Welcome to a new series on Art Jewelry Forum! The premise is simple: We’re deeply curious what you deem collection-worthy, and therefore invite you to pore over the jewelry pieces you own, select your current favorite or a piece you find especially noteworthy, and send in a photo to share with readers.
AJF thinks this series will offer some insight into what you think is important in the field, and we hope it will expose more contemporary artists to the community and beyond. We plan to publish a new edition four times per year, and invite everyone around the globe to contribute, however you define (or don’t define) yourself in relation to jewelry—as a maker, a collector, an enthusiast, gallerist, curator, etc. The only criteria are that you must own the piece and that it must have been made by someone other than yourself.
We hope you’ll join the fun! Simply go to this link to submit a photo of your favorite jewelry.
!["Peter Vermandere, ALU Continuo ring"](https://artjewelryforum.org/wp-content/uploads/2020/11/Aluminium20ring20Peter20Vermandere20Saskia20Kolff20van20Es_1024x768px.jpg "\"Saskia van Es selected this ring by Peter Vermandere as her favorite piece of jewelry. "Materials carry stories. With this ring I bought the story of aluminum. When the Atomium, Brussels’s landmark building, was refurbished, Peter Vermandere was offered a discarded aluminum panel. Later he laid hands on more panels and made jewelry with used offset printing plates and other aluminum scraps. We talked about the ore bauxite, war planes, cooking pots, things that need to be strong and lightweight. This material has shaped economies and ruined ecologies. Its production requires enormous amounts of energy, but the result can be reused almost endlessly. Reused aluminum is also the basis of the ALU Continuo ring. It’s cast with a lost-wax method and, I guess, a secret grainy ingredient. The slight discomfort in wearing it is a gentle reminder of its presence during the day." Photo caption: Peter Vermandere, ALU Continuo ring from the Aluminium Galore series, 2020, reused aluminum, 45 x 30 mm, photo: Saskia van EsPeter Vermandere, ALU Continuo ring\"")
!["Sergey Jivetin, Pentagon #3 Brooch"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_4919_1024x768px.jpg "\"Several people chose Sergey Jivetin, including Lois U. Jecklin: "‘40 Under 40’ was prior to 2014, the year of my 80th birthday; I saw Sergey Jivetin’s work there and was captivated. My family planned an 80th birthday for me, and my granddaughter Maddie was deputized to go to my favorite jewelry store, Ellen Reiben's Jewelers’Werk. Maddie said she was looking for a gift for her grandma, but didn't give my name. Ellen showed various pieces. At one point Maddie rejected one, saying ‘That's too literal, and my grandma is not a literal person.’ Maddie bought this, not knowing I'd admired Sergey's work. I was delighted when I opened the gift, and delighted again when later I revealed to Ellen that Maddie is my granddaughter and Ellen told this story. I love the pin, love the background story and love that my granddaughter doesn’t think I'm a literal person!" Caption: Sergey Jivetin, Pentagon #3 Brooch, from the Time Structures series, c. 2005, watch hands, stainless steel, 70 x 70 x 13 mm, photo: Lois U. Jecklin")
!["Deedie Rose wearing Sergey Jivetin’s Poultry Accumulus"](https://artjewelryforum.org/wp-content/uploads/2020/11/Deedie_45B15D_1024x768px.jpg "\"Deedie Rose also selected work by Sergey Jivetin as a favorite. "I love Sergey Jivetin’s Poultry Accumulus because it looks impossible, not to mention slightly crazy, to wear a bunch of turkey eggs around your neck," she says. "Mostly I love it because it’s so beautiful, and it’s so incomprehensibly beautifully crafted." Caption: Deedie Rose wearing Sergey Jivetin’s Poultry Accumulus, 2009, eggshell, carbon fiber, gold, steel, 445 x 305 x 83 mm, photo courtesy of Deedie RoseDeedie Rose wearing Sergey Jivetin’s Poultry Accumulus\"")
