Goldsmith '20 Catalog

Goldsmith ‘20 June 23 - July 24, 2021

Goldsmith ‘20 @ The InLiquid Gallery 1400 N American Street Studio 108 Philadelphia, PA 19122

June 23 - July 24, 2021 In partnership with the Society of North American Goldsmiths for their 2021 Virtual Conference

More than 50 years has passed since Goldsmith ‘70, the Society of North American Goldsmiths’ (SNAG) seminal exhibition of metalsmithing and jewelry held at the Minnesota Museum of Art, jurored by Stanley Lechtzin and John Prip.

Today, with the exhibition Goldsmith ‘20 held at the InLiquid Gallery in partnership with SNAG, we look back to that former exhibition with respect to find not only inspiration, but to also celebrate how far the field of metalsmithing and jewelry has come.

Goldsmith ‘70 not only celebrated works, but asked what the current status of the field was in America, and pondered where it was going. The work selected in Goldsmith ‘20 by jurors Dominique Bereiter, Eleanor Moty, and Elizabeth Shypertt uses the original work from Goldsmith ‘70 as an inspiration, embraces the traditional techniques of silversmithing, and pushes the field forward through the use of alternative materials.

At the Goldsmith ‘70 exhibition, curator Stanley Lechtzin noted, “… The young craftsman today is being exposed to tools and techniques which were not available to his predecessors. It is apparent that a tradition of excellence is developing,” and this development in tools and techniques applies to the artists on exhibition half a century later– as artists and craftsmen continue to cross boundaries and use their creativity to propel new and innovative ideas.

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Shearin Abdel Monem Shearin Abdel Monem studied psychology at the American University in Cairo where she received her BA in 1995. Always fascinated with the process of creating things, she has worked with multiple mediums, but it was a metals class that she took at the Irvine Fine Arts Center in 2010 that changed her career path to metalsmithing. Enameling is her true passion. Shearin has had her enamel work exhibited at the Irvine Fine Arts Center (June 2019), and the 2019 Halstead Design Challenge: Cycle exhibit at the annual SNAG conference.

Shearin currently lives in Irvine, California where she makes enameled adornment in her small studio.

Statement About the Work: Browsing through the Craft Council digital archives was a surreal experience. I was immediately drawn to a Pillbox for Washington by Joseph P. Girtner. It’s whimsical construction and colorful tassels seem to borrow a lot from North African neckpieces. The type that are worn for protection. My piece is a an etched cylindrical hollow form amulet, with graphite marked enameled elements.

Amulet, 2019 Sterling/fine silver, copper, vitreous enamel, graphite, 24k gold 3 x 2.5 x 1˝ $1,100 Photo credit: Cole Rodger

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Sue Amendolara Sue Amendolara was born in Youngstown, Ohio, USA. She received a Master of Fine Arts degree in Jewelry Design/ Metalsmithing from Indiana University Bloomington, and a Bachelor of Fine Arts degree from Miami University in Oxford, Ohio. She teaches Jewelry Design/Metalsmithing at Edinboro University of Pennsylvania and served as President of the Society of North American Goldsmiths. Her metalwork has been exhibited regionally, nationally and internationally in galleries and museums and is part of the permanent collections of The Renwick Gallery of the Smithsonian American Art Museum, Washington D.C. and the White House Collection of American Crafts, Washington D.C.

Statement About the Artwork: I made the sphere part of, Captured Pearl ring in approximately 1996 by wrapping precious metal clay (PMC) around a cheese ball. PMC was a new material at the time and it was exciting to see the results after the cheese ball burned away and left the hollow sphere half of its original size. I kept it in my studio because I liked the form but didn’t think I would ever use it in a piece. Many years later, when laser welding became available, I realized that I could cut part of the sphere away, insert a pearl and seamlessly weld it back together without damaging the pearl. Then I made the ring so the pearl could roll around loosely in the sphere.

Captured Pearl, 2016 Sterling silver and pearl 1.5 x 1 x 1˝ $1,500

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Haley Bates Haley Bates received her Master of Fine Arts Degree from Cranbrook Academy of Art in Bloomfield Hills, MI in 2002. In 2003 she accepted a position as head of the Metalsmithing and Jewelry program at Colorado State University, where she is currently an Associate Professor of Art. She is also a founding member of Telegraph Art Collective. Having lived in both extremely rural and highly urban areas, this polarity of place informs much of her work. Her work has been published in American Craft and Metalsmith magazine, and exhibited both nationally and internationally.

In her work, she often reinterprets common objects that function as cultural signifiers or indicators, reflecting associations concerning class structures and social status (the silver spoon, the chandelier).

Through processes of hybridization, reconfiguration, and material juxtapositions, she undermines these assumptions in order to create forms that are both evocative and multivalent.

Link, 2021 Sterling silver, pecan wood 7 x 4 x 4˝ $3,400

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Barbara Baur Barb Baur is a Philadelphia based artist and educator who makes and designs things. She primarily makes art jewelry, however she has been known to belly dance, teach pysanky, repair accordions and rescue friends from nursing homes.

Barb is an adjunct professor at Temple University Tyler School of Art, manages the Tacony LAB Community Arts Center in Northeast Philadelphia and also has her own business, Fair Winds Jewelry.

