One World Exhibition

GALLERY LOUPE PRESENTS

40 ARTISTS RESPOND TO COVID-19 SPRING 2020 LOGO: THOMAS GENTILLE

A m u l e t s Fo r A N e w A g e When Pat ti Bleicher, director of Galler y Loupe, invited 40 international jewelers to create a p e n d a n t i n r e s p o n s e t o t he CO V I D - 19 p a n d e m i c f o r a n o n l i n e ex hi b i t i o n , O n e Wo r l d , s he c o u l d n o t h a v e a n t i c i p a t e d t he d i v e r s i t y o f w o r ks t h i s f r a u g h t s u b j e c t w o u l d e n g e n d e r. S o m e , l i ke I t a l i a n A n n a m a r i a Za n e l l a , t o o k t he t he m e l i t e r a l l y, r i f f i n g o n t he a c t u a l f o r m o f t he c o r o n a v i r u s t h r o u g h m i x e d m e d i a a n d e n a m e l . O t he r s , s u c h a s G e r m a n G e o r g D o b l e r, A u s t r a l i a n Ro b e r t B a i n e s , A m e r i c a n Ly n n B a t c he l d e r, a n d G e r m a n - A m e r i c a n K l a u s B u r g e l , c ho s e t o s y m b o l iz e t he g l o b a l c ha l l e n g e i n t he s ha p e o f a s i l v e r s p he r e , w i t h B u r g e l ’s , r e a l iz e d t hro u g h d e n s e l y w r a p p e d c ha i n , i n t e n d e d t o denote a wrecking ball.

Ad d r e s s i n g t he s e n s e o f i s o l a t i o n t ha t i s o n e by p ro d u c t o f c o m m u n a l r e s t r i c t i o n s , Cze c h a r t i s t E v a E i s l e r a n d I s r a e l i - A m e r i c a n N o a m E l y a s h i v f a b r i c a t e d n e c kl a c e s m e a s u r i n g s i x f e e t i n l e n g t h , t he g u i d e l i n e f o r “ s o c i a l d i s t a n c i n g . ” I n h i s p e n d a n t , Wa r m t h , c o m p r i s e d o f m u l t i p l e l a y e rs o f l i q u i d c r y s t a l p a i n t , A m e r i c a n Ti m o t h y Ve s ke - M c M a ho n l a m e n t s t he l a c k o f p ro x i m i t y a t a t i m e w he n hu m a n c o n t a c t i s m o s t v i t a l . E f f e c t i v e l y a “ m o o d d i s c , ” i t s i g n a l s t o u c h w i t h a t o p c o a t t ha t c ha n g e s c o l o r w he n i t i s s u b j e c t e d t o t he b o d y ’s t e m p e r a t u r e t h r o u g h w e a r. S i m i l a r l y t he s u r f a c e o f I s r a e l i j e w e l e r Ve r e d Ka m i n s k i ’s n e c k l a c e , w h o s e c e n t r a l p l a q u e h a s b e e n f a b r i c a t e d f r o m t w o i n t e g r a t e d c i r c l e s o f w o v e n r e d a n d b l u e a n o d iz e d a l u m i n u m w i r e , i s d i c hro i c , m a n i f e s t i n g c o l o rs t ha t a l t e r d e p e n d i n g u p o n t he v i e w e r ’s a n g l e o f v i s i o n . The p l a q u e ’s u n i f i e d s i l ho u e t t e u r g e s u s t o c o n n e c t w i t h o n e a n o t he r, w he r e a s i t s i r i d e s c e n t c o l o r a t i o n r e m i n d s u s t o c o n s i d e r a l l p e rs p e c t i v e s i n o r d e r t o r e s o l v e o u r s ha r e d d i l e m m a .