!["Works by Sergey Jivetin, Sally Marsland, Zach Peabody, Ford & Forlano, John Iversen, Lore Langendries, and other artists"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_5639_1024x768px.jpg "\"Don Friedlich sent in a snapshot of the display of his collection—don’t you love how he presents the work?!—along with a close-up of one piece. "I collect jewelry (mostly in the form of trades), ceramics, and paintings," says Friedlich. "I look for a mature voice, thoughtful content, and excellent execution." Photo caption: Works by Sergey Jivetin, Sally Marsland, Zach Peabody, Ford & Forlano, John Iversen, Lore Langendries, and other artists, photo courtesy of Don FriedlichWorks by Sergey Jivetin, Sally Marsland, Zach Peabody, Ford & Forlano, John Iversen, Lore Langendries, and other artists\"")
!["work by Sergey Jivetin"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_5640_1024x768px.jpg "\"The close-up Don Friedlich sent to AJF features work by Sergey Jivetin. "I love the blend of temporal concept with delicacy and brilliant execution," notes Friedlich. Photo caption: Sergey Jivetin, Nest #2 Brooch, from the Time Structures series, c. 2005, watch hands, sterling silver, steel, 70 x 70 x 13 mm, photo courtesy of Don Friedlichwork by Sergey Jivetin\"")
!["Marion Delarue wears Lore Langendries’s Hunacturing"](https://artjewelryforum.org/wp-content/uploads/2020/11/Lore20Langendries_1024x768px.jpg "\"Marion Delarue (like Don Friedlich) also shared a piece by Lore Langendries. She describes it as the pearl of her "(very) modest collection. Super sober, both discreet and intriguing, this particular work was acquired in 2017, while co-curating an exhibition dedicated to the ambiguous relationships between animals and humans with Sophie Hanagarth. Lore Langendries was one of the invited artists, and both Sophie and I took this opportunity to purchase our first piece from her. Since then, I have organized an exhibition about natural curiosities, entitled Finding Dodo, together with Lore, Jelizaveta Suska, and Märta Mattsson, and have somehow been an insider witness of the evolution of Lore’s work, which I found most interesting." Photo caption: Marion Delarue wears Lore Langendries’s Hunacturing, 2014, springbuck hide, saddle leather, magnets, 78 x 78 mm, photo courtesy of Marion DelarueMarion Delarue wears Lore Langendries’s Hunacturing\"")
!["Yves Amu Klein, Untitled"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_8280-c_1024x768px.jpg "\"Yun Gee Park says, "Many pieces in my collection are near and dear to my heart for a multitude of aesthetic, intellectual, and sentimental reasons. Picking one as ‘most important’ is akin to choosing a favorite child. Lately I’ve been particularly drawn to work by Yves Amu Klein for its innovative use of contemporary material and technique, and a meticulous attention to design and engineering. Klein creates work primarily through 3D printing on tools that he builds himself. Jim Dine has stated that he believes tools provide a link with the human past and the hand. Klein’s tools are more an extension of the mind and future, where the hand of the artist to the artwork is subordinate to the imagination. Klein often integrates laser-cut wood pieces into his polymer works in such a manner that the manmade and natural become equally and mutually dependent on each other for the design and structure of the piece." Caption: Yves Amu Klein, Untitled, 2019, PLA fibers, magnetic clasp, photo courtesy of Yun Gee ParkYves Amu Klein, Untitled\"")
!["Margit Hart wearing Fritz Maierhofer’s Torrent"](https://artjewelryforum.org/wp-content/uploads/2020/11/M.Hart-wearing_Torrent-by-FritzMaierhofer_1024x768px.jpg "\"With the Torrent brooch, by Fritz Maierhofer, Margit Hart is sharing one of her most favorite pieces. This brooch, from 2015, is part of a large body of work in which Maierhofer worked extensively with industrial enamel on iron, a technique completely new to him. Besides being wearable, it’s also a beautiful object in itself. "I am fascinated by the three-dimensionality of the shape and its painterly qualities," says Hart. "The easiness with which the artist worked and transformed his impressions of the mountain world evokes my personal memories of hiking in the Cottian Alps and of being immersed in the great variety of summits, rocks, lakes, and crystal-clear cascades of water." Caption: Margit Hart wearing Fritz Maierhofer’s Torrent, 2015, industrial enamel on iron, magnets, photo courtesy of Margit HartMargit Hart wearing Fritz Maierhofer’s Torrent\"")