Barb’s biography has many twists and turns, but the twelve years of her life living and cruising on a sailboat has continued to inspire her work. She has a continuing fascination with wind, water, waves and the forms of sailing vessels. Her work is made using traditional gold and silversmithing techniques combined with modern fabrication tools like CAD (computer aided design), 3D printing along with other techniques.

Statement About the Artwork: In looking through the works that were displayed in the Goldsmith ‘70 exhibit, I was struck by the fact that both John Paul Miller and Mary Lee Hu’s pieces suggested sea creatures.

I wanted to playfully reinterpret the pieces in my own way, using computer modeling for 3D printing along with metal work and wire weaving.

Sea Creatures: J.P. Miller & M.L. Hu, 2020 Hand dyed 3D printed glass-filled polyamide, sterling silver, gold leaf, silver leaf, steel pin 8 x 7.5 x 4.5˝ $2,260

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Katy Bergman Cassell

Katy Bergman Cassell earned an MFA in Metals/Jewelry/Enameling fro Institute of Art in Ohio. She has worked as an archaeological illustrator Art, the Cloisters in New York, and at the Western Reserve Historical S She teaches metals and enameling the Fine Arts Center in Greenville,

She was awarded a National Artists Teachers Fellowship to travel to E Coast, and tour the enameling archives at the Victoria and Albert Muse State Parks Artist-in-Residence, and is on the board of the Center for

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om Kent State University and a BFA in Enameling from the Cleveland r in India and as a museum educator at the Metropolitan Museum of Society in Cleveland, OH, all of which continues to influence her art.

SC, where she is Visual Art Department Chair.

England to work with British enamel artists, explore the Jurassic eum. She teaches workshops nationally, has been a South Carolina Enamel Art in Oakland, CA.

Statement About the Artwork: A silver neckring with terminals of wire that attaches to a reversible cascade of hinged open mussels enameled a deep dark blue. The cascade can be removed and flipped to show the reverse, which shows the interior of the mussels, enameled with egg imagery in luscious and fleshy pinks.

Oocyte, 2020 Sterling silver, copper, enamel, lusters 11 x 7 x 1˝ $2,000

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Nisa Blackmon Nisa Blackmon describes herself as a vigorous hybrid of artist and biologist. Her education has followed a rather varied and winding path, resulting in a Bachelor’s degree in Biology (1989), a Master’s degree in Natural and Applied Sciences (Botany and Studio Art, 1995) and a Master of Fine Arts in Metals (2010).

In 2019, after nearly 30 years of a day job teaching science at the college level, she left the world of academic science to focus full time on metalsmithing, jewelry and other artistic pursuits. Her contemporary art jewelry is represented by Charon Kransen Arts in New York City. Her production jewelry is available at Smash Bangles in Santa Fe, NM, and assorted seasonal Illinois venues. She has her own business, Wishbone Studio, offering jewelry and eventually other fine art and craft items.

Her work has been exhibited nationally since 1993 and have been published in Narrative Jewelry: Tales from the Toolbox (Schiffer Publishing), Fabulous Jewelry from Found Objects (Lark Press) and eight other Lark Press books, including 21st Century Jewelry: The Best of the 500 Jewelry Series. She’s also taught metals, jewelry classes and workshops at the community, collegiate and national level since 1990.

a probable collage, 2020 Steelwire, sterling silver, vinyl, plastic, 14k gold leaf, pearls, copper, vitreous enamel, cotton, nylon-coated cable 11.5 x 6 x 0.5˝ $895

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Arielle Brackett Arielle Brackett is a metalsmith and mixed media artist based in Portland, Oregon. She received her BFA in metals at the Oregon College of Art and Craft (OCAC) in 2017.

She taught metalsmith classes at OCAC and is currently teaching metalsmithing at Multnomah Art Center. Brackett was awarded best in metals at the Colorado Gallery of the Arts in Littleton and the Art Center of Estes Park in Estes Park, CO. She received two scholarships to paint in Le Barroux, France and Grand Junction, CO. In May 2016, Brackett was granted a full ride scholarship to attend a two-week glass workshop at the Penland School of Craft.

Brackett is in a recent book publication in Jams 2018, that showcases her installation piece called, People Don’t See the Weight.

She is currently awaiting another book publication in Art is Connection, by Andra Stanton. In 2019, she had a piece in runway show, Shift in Portland, OR. Brackett showed work in Exhibition in Motion in Chicago in 2019, and will be participating again in May 2020.

Destruction of the Tillamook Rainforest, 2019 Sterling silver, brass, steel, flocking and resin 4 x 3 x 2˝ $2,500 15

Ximena N. Briceno

Native Flora, 2020 Titanium filigree, silver cast leaf specimens 12 x 4 x 1˝ $3,750

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Harlan W. Butt Harlan W. Butt is an artist with over 40 years of experience working in metal and enamel.

Harlan is Professor Emeritus at the University of North Texas where he taught from 1976 to 2017. He is past President of the Enamelist Society, past President of the Society of North American Goldsmiths, Fellow of the American Crafts Council and member of the Society of American Silversmiths. He spent a year in Kyoto, Japan studying metalsmithing and cloisonné enameling in 1984 and 1985.

His work is represented in the collections of the Enamel Arts Foundation in Los Angeles, Boston Museum of Fine Arts, the Museum of Fine Arts Houston, the Renwick Gallery of the Smithsonian Institute, the Museum of Art & Design in NYC, the Metal Museum in Memphis, the National Gallery of Australia, the Victoria and Albert Museum in London and elsewhere.

