Rebecca Hannon, Wave Necklace, 2016, laminate, 960 x 60 x 60 mm, photo: Andrea Wagner The brightly colored, interlocking, laminate shapes that form the perplexingly composed necklaces and brooches in Rebecca Hannon’s recent exhibition Contemporary Camouflage are the result of investigations into the effects color has on form, and the complex configurations made possible through laser […]
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Outdoor view, Carolina Apolonia’s studio, Middelburg, Netherlands, photo: Galerie Beyond Carolina Apolonia is a jeweler based in Middelburg, Netherlands, whose work has been shown in a number of exhibitions in Europe as well as Asia. She trained at the Royal Academy of Art in Antwerp, Belgium, and was the owner of gallery io for contemporary
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(left) The Shibumi Gallery doors and meeting area, 2016, photo: Mark Tucsman; (right) April Higashi in her gallery, 2015, photo: Maren Caruso I have known April Higashi for many years and—full disclosure—she worked for me when I owned a gallery for a number of years. I think April is the ideal model for the new
HS project organizers Peter Deckers and Hilda Gascard during their visit to Tanel Veenre’s The Will / Tahe exhibition, Tallinn, September 2016, photo: Sarah Walker-Holt In July 2012, Dutch-born jeweler and educator Peter Deckers sent me an email. He had launched a mentoring program a year before, independent of his teaching work at Whitireia (Wellington).
Maria Rosa Franzin, September 2016, photo: Luciano Tomasin I have been interviewing jewelry makers since 2001, and this has included several exponents of the School of Padua, together with professor Mario Pinton. It is therefore a pleasure to now hear about further developments at the school through the thoughts of one of the key teachers
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Exhibition view, Moniek Schrijer, Double Happiness, 2016, The National, Christchurch, New Zealand, photo: The National Moniek Schrijer is a jeweler based in New Zealand. Having first trained in jewelry design and manufacturing, she then spent several years working in a metal arts foundry before obtaining her graduate diploma in jewelry and print making from Whitirea.
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Jaydan Moore, Specimen #7, 2014, sculpture, found silver-plated platters, 66 x 72 x 5 cm, photo: Mercedes Jelinek Jaydan Moore is quickly gaining recognition. His recent exhibition, Lost Causes, at Ornamentum Gallery, has further sparked interest in his young career. Lost Causes, which pairs Moore with accomplished British metalsmith David Clarke, presented the different creative
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John Moore, Diamond Verto Necklace, 2015, sterling silver, 18-karat gold, diamonds, steel, silicone, magnets, 210 mm diameter, photo: artist Bonnie Levine is the kind of person who wants to do things right. She’s honest, earnest, and takes care to think before she leaps. So I can imagine that before she decided to start a gallery,
Annie Fensterstock, Vine Cuff, 2015, 22-karat yellow gold, 18-karat yellow gold, 18-karat white gold, full-cut diamonds, rose-cut white sapphires, 64 x 45 x 16 mm, photo: Christine Blackburne New York-based jewelry artist Annie Fensterstock is known for her intricate, richly adorned designs which utilize ancient goldsmithing techniques and traditional materials such as gold, silver, and
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(left) Iris Eichenberg; (right) Cindi Strauss For many years, Art Jewelry Forum has given a “young or emerging jewelry award.” This year, Susan Beech offered to give a grant of $20,000 for a mid-career jewelry project. Susan hopes to highlight those makers who are busy developing their working styles and consumed by the efforts of
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Neke Moa, Kai (Food), 2014, pendants, pounamu (New Zealand nephrite jade), paint, cord, tallest: 100 mm, photo: Spring Rees The smooth surfaces of Māori artist Neke Moa’s sculptural stone necklaces are etched with undulating lines and embellished with red enamel. Moa’s highlighted details give the impression that a red-hot vitality flows below the surface of
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Exterior view, Ra Gallery, 1979, Lange Leidsedwarsstraat, Amsterdam, photo: courtesy Ra Gallery The past decade has given most independent art practitioners occasional cause for dismay, as culture budgets get slashed and jewelry departments fight for their economic survival. In this climate, I find it particularly important to celebrate the resilience of jewelry dealers around the
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