!["Barbara Cohen wearing Ela Bauer’s Untitled"](https://artjewelryforum.org/wp-content/uploads/2020/11/DSC_7076_1024x768px.jpg "\"The current favorite in Barbara Cohen’s collection is this piece by Ela Bauer. Cohen tells AJF, "An annual trip to my hometown of Montreal always includes a visit to Galerie Noel Guyomarc’h, where I inevitably leave with one more piece to add to my collection. Ela Bauer’s red silicone neckpiece has been my most colorful acquisition. Red has more associations than any other color and demands that you take notice, which I did. I love the necklace’s bold simplicity and subtleties and wear it often, especially since it’s one of my easiest pieces to wear. Many of my jewelry pieces are conversation starters—with people I know as well as strangers—but this necklace is like no other. It puts a smile on people’s faces." Caption: Barbara Cohen wearing Ela Bauer’s Untitled, 2015, necklace, synthetic resin, pigments, silicone, sculpted, cast, painted, photo courtesy of Barbara CohenBarbara Cohen wearing Ela Bauer’s Untitled\"")
!["Ela Bauer, Untitled"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_9794_1024x768px.jpg "\"Barbara Cohen continues her story: "After explaining to Noel how much I disliked the color as a child, I made the decision, while still in his gallery, to title the national exhibition I had been asked to curate Seeing Red. I contacted Ela afterward and explained how her necklace inspired an exhibition. I had the pleasure of meeting her in her wonderful waterfront studio while visiting Amsterdam about a year later. Her explanation of the molds she makes to create her work further enhanced my appreciation of this fabulous piece." Caption: Ela Bauer, Untitled, 2015, necklace, synthetic resin, pigments, silicone, sculpted, cast, painted, photo courtesy of Barbara CohenEla Bauer, Untitled\"")
!["Trudee Hill wearing Marita Dingus’s Shells"](https://artjewelryforum.org/wp-content/uploads/2020/11/TrudeeHill_wearing_MaritaDingus_1024x768px.jpg "\"Trudee Hill had admired Marita Dingus’s sculptural works for many years and couldn’t resist the chance to own one of her wearable pieces, though she tried for several months. "The purchase was a stretch for me financially," says Hill, "so I coveted the piece from afar until I couldn’t take it any longer. I had to own this piece! Marita’s use of fabric, color, and texture is in stark contrast with my own jewelry, which is almost exclusively metal, monochromatic, and quite flat. Over the years I’ve found that I’m often drawn to wearable art that is very different from my own." Caption: Trudee Hill wearing Marita Dingus’s Shells, 2015, necklace, found fabrics and thread, 300 x 260 x 20 mm, photo courtesy of Trudee HillTrudee Hill wearing Marita Dingus’s Shells\"")
!["Jack Burton, Bracelet"](https://artjewelryforum.org/wp-content/uploads/2020/11/Burton20Japanes20Bracelet2001_1024x768px.jpg "\"John Rose waited for 38 years to own this bracelet by Jack Burton! He recounts the story behind it: "The first time I saw this bracelet was in 1981 at a jewelry conference I was speaking at. The piece was so bold and intriguing that I walked across the room and introduced myself to the woman wearing it, hoping to discover more about it. She was Mae Burton, the designer of the piece. Mae then introduced me to her husband, Jack Burton, who had fabricated the bracelet. They were an artist couple, same as my wife and I, and, as luck would have it, they lived just a few blocks from us! This encounter launched a 40-year friendship during which I apprenticed with Jack and Mae, and we collaborated on many pieces together." Caption: Jack Burton, Bracelet, 1980, sterling silver, bamboo, lacquer, mother-of-pearl, photo courtesy of John RoseJack Burton, Bracelet\"")
