Nikki Couppee, Diffraction Necklace, 2016, Plexiglas, brass, leather, film, 216 x 178 x 6 mm, photo: artist The jewelry of Oakland-based Florida native Nikki Couppee employs vibrant colors and illusory surfaces that simultaneously evoke preciousness while coyly giving it the finger. In this conversation, Couppee discusses the underlying nostalgic impulses and material fascinations in her […]
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Sarah Hood, Three Wreaths, 2016, mixed media, dimensions variable, photo: artist Botanical Illustrations is a group show, curated by Taboo Studio, of five international jewelers—Laura Baxter, Janice Ho, Sarah Hood, Kyunghee Kim, and Maia Leppo—who reinterpret this theme from the perspective of their own individual aesthetics. One of the artists, Seattle-based Sarah Hood, discusses her
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Alissa Lamarre, Tiara, 2013, copper, housing wire, 227 x 178 x 152 mm, photo: P.D. Rearick Alissa Lamarre’s exhibition at Brooklyn Metal Works, Dividing Gravity, features work with conflicting qualities; it’s large and tactile but dreamlike—exploring escapism but anchoring you in place. Lamarre shows both jewelry and sculpture, creating a landscape that transports you forward
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Māris Šustiņš, Raining Stars, 2016, promotional image, Art Gallery Putti, Latvia, photo: Art Gallery Putti The infinite possibilities of metal as a material for exploration and the magical aspects of the creative process underlie and inform Māris Šustiņš’s jewelry. In Raining Stars, his latest solo exhibition on show at Putti, each jewel is charged with
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Kevin Hughes, Kevin’s Music, 2015, photo exploration, Monk’s Music album cover, 1957, photo: Kevin Hughes/Thelonious Monk Known for his fondness for blending humor, found objects, and traditional craft, Kevin Hughes is an American studio artist who strives to make work with the form and depth of jazz. With an MFA from the Rhode Island School
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Karin Johansson, Alva, 2015, necklace, gold, anodized aluminum, acrylic, 860 mm, photo: elStudio Karin Johansson’s jewelry is subtle and elegant. Harmony of colors, tactile textures, lightness, and dynamic shapes define her new Soundtrack collection, on view now at Jewelers’Werk Galerie in Washington, D.C. The work is a playful continuation of her Abstractions of a City
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Becky Bliss, photo: Sandy Connon Photography New Zealander Becky Bliss first trained as a graphic designer before becoming a contemporary art jeweler after completing a bachelor’s in applied arts at Whitireia Community Polytechnic in 2010. The works in the exhibition Found, at Avid Gallery, Wellington, further develop Bliss’s exploration of surface using traditional and found
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Sean Gilson, Ring, 2016, opal, natural black pearls, steel, diamonds, 24 x 26 x 20 mm, photo: Aaron Faber gallery A new group show at Aaron Faber gallery showcases work from around the world which flaunts spectacular—and unusual—gems. These gems are rare curiosities and, to some extent, they fall outside the conventional market for precious
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Robert Baines, Perception 4 & 5, 2015, pendants, silver, powder coat, electroplate, (left to right) 50 x 45 x 23 mm, 50 x 51 x 25 mm, photo: Jeremy Dillon Renowned Australian goldsmith Robert Baines is an artist-goldsmith, scholar, and commentator on the field of contemporary crafts. He has won numerous international awards and, in
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Felix Lindner, Gold, 2016, bracelet, silver, anodized aluminum, plastic, 44 x 200 x 12 mm, photo: Samantha Font-Sala German artist Felix Lindner creates colorful jewelry that combines common materials, such as pieces of plastic toys, with exquisitely hand-fabricated findings. In this interview, Lindner reflects on his life-long immersion in jewelry culture, the influences that culminate
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Brooklyn Metal Works studio, 2012, photo: Brian Weissman Brooklyn Metal Works (BKMW) is a metal art studio that offers space for rent for the development of work in the metalsmithing field, as well as offering concept-based classes and gallery space to promote artists, designers, and makers. BKMW aims to advance the field of metalsmithing and to
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Marjorie Schick, Tribute to Professor Alma Eikerman, 1995, necklace, papier-mâché, paint, 464 x 502 x 114 mm, photo: Gary Pollmiller Gaudy. Oversized. Humorous. “So American.” Marjorie Schick has been making louder work than anyone else in the field for the last 55 years. She also worked with performance as early as 1977, and tested
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