Ta k i n g a t he o r e t i c a l a p p ro a c h , I s r a e l i D e g a n i t S c ho c ke n n o t e s t he w r i t i n g s o f G r e e k p hi l o s o p he r H e ra c l i t u s , w ho s e t e n e t a d v o c a t e s ha r m o n y t hro u g h t he u n i t y o f o p p o s i t e s , a s i n s p i ra t i o n f o r he r r ev e rs i b l e g e o m e t r i c p e n d a n t , Tw o S i d e s , w hi l e i n H e y G u y s S ho o t Tha t D a m n Thi n g , D u t c h a r t i s t R i a n d e J o n g f o c u s e s o n t he i ro n y o f a n e s c a l a t i o n i n t he s a l e o f f i r e a r m s i n t he U n i t e d S t a t e s a t t he b e g i n n i n g o f t he he a l t h c r i s i s . C i t i n g hi s t o r i c a l d o c u m e n t s a b o u t t he A m e r i c a n w e s t t ha t a l l u d e t o g u n s a s “ p e a c e m a ke rs , ” s he a s ks i f A m e r i c a n s b e l i e v e t he y c a n u s e b u l l e t s a s a d e f e n s e a g a i n s t i n v i s i b l e m i c r o b e s . “ S h o u l d n ’t [ p i s t o l s ] b e [ c a l l e d ] d e a t h m a ke r s ? H a v e w e a p o n s e v e r m a d e p e a c e ?

We a p o n s i n c i t e g r i e f , ha t r e d , l o s e rs , p o w e r, a n d d e a t hs . H o w c o u l d w e a p o n s p ro t e c t a g a i n s t CO V I D - 19 ? ” S o m e a r t i s t s e m p h a s i z e t he p h y s i c a l a s p e c t s o f t he i r w o r k . I n a p e n d a n t m a d e c o m p l e t e l y f ro m h i s c a t ’s ha i r, G e r m a n F l o r i a n M i l ke r r e f e r e n c e s a “c o n v e rs a t i o n w i t h M i s s O t i s [ t he c a t ] w h i l e i n q u a r a n t i n e . ” Co m f o r t e d b y t he t r a n q u i l i t y t ha t e n s u e s f ro m w a t c h i n g t he b i r d s n e a r he r G ö t e b o r g h o m e , S w e d i s h j e w e l e r Ka r e n Ro y A n d e r s s o n a s s e m b l e d he r p e n d a n t , H e l g a , f ro m l e a t he r, s a n d , a n d b o n e , w h i l e i n W i n g e d Te a rs A m e r i c a n Lu c i J o c ke l e m p l o y e d ho n e y b e e w i n g s t o s u g g e s t he a l i n g .

Fo r he r r e s t o r a t i v e “ s o u v e n i r, ” I s r a e l i N a a m a B e r g m a n u s e d c u b i c s a l t c r y s t a l s f ro m t he D e a d S e a t o r e p r e s e n t t he “ b a l a n c e b e t w e e n n a t u r e a n d hu m a n k i n d , b e t w e e n m a t e r i a l a n d b o d y. ” As s o m a n y p e o p l e a r e p r e s e n t l y s e q u e s t e r e d a t ho m e , t he e n c a s e d s p he r e s o f c o t t o n t e r r y c l o t h f e a t u r e d i n m y WAY , b y A m e r i c a n B i b a S c h u t z , p r i m a r i l y s p e a k o f h i d i n g b u t , p e r h a p s , o f o u r n e w f o u n d d o m e s t i c i t y , a s w e l l . A m e r i c a n j e w e l e r Th o m a s G e n t i l l e d e m o n s t r a t e s s o l i d a r i t y w i t h t he i n t e r n a t i o n a l c o m m u n i t y i n t h i s u n s e t t l e d t i m e t hro u g h t he s t a b l e s t ru c t u r e , v a r i e g a t e d s u r f a c e , a n d s e n s i t i v e c o l o r a t i o n o f h i s p e n d a n t m a d e f r o m p l y w o o d , m a p l e , c he r r y , p u m i c e , a n d p a i n t . I n a n d O u t , b y D u t c h a r t i s t Evert Nijland, consists of four small hand blown glass vessels whose stable presence w o u l d o r d i n a r i l y s u g g e s t t he i r f u n c t i o n a s c o n t a i n e rs . W i t h i n t he c o n t ex t o f a l o c kd o w n , h o w e v e r, t he y r e a d a s t i g h t e n c l o s u r e s . A t t he s a m e t i m e , o w i n g t o t he o r g a n i c s h a p e a n d n a t u r a l c l a r i t y o f t he g l a s s , t he y h i n t a t t he p r o m i s e o f a n e n v i r o n m e n t o u t s i d e o f t he m s e l v e s . To f o r m a p e n d a n t , N i j l a n d j o i n e d t he f o u r g l a s s r e c e p t a c l e s t o g e t he r w i t h a s i l v e r c h a i n t h a t a d m i t t e d l y r e s t r a i n s t he m b u t a l s o f a c i l i t a t e s t he i r c o n n e c t i o n , j u s t a s t he t h r e a t o f c o r o n a v i r u s f o r c e s p e o p l e t o s he l t e r i n d o o r s b u t , n o n e t he l e s s , r e m a i n a t t a c he d t o o n e a n o t he r.