Extinction Vessel #4: Threads, 2019 Silver and enamel 7 x 4.5 x 4.5˝ $6,000

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Jeffrey Clancy & David Clemons Jeffrey Clancy, born in Lancaster, PA, is a visual artist, designer and educator whose studio practice is informed by historical and traditional craft theory with a deep understanding of traditional, craftcentric fabrication, practicing centuries-old traditional metalsmithing techniques of hollow forming and fabrication of non-ferrous metals.

David Harper Clemons holds a BFA from the University of Texas in Austin focused in painting and an MFA in metalsmithing from San Diego State University in California. Clemons’ work explores themes of identity, narrative, and craft history.

Artists’ Statement:

The proposal called for objects and jewelry that responded to the work in the first exhibition and Shirk’s Pot Form #1 was part of this seminal exhibition. The collaboration involved a careful study and replication of a piece by our friend, former graduate professor, and mentor, Helen Shirk.

Despite our varying methods and techniques for making objects we share an interest in forms of replication, and reference of contemporary and historical objects as bo and methods and inquiry into ideas surrounding: authenticity, craft trad

The project ultimately yielded a facsimile of the original but more intere in institutional structures like the university system, master/apprentice, We worked from 3 black and white images of Helen’s piece as referen applying our skills with a recognition of the potential for failure. The pro synthesize Helen’s idiosyncratic and fluid studio practice through the fi individually developed. Additionally, this piece will not serve as a poten Shirk was stolen from the exhibition at the first SNAG conference.

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oth a way of preservation of skills de standards, material, and function.

After Shirk, 2020 Silver, photograph 9 x 4 x 5˝ $15,000

estingly conceptually addressed hierarchies found , gender, race, standards of manufacture and the like. nce material and opened ourselves to the vulnerability of the process, oduct may not be an exact copy but is a reflection of our attempt to filter of our own personal experiences and the practices that we have ntial facsimile but also a replacement as the original piece made by

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Bracelet Teapot, 1999 Synclastically formed and fabricated sterling silver 4.5 x 4.5 x 2˝ $2,500

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Jack da Silva A native of California, Jack da Silva is from a family of artisans. A third generation gravestone maker, Jack enjoys teaching 3D Design, metalsmithing, anticlastic raising, jewelry making and hand crafted arts advocacy. In 1981 he received an MFA in Metalsmtihing/Jewelry Design from Indiana University in Bloomington, IN, focusing on research and hands on experimentation of ancient/traditional metalworking techniques.

As a third generation gravestone maker, he was first introduced to metal working when his Dad asked him to straighten out bent double head nails they recycled to use in erecting wooden forms to fabricate hollow cast concrete mausoleums. Jack was not thrilled. Yet, it helped him to learn how to grip the hammer handle, develop the direction and sequence of hammer blows, use the appropriate amount of force required to move the metal and protect himself.

Jack became fascinated with how hand tools can provide for a reliability based on a simple application of technology.

This drew his interest to focus on the metal arts, research and conducting hands-on experiments of ancient/traditional metalworking techniques from around the world. These came to absolutely revolutionize Jack’s fascination, development of skills and travels to create and teach Jewelry and Metals to this day.

Jack’s artwork is found in publications/pubic/private collections: Victoria & Albert Museum, London; Museum of Modern Art, Seoul, South Korea; Church of Sao Bras, Companario, Madeira.

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Marilyn da Silva

Marilyn da Silva’s work is based on telling stories through imagery and of gesso and colored pencil creates a rich palette for her sculpture and internationally, including at the Victoria and Albert Museum in London

She is represented in public and private collections. Also, she has bee invited to be Master Metalsmith in 1999 by the National Ornamental M being selected as a Fellow of the American Craft Council.

Marilyn da Silva is Professor and Program Chair of the Jewelry/Metal Arts Department at California College of the Arts in Oakland where she has been since 1987. Before moving to California, she taught from 1978-87 at Bowling Green State University in Ohio. She earned her MFA in Jewelry Design and Metalsmithing at Indiana University, Bloomington, and her BS in Art Education at Bowling Green State University.

Brent’s Bunny, 2019 Copper, sterling silver, wood, gesso, paint, and coloredpencil 3.5 x 6 x 2˝ $950

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d representational elements. Her trademark surface treatment d wearable pieces. Her work has been displayed nationally and and the National Gallery of Australia.

en featured in numerous books, magazines and catalogues. She was Metal Museum in Memphis, TN. She recently received the honor of

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Jeffrey Lloyd Dever Jeffrey Lloyd Dever holds a BS degree in Fine Art from Atlantic Union College, 1976. He is founding partner and creative director of Dever Designs in Laurel, MD. Jeff has served on the adjunct faculty of Maryland Institute College of Art in Baltimore, MD for twenty years, where he taught illustration and graphic design. Sought after as an instructor, he enjoys sharing his pioneering techniques as often as his schedule allows. His vessels, jewelry and sculptural objects, have been shown in many national invitational exhibitions, and his works are represented in numerous private collections, galleries and museums.

Statement About the Artwork: Nature is my muse. She instills in me a visual vocabulary of endless possibilities that inform my aesthetics whatever form they take. All my pieces are sculptural studies—explorations of the structures, colors, patterns, and textures I encounter at the point where the material world intersects my naturalistic musings. From the early days of my childhood, the hills, orchards, streams and woodlands of my small New England town informed my artistic perspective. It is to the natural world that I retreat when I seek inspiration. In those still, quiet moments, my mind takes wing and soars as I dialogue with my Creator.

