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
In Conversation with Paul Derrez, Mike Holmes, and Noel Guyomarc’h Read More »
Isabel Dammermann in her workshop, Wennigsen, Germany, photo: Andrea Seifert OHMYBLUE recently presented Isabel Dammermann’s first solo show. Since graduating from Alchimia in Italy in 2008, Isabel, who hails from Hanover, Germany, has established herself as an international artist with a love of materials and a clear aesthetic voice. Sandra Wilson caught up with her
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Karen Pontoppidan in her office, Akademie der Bildenden Künste, Munich, February 2016, photo: Benjamin Lignel The news of Karen Pontoppidan’s nomination as the successor to Otto Künzli at the head of the Munich academy’s jewelry department was viewed—with excitement, surprise, joy, and worry—as a tidal change. She was picked from a wide cast of artists
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Jorge Castañón, Las Madrigueras, 2007, necklace, ebony, itin wood, eucalyptus, linen, 210 x 450 x 20 mm, photo: artist Jorge Castañón is a significant jeweler in Argentina. He has developed his work both as a jeweler and as a craft master, springing from a traditional craftsmanship approach to contemporary jewelry. In 1990 he founded the
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Travis Chantar, (left) Julian Woodhouse, 2015; (right) Ledom, 2015, both from Tribe by Chantar Cut flowers are an iconic representation of ephemerality, the cycle of beauty and the process of death. Flowers and Tribes, two photographic series by New-York-based Travis Chantar, depict young, nude sitters adorned with ephemeral petal arrangements and body-paintings. I was
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Debbie Adamson, (left) Pine Necklace, 2016, laminated vinyl, rubber cord, 150 x 150 x 11 mm (not including length of cord); (right) Brooch: Accumulations Cream, 2016, plastic, copper, steel, 80 x 80 x 10 mm, photo: artist Growing up surrounded by the beauty of rural New Zealand, Debbie Adamson has been profoundly affected by the
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