E v i d e n c e d b y t he d i s c o v e r y o f p r e h i s t o r i c h u m a n s ke l e t o n s a d o r n e d w i t h s e a s he l l s c o n f i g u r e d a s n e c kl a c e s , i t i s t ho u g ht t ha t c ha r m s w o r n f o r p ro t e c t i o n , he a l i n g , o r g o o d f o r t u n e b e g a n a r o u n d 12 0 , 0 0 0 y e a r s a g o , w he n m e n a n d w o m e n h u n g s he l l s , a n i m a l t e e t h , b o n e s , a n d p e r ha p s p e r i s ha b l e o r g a n i c s u b s t a n c e s , s u c h a s l e a v e s o r f l o w e rs , o n t he i r b o d i e s . S u c h a m u l e t s h a v e b e e n h a b i t u a l l y u s e d b y t r i b a l a n d n o m a d i c p e o p l e s s c a t t e r e d t h r o u g h o u t t he w o r l d , a l o n g w i t h m e m b e r s o f m o s t s e t t l e d s o c i e t i e s . Th i s p r a c t i c e ha s p e rs i s t e d , w i t h s u p e r b a m u l e t s m a d e o f p r e c i o u s a n d s e m i p r e c i o u s m e t a l s a n d g e m s t o n e s , c e r a m i c , f a i e n c e , o r g l a s s . The s e p o w e r f u l o r n a m e n t s w e r e c he r i s he d i n a n c i e n t E g y p t , E t r u r i a a n d Ro m e , d u r i n g t he M i d d l e A g e s a n d Re n a i s s a n c e , a s w e l l a s t he 17 t h t h r o u g h 2 0 t h c e n t u r i e s , r i g h t u p t o t he p r e s e n t — e x e m p l i f i e d i n t he c u r r e n t ex h i b i t i o n b y S ha c ha r Co he n’s s t a i n l e s s s t e e l ha m s a .

CO V I D - 19 o b s e r v e s n o b o u n d a r i e s a n d r e s p e c t s n o l i m i t s ; i t s p a r e s n o o n e , r e g a r d l e s s o f r a c e , r e l i g i o n , ha b i t a t i o n , o r e c o n o m i c s t a t u s . E v e n i f w e m a n a g e t o r e m a i n p e rs o n a l l y s a f e , m o s t o f u s kn o w o f a c q u a i n t a n c e s , a n d ev e n f r i e n d s o r f a m i l y m e m b e rs , w ho ha v e b e e n d i r e c t l y a f f e c t e d b y t he p a n d e m i c . I n m a n y w a y s C O V I D - 19 h a s c h a n g e d u s f o r ev e r. I t s d a n g e rs ha v e i n d u c e d u s t o r e a s s e s s o u r s t r e n g t hs a n d r e a f f i r m o u r b e l i e f s .

