. Berman (click the director’s name for email)
Artist: Marty Ornish
Retail price: $1,200

Zero waste/Loved to death/Nothing is new—these are all daily mantras from the sewing-machine studio of the notorious maker Marty Ornish. MartyO is an established artist known for her politically charged, thought-provoking museum exhibitions using fabric as material (yes, I said that) and meaning as substance. No better example of this was her 2021 Social Security exhibition at the Oceanside Museum of Art, in Oceanside, CA, US. This lavender-haired artist has the best spectacles in the room, wielding her intention to make “examples” of others’ waste and turn them into new wearable sculpture—as seen in the On the Fringe collar series as part of the California Fibers The Languages of Fiber exhibition at the Huntington Beach Art Center, in Huntington Beach, CA, US, through October 24, 2026.

  • Lisa M. Berman directs the Wearable Art Museum. An interview with her appears here

Aaron Brown, Huia, 2025, ring, 9-karat yellow gold, size R, photo: Michael Couper
Aaron Brown, Huia, 2025, ring in 9-karat yellow gold, size R, photo: Michael Couper

Gallery: Fingers Gallery, Auckland, New Zealand (click the gallery name to link to its website)
Contact: Lisa Higgins (click the name for email)
Artist: Aaron Brown
Retail price: NZ$2,370

Raised in a creative, entrepreneurial household, Aaron Brown embraced the belief “you can do anything,” nurturing a fearless curiosity that continues to drive his evolving craft. Each piece, whether a delicate gold Huia ring (as featured here) or a bold bronze sculpture, carries this spirit of exploration. Celebrating the essence of Aotearoa, Brown transforms the natural world into wearable art. From the distinctive Kowhai ring to graceful fantail designs, his jewelry balances cultural resonance with refined craftsmanship. “I love the challenge of representational or realistic carving and the goal of capturing a small slice of the subject’s personality,” he says.

  • The huia, a New Zealand bird, went extinct due to habitat loss, introduced predators, and high demand as museum specimens and for their feathers as hat trimmings. Saskia van Es reviewed Animalia—Collection of Splendor & Pastel, an exhibition that featured fauna in both images and as material for jewelry. Check it out here

Cindy Cheng, Best Bud, 2022, single earring in sterling silver, 1 ½ x ¾ x ½ inches (38 x 19 x 13 mm), photo: J Diamond
Cindy Cheng, Best Bud, 2022, single earring in sterling silver, 1 ½ x ¾ x ½ inches (38 x 19 x 13 mm), photo: J Diamond

Gallery: Baltimore Jewelry Center, Baltimore, MD, US (click the gallery name to link to its website)
Contact: J Diamond (click the name for email)
Artist: Cindy Cheng
Retail price: US$150

Cindy Cheng is a jeweler and sculptor who lives and works in Baltimore, MD, US. Before focusing completely on her studio practice, Cheng was a faculty member at the Maryland Institute College of Art (MICA) where she taught in the Drawing and General Fine Arts departments. She has participated in residencies at the Joan Mitchell Center NOLA, Anderson Ranch, and most recently at Arrowmont School of Art’s Pentaculum. She is driven by a thirst to acquire skills and grabs any opportunity to learn something new. Cheng received her BA from Mount Holyoke College. She received a Post-Baccalaureate Certificate from MICA in 2008, then earned an MFA from MICA’s Mount Royal School of Art in 2011. In fall of 2025, Cheng was an artist in residence at the Baltimore Jewelry Center.

  • The BJC’s shop features production work by prominent art jewelers as well as work made by its instructors. The work is generally priced at $500 or less. Learn more about the combination school, gallery, and retail space here

Carina Shoshtary, Suspended Gravity, 2026, brooch in snail houses, hinoki splints gifted by mask maker Hideta Kitazawa, seeds of the Japanese anemone, PLA, silver, stainless steel, lacquer, 7 ⅛ x 4 ¾ x 2 ⅜ inches (180 x 120 x 59 mm), photo: artist
Carina Shoshtary, Suspended Gravity, 2026, brooch in snail shells, hinoki splints gifted by mask maker Hideta Kitazawa, seeds of the Japanese anemone, PLA, silver, stainless steel, lacquer, 7 ⅛ x 4 ¾ x 2 ⅜ inches (180 x 120 x 59 mm), photo: artist

Gallery: Galerie Noel Guyomarc’h, bijoux et objets contemporains, Montreal, QC, Canada (click the gallery name to link to its website)
Contact: Noel Guyomarc’h (click the gallerist’s name for email)
Artist: Carina Shoshtary
Retail price: €3,000

Carina Shoshtary incorporates natural elements into her new series, *Forms of Holding,* wrapping and binding them using a 3D pen—acting as a new form of protection.

  • Carina Shoshtary was a 2017 Susan Beech Mid-Career Artist Grant finalist. We interviewed her here, when she was making work in a very different style

Ameli Dévé, Braid, 2024, brooch in oxidized silver, 7 ⅞ x ¾ x ⅜ inches (200 x 20 x 10 mm), photo Sofia Björkman
Ameli Dévé, Braid, 2024, brooch in oxidized silver, 7 ⅞ x ¾ x ⅜ inches (200 x 20 x 10 mm), photo Sofia Björkman

Gallery: Platina, Stockholm, Sweden (click the gallery name to link to its website)
Contact: Sofia Björkman (click the gallerist’s name for email)
Artist: Ameli Dévé
Retail price: US$550

Ameli Dévé often draws upon universal symbolism and familiar forms, such as the braid. In this work, she uses pure fine silver, the softness of which allows her to shape the metal into forms that would otherwise be difficult to achieve. She stretches and pushes the material to its limit. The results allude to traditional craftsmanship while simultaneously pushing its boundaries and re-examining its classic structures. Dévé was born in the north of Sweden and is now based in Gothenburg. After completing a three-year apprenticeship in Tibet, making traditional Tibetan jewelry, she continued to study in Sweden, New Zealand, and France, and received an MFA degree in jewelry art from the Academy of Design and Crafts, in Sweden.

  • Sofia Björkman told AJF about Platina in this interview

Teresa Shields, Green Pod Necklace, 2021, necklace in felted wool, wool roving, hidden magnetic clasp, 6 x 25 ½ x 1 inches (152 x 648 x 25 mm), photo courtesy of the artist
Teresa Shields, Green Pod Necklace, 2021, in felted wool, wool roving, hidden magnetic clasp, 6 x 25 ½ x 1 inches (152 x 648 x 25 mm), photo courtesy of the artist

Gallery: Gravers Lane Gallery, Philadelphia, PA, US (click the gallery name to link to its website)
Contact: Mia Chen (click the name for email)
Artist: Teresa Shields
Retail price: US$5,800

The pods are based on the maple seed, though not as replicas—Teresa Shields is after the essence rather than the specimen. From a distance they read as a repeating mass of seemingly identical organic shapes, fanned out into a beautiful collar. Up close, no two match, each with its own shape and coloration, made by hand, not by nature. Shields learned to felt at a two-week intensive at Penland in 2016 and has been reverse-engineering her visions with the process since, calculating how wool shrinks to build a form backward toward what she wants it to become. Hidden magnetic clasps fasten the piece around the neck with ease.

  • Gravers Lane Gallery describes its approach in an interview here

The opinions stated here do not necessarily express those of AJF.

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