!["Jack Burton, Bracelet"](https://artjewelryforum.org/wp-content/uploads/2020/11/Burton20Japanese20Bracelet2002_1024x768px.jpg "\"John Rose’s story continues: "Over the years, try as I might, Mae always rebuffed my frequent offers to buy the bracelet. We remained close friends and continued to work together on creative projects right up until her passing in 2019. Mae bequeathed the bracelet to me as a parting gift. I will never sell it." Jack Burton, Bracelet (alternate view), 1980, sterling silver, bamboo, lacquer, mother-of-pearl, photo courtesy of John RoseJack Burton, Bracelet\"")
!["Eric Silva, Necklace"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_5022_1024x768px.jpg "\"Kristin Beeler contributed an image of work by Eric Silva. "Eric made this piece for an exhibition I curated in 2018 called PlumbLine, which explored four California jewelry and metalwork artists," explains Beeler. "This is the piece as it hung in the exhibition. There were so many wonderful pieces in that show, but this is the one that inspired the most 'covet' for me. It embodies Eric's ability to be casual and careful simultaneously and has so many aspects I try for as a maker myself. He makes it look so easy. I’ve only worn it once and it was a joy. But I pass it in my house every day, and it remains fresh every time I see it. Photos don't really do it justice." Caption: Eric Silva, Necklace, 2018, iron wire, brass, bone, druzy agate, 1,270 mm long, photo courtesy of Kristin BeelerEric Silva, Necklace\"")
!["Christoph Straube, Brooch"](https://artjewelryforum.org/wp-content/uploads/2020/11/20201024_200452_1024x768px.jpg "\"Thomas Maier sent in a photo of a piece by Christoph Straube. "I usually don't buy very impulsively," says Maier. "I hover over the pieces and examine them a couple of times over the course of a show or multiple events, checking whether what intrigued me in the first place—the idea, story, shape, style of the piece—has not worn off and the prospect of owning/wearing it still excites me. Christoph Straube's work immediately caught my eye. His steel/enamel brooches and necklaces are very clean, precise, and easy to wear, and have this stunning depth effect. But I also appreciate the underlying process and exceptional craftmanship behind it. After some back and forth I visited Christoph at his studio in Nuremberg to pick a piece but (un)fortunately most of his pieces were at exhibitions/galleries. He offered to make me a new one and said I could choose from his repertoire." Caption: Christoph Straube, Brooch, 2017, stainless steel, enamel, approximately 60 x 40 mm, photo courtesy of Thomas MaierChristoph Straube, Brooch\"")
!["Christoph Straube, Brooch"](https://artjewelryforum.org/wp-content/uploads/2020/11/20201024_194139_1024x768px.jpg "\"Thomas Maier continues: "We decided on a circular shape and thought about making it slightly smaller to wear it easily on a jacket. And by chance the enamel turned out more blueish than usual, which we both liked. So this is truly a one-of-a-kind piece for me." When worn, Straube’s brooch has a delightful three-dimensional trompe l’oeil effect. Here it is off the body. Caption: Christoph Straube, Brooch, 2017, stainless steel, enamel, approximately 60 x 40 mm, photo courtesy of Thomas MaierChristoph Straube, Brooch\"")