I t s i m p l i c a t i o n s f o r t he f u t u r e h a v e m a d e u s q u e s t i o n o u r v a l u e s a n d r e c o n s i d e r o u r a m b i t i o n s . CO V I D - 19 ha s p a r a l yz e d u s , a n d ho p e f u l l y w e w i l l e m e r g e f ro m t he d a r kn e s s b e t t e r hu m a n b e i n g s a s a r e s u l t o f t h i s ha r ro w i n g , y e t hu m b l i n g , ex p e r i e n c e . The j e w e l s t h a t c o m p r i s e O n e Wo r l d a r e a m u l e t s f o r a n e w a g e , p r o m p t e d b y o u r c o m m o n p e r i l .

M a y t he y b r i n g s o l a c e i n t he s e d i f f i c u l t t i m e s .

To n i G r e e n b a u m B ro o kl y n , N e w Yo r k , A p r i l 2 02 0

Acknowledgements Often difficult circumstances give rise to new ideas. This was certainly the case with One World. There are a number of people who deserve special mention. Thomas Gentille for the perfectly executed logo, Toni Greenbaum for her thoughtful and eloquent writing, Luci Jockel for the beautiful e-catalog design, and Susan Kempin who is always ready to lend a helping hand. I would also like to thank my husband, Bob, for his constant support, encouragement, and patience. Most of all, I will be forever grateful to the artists, who even during such adverse circumstances, responded enthusiastically and persevered to produce such honest, timely, and powerful work.

Patti Bleicher, Director Gallery Loupe

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Annamaria Zanella

A Unique Red Line, pendant, 2020. Silver, vitreous enamel, acrylic enamel. 35mm Photo: Renzo Pasquale

Red Alien, pendant, 2020. Cork, aluminium, acrylic enamel, silver. 60mm Dia. x 38cm H Photo: Renzo Pasquale

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For the past few weeks, a unique line of pain has united the world. I was impressed by the red dots the press and social media use to show the spread of the pandemic throughout the world. This new plague arrived to contaminate all countries, and crossed the world through all latitudes and meridians. This sphere is born from a single line that does not have a start and does not have an end...it is a metaphoric line that links all the inhabitants of the earth from Africa to America, from China to Europe, to fight this invisible enemy. It is a line of hope and strength that takes us out of the darkness of our fears, and lets us forget the pain. When it is worn, it becomes an amulet against the melancholy. In this pendant I decided to use the color red as a metaphor for the blood and life that pulses and breathes in every human being.

Carmen red represents strength. For me, this color also represents the love we feel for life itself and for our families and friends. Luckily, artists have the freedom to dream of a better world and leave a sign of beauty despite the ugly moment.

Padua, April 7th, 2020

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Artists are forced to stay home now in order to fight the evil of the coronavirus, but we can show strength by creating work that frees us from daily fears and anxiety. When I create new work, I can escape the emptiness of days without friends, without movement, and without new aesthetic emotions. I take refuge in memories and I feel well in the silence of my studio. This pendant, Red Alien, represents my vision of the world affected by pain and death due to the coronavirus pandemic. The pendant, made of cork and aluminum nails, is my abstract representation of the world at a time when we all are worried about the future. Usually the alien is an unknown enemy who arrives from outer space, but, in this case, the alien is the coronavirus and it is coming directly from our own sick planet. I used a flourescent red color since it’s a color I associate with doctors and hospitals – it’s a strong show of esteem and respect. They are doing incredible work every day for all of their sisters and brothers – they help infected people return to health or follow them with care until they die. Red Alien symbolizes both danger and passion. This time the reality is more scary than any horror movie.

Padua, April 7th, 2020

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Attai Chen Pendant, 2020. Paper, silver, paint, graphite, MDF. 45mm x 45mm x 25mm

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The pendant is composed condensed at the pendant’s My work often investigates in this semi stagnant period

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of multiple individual fragments, that though core, are striving to break out in all directions. the idea of movement in a static object, now I find comfort in the illusion of dynamic motion.