Lyric Eden, 2019 Polymer clay, steel wire 5 x 2 x 1˝ $850

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Medusa, 2020 Stainless steel, monel, fine silver, 24k gold 4.5 x 3 x 1.5˝ Courtesy of Porter + Price Collection

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Ben Dory Originally from Kansas City, Ben graduated with an MFA from Southern Illinois University Carbondale in 2014. While maintaining his studio practice he explored various avenues in the arts: technician, product design, non-profit programming, research, and leading workshops. Ben is currently the Visiting Professor in Metals at the University of Arkansas Little Rock’s Windgate Center for Art + Design. Represented by galleries in the United States, he also exhibits his work nationally and internationally.

Statement About the Work: I have admired John Paul Miller and his work for a long time.

Coincidentally, we share an attraction for the form and beauty found in insects and the aquatic world. While the fish-inspired Pendant/Brooch in the Goldsmith ‘70 exhibition was a tempting source image, I chose a piece from the Smithsonian collection. Also entitled, Pendant/Brooch this one highlights a medusa or jellyfish form. I felt like I could play with combining traditional granulation with the overall stainless structure to a greater degree, paying my respects while continuing my chosen process.

Inspired by:

Tie Bar John Paul Miller

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Brian Ferrell Brian Ferrell is an artist who creates sculpture in functional forms, designing one-of-a-kind furniture and custom tableware. Since 2000, his work has been regularly exhibited in group and solo exhibits on a national level, published in American Craft Magazine, and purchased by private collectors in the US and Europe.

Ferrell was honored with a solo exhibition at Frank Lloyd Wright’s Fallingwater during the summer of 2008 and participates in numerous group and solo exhibitions. He holds a BFA in Jewelry/Metals from Indiana University of Pennsylvania, and an MFA from the Program in Artisanry at University of Massachusetts – Dartmouth.

Vicissitude, 2021 Charred oak, pewter, ash, soil 6.5 x 3 x 5˝ $730

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Robly A. Glover Born in 1956 in Carmi, Ill, Rob Glover studied jewelry design and metalsmithing at Indiana State University in Terre Haute, where he received his BFA. He went on to pursue his graduate work at Indiana University in Bloomington, earning his MFA in 1987. The Art Institute of Chicago purchased one of his “tea servers” for their permanent collection in 1989 and in 1993 he received a Midamerica Arts Alliance/National Endowment For The Arts regional grant. Prof. Glover has exhibited his work extensively in the United States since 1975.

Julianna’s Necklace, the Neutered Crown of Helios, 2019 Gold leaf, plastic, sterling silver, steel 24 x 24 x 6˝ $2,000

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His work has been included in many publications including The International Design Yearbook, American Craft Magazine, and a feature article and cover of the magazine for Metalsmith, Winter 2002. His work has been collected by many major museums including the Smithsonian American Art Museum in Washington, DC, Victoria and Albert Museum in London, the Yale Silver Collection in New Haven, Connecticut, The Chicago Art Institute in Illinois and several pieces in the Kinsey Center for Reproductive and Gender Studies Fine Art Collection in Bloomington, IN. He is Professor of jewelry design and metalsmithing at School of Art, Texas Tech University in Lubbock.

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Tamara Grüner Tamara Grüner is a jewellery designer from Germany. She attended Goldsmith’s School for design, jewellery and objects in Pforzheim (2001) and University of Applied Sciences of Pforzheim, School of Design studies in jewellery and everyday objects (2006).

Her work has received international attention, resulting in reputable recognitions and awards throughout Europe- such as being awarded the Winner of the Designer’s Open Award in Leipzig (2006), and Honorable Mention for Amberif Design Award in Gdansk, Poland (2014), among others. She’s been featured in a wide-variety of publications from Talents - Young Designers (2006), near the start of her career, to Silver Meetings 2.

Contemporary Jewellery in Legnica 2012 - 2019 (2019), most recently.

Naturalness and artificiality are forming an intense bond in Tamara Grüner’s latest works. The game with these opposites is the central th naturally rolling movements made of bones or synthetic material are in minerals or metals. The single elements are composed to an ensemble indistinct. An intense artificiality is produced by rainbow-coloured surfa such as, mother of pearl, seem to be virtually unnatural.

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Green Wings of Light, 2019 Aragonite, apatite, historical metal pieces, silver, plastic, paint, steel 5 x 3.5 x 1˝ $990

Inspired by:

Pendant Brooch, John Paul Miller

heme. Organic shapes or n a contrast with angular e until the lines become aces, natural materials

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Synchronicity, 2013 Sterling silver, patina 18 x 12 x 3˝ $8,000

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Jon Havener Jon Havener studied silver and goldsmithing at the Cleveland Art Institute in Cleveland, graduating with a B.F.A. in 1973.

He then received an M.F.A. in metalsmithing in 1975 at the Cranbrook Art Academy in Bloomfield Hills, MI. He has taught metalsmithing and jewelry in the design department at the University of Kansas since 1977.

Jon’s work with holloware in the early 1980s has evolved into smithed and fabricated sculpture that has been exhibited nationally in galleries and competitive exhibitions.