!["Elsa Vanier wearing Agathe Saint Girons’s Urbis et Orbis"](https://artjewelryforum.org/wp-content/uploads/2020/11/Urbis-Collier20worn_1024x768px.jpg "\"Elsa Vanier has an interesting story about how she commissioned this piece by Agathe Saint Girons: "A remarkable feature of this necklace is that although I paid for it, I was not allowed to choose what it would be nor what it would be made of! I commissioned a ‘bijou-portrait’ from Saint Girons. Among the many topics discussed during the three-hour interview, I gave a budget and said that I was hardly wearing any long necklaces. Otherwise my ‘jewel’ was to remain a secret. It took her more than three months to create it. On D-day, five of us discovered our own ‘bijou-portraits’ with statements from the artist. I remember this evening as very moving." Caption: Elsa Vanier wears Agathe Saint Girons’s Urbis et Orbis, 2013, red leather, old ivory, 750 rose gold, coral bead, photo courtesy of Elsa VanierElsa Vanier wearing Agathe Saint Girons’s Urbis et Orbis\"")
!["Agathe Saint Girons, Urbis et Orbis"](https://artjewelryforum.org/wp-content/uploads/2020/11/Orbis20et20Urbis20SOLO-clair_1024x768px.jpg "\"A closer view of Elsa Vanier’s necklace. The artist, Agathe Saint Girons, wrote the following about the piece: "‘Urbis et Orbis’ | Elsa’s Magnificent Mess, by Agathe Saint Girons. Abundance of passions, interests, both professional and cultural activities. At a crossroad between her academic training, her choice of a demanding professional life, and her unconditional love for creation, travel, sport... The red of the necklace symbolizes China. Coral is one of her favorite materials. Ivory represents delicacy. The false fragility of this material makes me think of the woman in all her complexity. The golden threads illustrate the person and embody her beauty…" Caption: Agathe Saint Girons, Urbis et Orbis, 2013, red leather, old ivory, 750 rose gold, coral bead, photo courtesy of Elsa VanierAgathe Saint Girons, Urbis et Orbis\"")
!["Bettina Dittlmann, Ringchen"](https://artjewelryforum.org/wp-content/uploads/2020/11/Bettina20Dittelman2002_1024x768px.jpg "\"Masumi Kataoka’s favorite piece of jewelry is a ring by Bettina Dittlmann that her husband got her as an engagement ring. "I didn’t desire a traditional engagement diamond ring," says Kataoka, "but when we were in Amsterdam in 2006, I saw this ring and really loved it, and he got it for me in lieu of an engagement ring, even though we were already married. I like how it’s very delicate, and, as you can see, the enamel has chipped off in some areas. It almost acts as a reminder of our marriage, that I need to take care of it and be sensitive and careful about it. Also, I like how Dittlmann uses garnets as stones. As far as I understand, they can withstand the heat while she enamels, but they’re also my birthstones." Caption: Bettina Dittlmann, Ringchen, 1998–2008, iron, garnets, enamel, photo courtesy of Masumi KataokaBettina Dittlmann, Ringchen\"")
!["Bettina Dittlmann, Ringchen"](https://artjewelryforum.org/wp-content/uploads/2020/11/Bettina20Dittelman2003_1024x768px.jpg "\""Because I don’t want the enamel to totally chip off," says Masumi Kataoka, "I don’t wear this ring outside anymore. I put it on at home once in a while just to look at it and experience it, but it’s still my favorite jewelry." Caption: Bettina Dittlmann, Ringchen, 1998–2008, iron, garnets, enamel, photo courtesy of Masumi KataokaBettina Dittlmann, Ringchen\"")
!["Bryna Pomp wearing Emmeline Hastings’s Murmur Rock Necklace"](https://artjewelryforum.org/wp-content/uploads/2020/11/C61B2831-F811-4720-9EB6-B41725871D91_1024x768px.jpg "\"Bryna Pomp has been the curator of LOOT: MAD About Jewelry since 2011, and purchased her favorite piece of jewelry, by Emmeline Hastings, at LOOT: MAD About Jewelry 2015. "The meticulous skill required to embed each of the pieces of metal in a wave-like formation is formidable," explains Pomp. "The hidden magnetic clasp is right in the front of the necklace and is a constant source of amazement to those admiring what I’m wearing. I love the scale, mix of shapes, and mix of metals in this piece." Caption: Bryna Pomp wearing Emmeline Hastings’s Murmur Rock Necklace, 2020, carved Perspex, 18-karat gold, titanium, stainless steel, photo courtesy of Bryna PompBryna Pomp wearing Emmeline Hastings’s Murmur Rock Necklace\"")