His work is included in various public collections: The City of Lawrence, KS, The City of Manhattan, KS, Florida A & M University, The University of Nebraska, Omaha, The United States Comptroller of Currency, Kansas City, MO, and the Boatman’s Bank, Clayton, MO. His work is also featured in several private collections, notably commissioned fountains, and works on the wall.

Jon has received several awards and grants for his work, including the Regional Award in Sculpture from the MidAmerican Art Allliance and The National Endowment for the Arts in 1985, five research awards from the University of Kansas, and the 1998 Kansas Artists Fellowship in Sculpture.

Jon says his work has evolved from an interest in antiquity and ancient metalwork, and frequently utilizes armor forms. “I enjoy manipulating metal into complex structures that evoke a sense of drama and history,” he says. “My sculptures are often highly gestural, expressing a turbulent energy through growth-like movements.”

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Luna, 2020 Vitreous enamel on copper, sterling silver, moonstone 3.5 x 3 x 0.5˝ $3,000

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Mi-Sook Hur Mi-Sook Hur is a metalsmith, enamellist, and educator teaching at the School of Art and Design at East Carolina University. She received a BFA in Metalwork and Jewelry from Seoul National University in Korea and an MFA in Metals from the University of Wisconsin-Madison. Mi-Sook Hur has exhibited her work at the Museum Arts and Design, Sculpture Objects Functional Art in Chicago, Itami Museum of Arts and Crafts in Japan, and Vicenz Oro II in Italy.

Her work has been included in The Art of Enameling: Techniques, Projects, Inspiration, 500 Enameled, and Metalsmith. Mi-Sook Hur has received prize awards from the Enamelist Society, Niche Awards, the Purchase Award from Arkansas Arts Center, and the European Design-an Asian Renaissance Evoked in Gold Award from the World Gold Council. Her work is included in the collections of the Enamel Arts Foundation, Racine Art Museum, John Michael Kohler Arts Center, Sunny & Gloria Kamm, and Arkansas Arts Center.

She is a former artist-in-residence at John Michael Kohler Arts Center, Haystack Mountain School of Crafts, and Jentel Foundation.

Statement About the Artwork: I gather feathers and stories related to feathers. The stories are strangely intertwined with my experiences and memories I have. My memories and associated images are sometimes very certain, but in some cases it seems that time and space are entangled in my work.

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Red Necklace, 2018 Silver, shakudo, copper, diamond, gold leaf 5 x 2.5 x 2.5˝ $3,900

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Yuka Okane Inoue Yuka Okane Inoue was born and raised in a suburb of Tokyo, Japan. She had started her career in the pharmaceutical industry and developed professionally in the area before she realized her true passions and potentials were not in there but in the direction to express her imagination and creation through the art form of metalwork. She started to take metalsmithing class at a public college after moving to the US, having taken the same class for years there before learning how to make three-dimensional objects by rasing and forming.

She self-educated herself to develop her own world. Since then, she has earned international and national awards, and awards in local competitions as well.

Statement About the Artwork: I made Red Necklace that I want to wear. You might ask why I didn’t make a real size of necklace. The answer is simple.

I can’t wear a necklace made from metal around my neck, because a part of my body is allergic to metal. Therefore, I created this miniature, even functional, necklace and put it on a container that I made as a body. Red color comes from heat patina, and black color comes from shakudo and niage. I am planning to make other miniature jewelry I want to dress up with.

Inspired by:

Pitcher Humphrey T. Gilbert

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Andrew Kuebeck Andrew Kuebeck holds a BFA from Bowling Green State University and an MFA in Jewelry Design and Metalsmithing from Indiana University.

Kuebeck’s works span from functional jewelry to sculptural objects. In his work Kuebeck explores themes of male identity, beauty, and photographic images.

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Silhouette Brooch #2, 2009 Silver 4 x 3 x 2” $1,200

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Alveolus, 2011 Sterling silver, pure silver 5.5 x 4.5 x 5˝ $1,400 44

Lorena Lazard Lorena Lazard is a Mexican artist. She holds a master degree in Sociology and later studied art in the USA. Her work has been shown in various museums including Museum of Art and Design in NYC, Metal Museum, Tacoma Art Museum, Bellevue Art Museum, Craft and Folk Museum LA, Houston Center for Contemporary Craft, Estonian Museum of Art and Design, Museo Jose Hernandez Argentina, Sociedad Nacional de Bellas Artes Portugal. In México at the Museo de Arte Moderno, Franz Mayer and Museo Tamayo. As well as in the art fairs Schmuck 2017, Germany, SOFA Chicago, USA, Sieerad, the Netherlands.

Her pieces have been published among others in Metalsmith and Ornament magazine, and in the 500 Lark books series.

In 2018 she won second place at the Latin American Biennale of Contemporary Jewelry in Argentina.

In 2013 organizes and co-curate the show La Frontera in the Franz Mayer Museum in Mexico. In 2018, she co-curated La Frontera Encounters Along the Border at the MAD, NYC. She is the creator of the school Atelier Lazard, and teaches at the University Centro in Mexico City.