!["Laura Wood, Mended Flag"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_1594_1024x768px.jpg "\"Mia Hebib describes this piece by Laura Wood as capturing the Zeitgeist. "I’ve included my jacket pocket detail as I have been pinning my jackets with pieces that speak to today. Mended Flag represents the need to unite us all during these very divisive times. Additionally, the brooch format feels like an appropriate format for expression today. Everyone is donning masks to protect one another, which means our usual accessories are hidden and hard to see, but pins are outwardly displayed, informative, and ask for engagement and inquiry. For me personally, brooches feel like the most relevant jewelry format for today's expression. This is one of many brooches I have purchased this year." Caption: Laura Wood, Mended Flag, 2020, oxidized sterling silver, photo courtesy of Mia HebibLaura Wood, Mended Flag\"")
!["Anya Pinchuk, Untitled"](https://artjewelryforum.org/wp-content/uploads/2020/11/0FC1A3D4-7E03-4C5F-8EB8-249A3F4D8CA7_1_201_a_1024x768px.jpg "\"This ring by Anya Pinchuk was Adriana Radulescu’s first artist-made piece of jewelry. "Anya had a solo exhibit at Jewelers’Werk Galerie in Washington, DC, and I visited with my husband," remembers Radulascu. "We loved all the pieces. We’re both architects and appreciated the sculptural quality of the artist’s work. A few weeks later my husband surprised me with this ring as a present, and I think this is one of the most beautiful and unique rings ever made. Later I learned that Anya was teaching jewelry and metalwork at the Corcoran College of Art + Design. In 2009 I started my first jewelry class with Anya, and the rest followed. I’m still making jewelry and still loving this ring for its beauty, volume, structure, and difficult and ingenious connections. It reminds me fondly of meeting the artist, and of her great classes, and that it was a jewelry gift from my husband." Caption: Anya Pinchuk, Untitled, circa 2006–2007, silver, 27 x 27 mm, photo courtesy of Adriana RadulescuAnya Pinchuk, Untitled\"")
!["Leyla Taranto wearing Debbie Adamson’s Pendant"](https://artjewelryforum.org/wp-content/uploads/2020/11/Debbie20Adamson20Pendant20on20body_1024x768px.jpg "\"Leyla Taranto has this to say about Debbie Adamson’s pendant: "I love contrasts. The size, shape, rough material, and color of this pendant are counter to its soft and organic look, its beautiful curvy lines, and minimalistic design. I find the design strong and outstanding. Over the years, I’ve acquired a small collection of beautiful jewelry from many artists and designers around the world. It was very hard to choose only one piece out of that collection. But lately I’ve noticed that I’ve been wearing Debbie Adamson’s pendant more than before. I find myself reaching for this attractive, friendly, and informal pendant especially when I’m undecided what to put on." Caption: Leyla Taranto wearing Debbie Adamson’s Pendant, 2016, steel, cord, photo courtesy of Leyla TarantoLeyla Taranto wearing Debbie Adamson’s Pendant\"")
!["Debbie Adamson, Pendant"](https://artjewelryforum.org/wp-content/uploads/2020/11/Debbie20Adamson20-20Pendant_1024x768px.jpg "\"Leyla Taranto adds, "Debbie Adamson’s piece also has a unique and very pleasant tactile quality that draws me to touch it frequently while I have it on. I was very fortunate to come across this pendant in Auckland, New Zealand, at the country's oldest and very wonderful jewelry gallery, Fingers, in 2016." Caption: Debbie Adamson, Pendant, 2016, steel, cord, photo courtesy of Leyla TarantoDebbie Adamson, Pendant\"")
!["Sogand Nobahar, The Rebirth of Lotus"](https://artjewelryforum.org/wp-content/uploads/2020/11/TROL-7_1024x768px.jpg "\"Saman Yousefi loves this bracelet by Sogand Nobahar. "Many cultures consider women lower beings than men," says Yousefi. "Unfortunately, this way of thinking has brought about the discrimination and abuse of women. Every abused woman needs to break away from the chains of abuse. Like lotus flowers, abused women must rise from the muddy waters and blossom. This idea inspired the creation of this pearly white cuff, a symbol of strength, courage, and hope." Nobahar’s love for the rich heritage of the Persian empire motivated the bracelet’s creation. In Ancient Persia, women were treated with a lot of respect. They enjoyed the same rights as men. Like men, they could take up any role, including administrative roles. This award-winning design is Nobahar’s way of paying tribute to the Achaemenid Empire, the only ancient Persian Empire. It lasted 220 years—so she limited the edition to only 220 pieces. Caption: Sogand Nobahar, The Rebirth of Lotus, 2017, sintered nylon powder, photo courtesy of Saman YousefiSogand Nobahar, The Rebirth of Lotus\"")
!["Raffaella Brunzin, DOT Gummy Brooche"](https://artjewelryforum.org/wp-content/uploads/2020/11/69799716_10219355703714270_7493661193471524864_o_1024x768px.jpg "\"Sogand Nobahar herself submitted a piece by Raffaella Brunzin, explaining why she likes it so much: "Raffaella’s jewelry pieces are from waste materials. The linear, clean, minimalist form of the DOT brooch is in line with my way of thinking and the way I’d like my life to be: linear, clean, and minimalistic." Caption: Raffaella Brunzin, DOT Gummy Brooche, 2019, recycled materials, photo courtesy of Sogand NobaharRaffaella Brunzin, DOT Gummy Brooche\"")
!["Antique mother-of-pearl necklace"](https://artjewelryforum.org/wp-content/uploads/2020/11/WP_20201021_15_45_37_Pro_1024x768px.jpg "\"Ilona Maria’s favorite piece of jewelry is an antique mother-of-pearl necklace that’s more than 100 years old. The sterling silver clasp is gold-plated, and the mother-of-pearl beads are unusually large and carved with a freeform floral design. "I collect all kinds of seashells," says Maria. "Some of them are very large and antique. Because of the worldwide pollution in the ocean waters, some marine life and beautiful seashells are almost extinct. Seashells don't grow to their large sizes anymore, and many of them, like precious coral reefs, are completely extinct. This large mother-of-pearl necklace is very dear to me, as a reminder of the fragile environment of the sea waters, and all we can do to stop the worldwide pollution of our lands and seas." Caption: Artist unknown, antique mother-of-pearl necklace, year unknown, gold-plated sterling silver clasp, carved mother-of-pearl beads, photo courtesy of Ilona MariaAntique mother-of-pearl necklace\"")
!["Work by Nathan, title unknown, 2016"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_0064_1024x768px.jpg "\"This piece by a man named Nathan really resonates with matt lambert, who owns it. Here’s why: "For two years… for two long years. I already had an MFA, it was getting me somewhere, but I still am not sure where," says lambert. "Between two bar jobs I would sit and take a break in my car, on a bench, or walk between. It was never planned, but sometimes I ran into Nathan. He was honest—he was selling jewelry to feed a [drug] habit and also to keep his family alive. We used to sit on a bench eating slices of pizza, talking about what it meant to be an addict. The intellectual in me wonders what it means to be an ‘outsider’ jeweler, and the recovering addict in me wonders if Nathan ever made it. His necklace sits by my bedside to remind me to get up in the morning. It’s elastic and plastic, but worth more than gold. I wish we listened more." Caption: Nathan, title unknown, 2016, plastic, elastic, metal?, photo courtesy of matt lambertWork by Nathan, title unknown, 2016\"")