Inspired by: the work of Arline Fisch

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enneth MacBain

nneth C. MacBain is a contemporary studio jeweler whose work cuses on the inherent complexities of human relationships. His current ork of conceptual body adornment uses humor to address status, eciousness, and intimacy. His jewelry has been shown in more than 0 exhibitions in the US and abroad. It has been featured in more than books and in The New York Times and American Craft. His work is rt of the permanent collections of the Museum of Arts and Design, the ewark Museum and the Museum of Contemporary Crafts.

acBain is an associate professor of art and head of the jewelry/metals ea in the Art Department at New Jersey City University. He earned s master of fine arts degree in jewelry/metals from Temple University 1990 and his bachelor’s degree in gold and silversmithing from the ate University of New York at New Paltz. He is the recipient of many ants and awards, including the New Jersey State Council on the Arts llowship. He works from his home studio in New Jersey.

onald J. Trump Medal of Isolationism, 2020 ass, photograph, resin, wood, plastic figurine 5 x 1.5 x 0.5˝ 00 47

Thomas Mann Thomas Mann has been in the vanguard of American art jewelry design for nearly five decades.

His compositions were among the first to focus not on the intrinsic value of precious metals and gemstones, but rather the idea and content.

Following the collage/assemblage strategies of early-20th-century sculptors, he combines silver and non-precious metal elements with plastics and found objects.

His distinctive wearable pieces– “jewelry objects,” as he likes to call them– and his sculpture have been included in national and international traveling art exhibitions, collected by art museums, sold in shops, galleries and museum stores, written about, and worn by proud collectors.

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My Artist Heroes Series Bob Ebendorf, 2017 Mixed media assemblage sculpture and jewelry 23 x 13 x 5.5˝ $3,800

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Divisions of Land, 2019 Cork, rutile quartz, oxidized silver, 14k gold 3.25 x 2.25 x 0.35˝ $700 50

Brooke Marks-Swanson Brooke Marks-Swanson speaks of her obsessions and observations through a universal language of textile and metal wearable art. Marks-Swanson has been included in 18 publications including the notable metalsmith magazine Exhibition in Print in 2009, 2014, 2016, and 2017. She lectured at SOFA Chicago 2016, on a panel titled: FIBER ART IN THREE DIMENSIONS: A History and Discussion of Fiber Art Off The Wall. Her work can be found in the Muzeum Walbrzychu (Walbrzych, Poland), The Sparta Teapot Museum of Craft and Design (Sparta, North Carolina), The Museum of Contemporary Craft (Portland, Oregon) and Espace Solidor, Place du Château (Cagnes-sur-mer, France).

Inspired by:

Counter Point Eleanor Moty

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Zach Mellman-Carsey Zach Mellman-Carsey’s work is heavily influenced by scenes of industrial decay, where he reaps inspiration in the resilience of the remaining structures standing still in “defiance” to the destructive events that have resulted in their demise. He sees this theme manifest similarly in his own life; remaining vigilent to remain grounded despite strife. This in mind, his work often reflects connections between the human body and architecture, an interaction that is impossible to ignore -- as made evident by the architectural structures, abandoned or otherwise, all around us.

In form, his work often is accomplished using 3D Printing programs, creating a metaphysical experience where he designs and engineers his work, piece by piece, as is necessary with the architectural planning of the conception of a large structure. The resulting piece is one like that of BomBapRing, which further reinforces his affinity with this connection between man and metal, and perhaps even the currect trajectory of humanity’s relationship with machinary– a wearable ring that can play your favorite songs.

BomBapRing, 2019 Resin 3D printed, bluetooth speaker, sterling silver, cubic zirconia, paint 1.5 x 1.5 x 1.5˝ Sold

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TRIBUTE TO JOHN PRIP, 2019 Pewter, epoxy, volcanic stone, found object Tallest element: 5 x 0.375˝ $2,500

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Bruce Metcalf Bruce Metcalf received a BFA from Syracuse University in 1972 and an MFA from Tyler School of Art in Philadelphia in 1977. He has been awarded two NEA Visual Artists Fellowships, three Ohio Arts Council Fellowships, a Fulbright Teaching and Research Fellowship, and a Pew Fellowship in the Arts.

His jewelry has been shown in more than 400 exhibitions worldwide. It is held in numerous public collections, including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Victoria and Albert Museum in London and the Renwick Gallery in Washington, D.C. Metcalf is also co-author with Janet Koplos of Makers: A History of American Studio Craft. He lives near Philadelphia.

Inspired by:

Box Chained to a Stone John Prip 55

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Thomas Muir Thomas Muir is distinguished professor of the arts at Bowling Green State University, where he is head of the jewelry and metalsmithing area in the School of Art. He received his MFA from Indiana University, Bloomington, and his BFA degree from Georgia State University in Atlanta. Muir has lectured and taught widely, holding positions at universities and craft schools around the country.

His award-winning work has been published and exhibited extensively in art, craft and design exhibitions. Collections include the Art Institute of Chicago, Renwick Gallery of the National Museum of American Art, Smithsonian Institution and The White House Collection of American Crafts, National Museum of American Art, and the Smithsonian Institution.

He is the recipient of an Arts Midwest/National Endowment for the Arts Regional Artist Fellowship, Michigan Council for the Arts Fellowship, and numerous Ohio Arts Council Individual Artist Fellowship Awards. In 2009, Tom received the Outstanding Achievement Award from the Ohio Designer Craftsmen for having made a major contribution to craft in Ohio.

Beekeeper’s Earrings, 2019 Drawn beeswax comb, walnut, brass, stainless steel 8.5 x 4.5 x 1˝ NFS Beekeeper’s Earrings on Model, 2019 Photograph 16˝ x 12˝ x 0.75˝ $350

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So Young Park So Young Park is originally from South Korea. She attended Kon-Kuk University in Seoul and earned a BFA and a MFA in Metal and Jewelry. In 1999 she opened her own studio called DuDuRim in Seoul. She participated in solo and group exhibitions as a metalsmith and jewelry artist throughout Korea from 1997 to 2000.

So Young graduated with a second MFA in metal and jewelry design from the Rochester Institute of Technology in 2003. Upon completion of her studies at RIT, she taught metalsmithing both at Syracuse University and RIT as an adjunct professor from 2003 to 2007.

In 2006, So Young decided to start her career as a jewelry artist. She has also taught at many workshops throughout the US and South Korea.

Currently she is running her own jewelry and metals studio called So Young Park Studio. She is actively participating in shows and exhibitions, nationally and internationally, as a jewelry and metalsmithing artist.

Dotted Flower, 2019 Oxidized silver, 18k yellow gold, kum-boo (24k gold foil) 2.5 x 2 x 2˝ $2,600

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Louise Perrone Born in London, England, Louise Perrone holds a Bachelor of Art in Sculpture from the Nottingham Trent University and a Post Graduate Certificate in Art and Design Education from the University of Brighton.

In 2002 Perrone graduated from Alberta College of Art and Design with a Bachelor of Fine Arts in Jewellery and Metals.

Exhibiting widely across Canada, the US and Europe, Perrone’s work has been featured in several publications. She is a recipient of the Governor General of Canada’s Academic Medal and the Alberta College of Art and Design Alumni Legacy Award. She teaches in the Jewellery Department at LaSalle College Vancouver.

Zigzagged, 2021 Silk neckties, styrene, magnets, 2 x 7 x 7˝ $1,200

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Nancy Slagle Nancy Slagle earned her BFA from Drake University in Des Moines, Iowa. She continued her studies at Indiana University in Bloomington, IN and in 1987 received her MFA in Metalsmithing and Jewelry Design. In 1988 she was awarded a National Endowment for The Arts Individual Artist grant and the Art Institute of Chicago purchased her Single Serving Tea Pot for their permanent collection.

Her work has also been collected by the Smithsonian American Art Museum, Renwick Gallery and the Victoria and Albert Museum in London. Slagle’s art work has appeared in many publications including 500 Metal Vessels: Contemporary Explorations of Containment, On Body and Soul: Contemporary Armor to Amulets, American Craft magazine, Metalsmith Magazine and The New York Times. She has taught at Texas Tech University since 1991 and served as an Associate Director of the School of Art since 2006.

Inspired by:

Spoons J. Fred Woell

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Climate Change (L); Lumber (R) 2019 Sterling silver, found object, anti-tarnish fabric and embroidery thread 6 x 1.5 x 1˝ $1,000 ea.

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Matthew Smith Matthew Smith began his creative career as a freelance graphic designer. Through his years in this field, he developed what he terms a “visually concise” design language. He also maintained a long running hobby as a woodworker and furniture maker. When a move to a new city required a dramatic downsizing of his studio, Smith began to focus on jewelry as a compact way to merge his diverse interests. He found inspiration from the jewelry designers of the mid-20th century who’s work emphasized strong design and alternative materials, over precious metals and gems.

Smith’s pieces begin as a graphic design which is worked and re-worked to develop the most concise expression of the concept. Design elements such as line weight, color, and pattern are translated into silver thickness, resin tint, and wood grain. Recently Smith has begun working with a new non-toxic casting resin made from soybeans and peanuts, which he tints with non-toxic painter’s pigments.

Matthew Smith received his BA in Fine Art from Wake Forest University. While there he focused on printmaking and sculpture. His education in silversmithing began by taking classes at the Cultural Arts Center in Columbus, Ohio as well as a jewelry class at the Penland School of Crafts. He has combined basic jewelry techniques with his woodworking skills to create a hybrid method of jewelry making.

Morton Brooch, 2021 Sterling silver, rosewood, moonstone, rutilated quartz, steel 2.5 x 2 x 0.5˝ $1,200

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Rachel Smith Rachel Suzanne Smith is an artist, metalsmith, and educator.

She is currently working as the Fabrication Lab Supervisor at Oberlin College. She received her undergraduate degree at Miami University in Art Education with minors in 3D Media Studies (jewelry/metals) and Spanish. She received her MFA in Crafts (Jewelry Metals Enameling) at Kent State University.

Rachel Suzanne Smith’s work reflects themes of identity and ornament, focusing specifically on the desire to connect with the outdoors and nature. The facilitation of that need occurs through the use of adornment, allowing the wearer to surround themselves in arrangements and clusters of plants, created via the artist’s photographs and sketches. Smith focuses on creating wearable sculpture and contemporary art jewelry.

Wild Majoram 2, 2021 Waterjet cut aluminum, powder coat 28 x 26 x 18˝ $1,600

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Power to the Plumage, 2020 Fine silver 2.2 x 2.5 x 1.5˝ in $550

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Andi Terry Andi Terry is a metalsmith residing just outside of Austin, TX. When she is not designing, hammering, soldering, forming or making wire, she can be found in the company of family and friends, usually sharing a delicious meal. She has been known to participate in several rousing home episodes of “cut-throat kitchen” and can make a decent ragu.