!["Aline Vandeplas wearing earrings by Akiko Kurihara and a brooch by Karin Seufert"](https://artjewelryforum.org/wp-content/uploads/2020/11/Aline20Vandeplas_1024x768px.jpg "\"Aline Vandeplas’s two favorites—by Akiko Kurihara and Karin Seufert—look gorgeous together. "Ever since I was a child, I’ve been fascinated by butterflies, their different colors and shapes, that frivolous lightness, it seemed like a small world in itself on a large, rough planet. Many people worldwide have passed down the symbolism of butterflies for generations. The butterfly also contains beautiful concepts of metamorphosis, mimicry, mimesis, camouflage ... My own thesis was about butterflies. I’ve collected butterfly brooches for 30 years. This Butterfly brooch by Karin is technically very ingenious and light. I admire her patience and her choice in using a base material. She gives it a second life, just as the butterfly often symbolizes the resurrection." Caption: Aline Vandeplas wears earrings by Akiko Kurihara and a brooch by Karin Seufert. Akiko Kurihara, Confetti, sterling silver, electro color plated; brooch by Karin Seufert, Butterfly, 2019, PVC, thread, steel, photo courtesy of Aline VandeplasAline Vandeplas wearing earrings by Akiko Kurihara and a brooch by Karin Seufert\"")
!["Pei Wu, Strawberry on One Sock"](https://artjewelryforum.org/wp-content/uploads/2020/11/what20we20collect_Yuxi20Sun_1024x768.jpg "\"Yuxi Sun’s favorite jewel is a little strawberry pin made by her previous flatmate, Pei Wu. She’s emotionally attached to the piece because it’s filled with so many beautiful memories. It was made shortly after they stopped living together and parted ways permanently. "I packed every single belonging from the house where we used to live together, but one of my socks was left somewhere. Pei found it later, but she didn’t throw it away. Instead, she cut out the pattern of the sock and made a small pin for me. I love it. Though it has nothing ambitious, the warm intention behind the piece is truly soothing for me." Caption: Pei Wu, Strawberry on One Sock, 2018, found sock, thread, steel, photo: Yuxi SunPei Wu, Strawberry on One Sock\"")
!["Joanna Gollberg, Ring"](https://artjewelryforum.org/wp-content/uploads/2020/11/IMG_7424_1024x768.jpg "\"Nathalie Mornu’s wedding band symbolizes her most important relationship. "Seven years after our wedding," she says, "I ate some tacos. Later, I walked down the street, my finger felt naked. Horror! My ring was gone! It fit loosely and must have come off in a napkin as I wiped my greasy hands. I flew back to the restaurant. The trash in the dining area had been thrown in the Dumpster. I almost dove in but was restrained by an employee who told me I risked being crushed by its compacting system or bitten by rats. I combed through 11 bags of garbage. Never found it. I was devastated, sure it signified my marriage was about to end. That ring is somewhere in Chicago’s landfill. I imagine someone finding it in 400 years, an odd connection over centuries. Joanna Gollberg fabricated the original and remade this for me. The first was more yellow and matte, which I preferred, but this band is narrower and more comfortable. And I’m still married!" Caption: Joanna Gollberg, Ring, 2017, 14-karat gold, photo: N. MornuJoanna Gollberg, Ring\"")
!["Yvonne Montoya wearing Ana Margarida Carvalho’s earrings and Mallory Weston’s Prismatic Spiky Heart Pin"](https://artjewelryforum.org/wp-content/uploads/2020/11/YvonneMontoya_1024x768.jpg "\"Yvonne Montoya’s collection is young and she’s still figuring out what she likes. "I take my time before purchasing—I save and plan to grow my collection. I'm thoroughly enjoying the learning and acquiring process. I love everything about these pieces—the color, the design, and the smart and fundamental techniques used. These earrings were purchased at Galeria Reverso on AJF’s trip to Lisbon. They were the very first jewelry I purchased after starting work at AJF. The brooch I bought this year, but I wore a Weston piece on my trip to Munich 2019, where Sienna Patti surprised me by asking what I’d like to wear from her collection. I requested something powerful and with good energy. She loaned me Weston’s brooch, Prismatic Smiley Pin, made of anodized titanium. I wore it like a friendly shield of armor. I knew then and there I had to own one of Weston's pieces, and now I do!" Caption: Yvonne Montoya wears Ana Margarida Carvalho’s earrings and Mallory Weston’s Prismatic Spiky Heart Pin, photo: Yvonne MontoyaYvonne Montoya wearing Ana Margarida Carvalho’s earrings and Mallory Weston’s Prismatic Spiky Heart Pin\"")