She graduated from St. Mary’s in San Antonio with a degree in International Relations, but as with many artists, she realized that her true calling was craft. One day she decided to take classes at Austin Community College and enjoyed the classes and professors so much that she found herself with a certification in jewelry. Since then, she has taken many courses all over the US, trying to build one skill upon the other. In 2016 she finally decided after much encouragement from family and friends, to sign up for her first fine arts fair– in the town where her journey started.

Statement About the Artwork: I work in the techniques of chasing/repoussage and filigree, using precious metals. I feel these techniques compliment each other very well and lend themselves perfectly to organic shapes in nature. I enjoy telling stories and incorporate subtle symbolisms in my pieces to add interest and shed light on the subject matter. Predators, architecture, the night sky; the world filled with inspiration.

Inspired by:

Peakcock Pendant Brooch John Paul Miller 69

Gina Westergard Gina Westergard is an Associate Professor in the Metalsmithing/Jewelry program at the University of Kansas. She received her M.F.A. from Indiana University, Bloomington and her B.A. from San Diego State University.

Her work has been exhibited nationally and internationally in South Korea, Germany, Australia, Finland, Canada and throughout the United States.

She is a recipient of a Mid-American Art Alliance/NEA Fellowship and her work has received nine juror’s awards, most recently from the 2019 CraftForms - International Juried Exhibition of Contemporary Fine Craft, Wayne Art Center, Wayne, PA. In addition, she has received four sabbaticals, four General Research Funds and four Hallmark Enhancement Grants from the University of Kansas. Her funerary urns appear in 500 Vessels, Contemporary Explorations of Containment, published by Lark Books, 2007.

Statement About the Artwork:

I strive to make contemplative reliquary vessels that are markers, whic that has passed and evoke memories that remain. My designs are insp that symbolize the passage of time. Rich surfaces and vibrant colors e exterior of each piece gradually leads to more detailed and often reces Nestled within the interior of each object is an element that awaits disc and an energy that continues.

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Sogni del Mare, 2019 Sterling silver, cast resin, 24K gold leaf, neodymium magnetsr 2 x 5 x 2˝ $2,800

ch celebrate a life pired by the cycles of nature evoke joy. The minimal, stately ssed interior space. covery, representing new growth, renewal

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Anne Wolf Anne Wolf holds an MFA in Jewelry/Metals from San Diego State University where she studied under Helen Shirk and Arline Fisch. With them Wolf learned how to fuse, forge, and pattern mokume gane, a traditional Japanese technique that Wolf’s work is known for.

Wolf’s work has been shown widely throughout the United States and internationally at such venues as the Deutsches Goldschmiedehaus, Hanau, Germany, and the Tsubame Industrial Materials Museum, Tsubame, Japan.

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Bloom, 2019 Sterling silver and kuroshibuichi 2.4 x 3.5 x 3.5˝ $2,400 73

The Aliens Have Landed, 2020 Hand raised, cast, and fabricated sterling silver 9 x 6 x 2˝ $5,000

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Wendy Yothers Wendy Yothers is a silversmith by trade. She has worked at the bench, as a restorer, as a custom silversmith and as a designer. As a practicing artist, her work is in the permanent collection of the Smithsonian American Art Museum, The Victoria and Albert, the Museum of the City of New York, The Sonny Kamm Collection, the Newark Museum and the Vatican. She teaches metalsmithing at the Fashion Institute of Technology in NYC.

Statement About the Artwork: My work as a silversmith and restorer has led me to a lifelong passion for understanding how silversmiths from the past solved the same problems I face everyday--how to strategize multiple solder joints into sub assemblies--how to make a piece that will last several lifetimes--how to use my hammer, my chasing tools and my heart tell a story in silver.

The “toddy kettle set” I made for this exhibition takes a quaint old hollowware form and puts it into a almost graphic novel context. It is inspired by John Prip’s mid century work for Reed and Barton--those tear-drop/onion shaped teapots always reminded me of flying saucers.

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Recursive Eroteme, 2021 Hand cut rubber over forged aluminum armature 8 x 8 x 3˝ $2,700

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Zoa Chimerum Ian Henderson and Sue-Yee Leung Zoa Chimerum is biomorphic handmade jewelry featuring rhythmic, flowing patterns of cut rubber layered over forged aluminum. The collection conjures images of prickly sea creatures and thorny blossoms, but uses soft rubber to ensure each piece is comfortable to wear and pleasantly tactile.

Zoa Chimerum Jewelry is a partnership between Creative Director Sue-Yee Leung and Design Director Ian Henderson.

Ian has designed jewelry for twenty years. They met at Massachusetts College of Art and Design.

Their designs are developed intuitively and iteratively as dialogue with process and material. They create rules for themselves at the start of a project and follow those rules.

Each segment of rubber is cut and assembled in accordance with a predetermined procedural requirement. Rather than making and assembling the small pieces in service to a predetermined form, they create and assemble small pieces in accordance with a rule set, which ultimately generates or “grows” into a form that neither of them have magined otherwise.

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InLiquid is a 501 (c)(3) nonprofit organization committed to creating opportunities and exposure for visual artists and works with more than 280 artists and designers. It serves as a free, online public hub for arts information in the Philadelphia area. Find out more at inliquid.org All rotational artworks are available for purchase. Inquiries for purchases can be directed to Clare Finin at clare@inliquid.org