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Barbara Seidenath Cobead-’20, pendant, 2020. Fabric, glass beads, thread, silver and stainless steel finding. 4-1/4” x 4-1/4” x 1-1/2”

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In my personal outlook on life, I am always trying to find the positive aspects within what is perceived at first as negative. I fully acknowledge the devastation and grieving that this pandemic has brought to so many people all over the world. The disruption it presents has also brought quietude and focused reflection to my life and practice. As many of our students currently lack the privilege of having access to a metals studio, they asked to learn something new and non-metal centric. Alongside my students I was able to learn how to embroider with beads from the wonderful jewelry artist, Breana Ferrara, who generously shared her knowledge and expertise with our class during an online workshop. Informing myself about the scientific data pertaining to the COVID-19 virus, I was fascinated by the intriguing electron microscopic images and colorful illustrations of the pathogen. I took direct inspiration from the website of the CDC where author, Ronnie Henry describes the outer surface of the virus as being adorned with spikes.

This poetic encouragement along with my new tools was all I needed to get me going!

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Biba Schutz

(back)

my WAY, pendant, 2020. Copper, bronze, sterling silver, cotton terrycloth.

6” x 5” x .5”, chain 26”

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This is a difficult time for us all. Personally I have been in hiding – physically, creatively and emotionally. I talk about hiding often in my work and in many ways it is creatively stimulating. Now it feels stagnant. I am sequestered at home, but do go out for walks, food shopping and to my studio 2-3 times a week. Walking has always been of paramount importance in my lifestyle and creative process. These walks though are now considered a luxury, if not a danger. They are my breath.

This work is about my hiding. Each sphere represents another phase of vulnerability, experience, fear and a period of time. The spheres are encased and hidden. Their secrets are shielded from the outside. The necklace is reversable. On one side you see the wrapped spheres and on the other side the spheres are hidden and protected.

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Caroline Gore Pendant, 2014-2020. 18k gold, oxidized sterling silver, 18k gold solder. .75” x .5” x .5”

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Parts of this pendant/charm have been on my bench in various stages for many years. An abandoned idea that changed and morphed into something and then was forgotten again. It was one of those pieces that you start with at the bench to get to the sprinting pace needed for other tasks – a warm up and place holder.

In this last month I had limited access to my studio and equally was drained of the special energetic concoction of what it takes to make things. Instead I am making in strategic ways at home to support this new normal. In thinking through the brief for this show I set out to make something else -however as I approached the work it just seemed too dark of an idea to put out in the world at a time where there is a plethora of pain and uncertainty. I again found this piece on my bench and cleaned it up instead. The golden equator and thread like stitches or staples holding it all together... seemed the perfect moment for the orphaned object to arrive. Mend what you can...

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Deganit Stern Schocken Two Sides, pendant, 2020. Silver. 5cm x 5cm

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The Corona came and turned the world upside down. The Heraclitean openness to think in opposites entails the capacity to face extreme situations. Every situation has at least two sides. Here the pendant shows two sides relevant for wearing it, which are equal for the same object. This object has basic forms, square and circles. Some circles have the capacity to move. As a fixed object and as one carried on the body – a possibility is created to regard the work as an option and not necessarily as a fixed decision. Therefore, we are facing a versatile presence, physical as well as theoretical.

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Doris Betz Pendant, 1992/2020. Silver, steel chain.

Pendant: .75cm x 1.7cm, steel chain: 92cm

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Now, staying home nearly all the time, I turn inward on my self –no distraction. I’m winding a thin wire round and round a ring, until there is just a very tiny hole left. An accumulation of movement for hours –a meditation about myself and everyone else in this One World.

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Emiko Oye

(back)

Sunday, (fr. ser. 2 Be Seen) pendant, 2020. Repurposed & chromed LEGO®, bronze, argentium, sterling silver. 2.75” L x 2.625” W x 1” Dia.

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There is much I could say about this time of COVID-19 – how it’s been a time of letting go, turning inward, finding gratitude.

A lifetime’s desire to slow down and begin to be with what is. When everything else falls away, authenticity is what’s most appreciated and desired. A deep-seated calling to reach out to others with compassion. The universal need to be seen and heard is now more imperative than ever. Sunday pendant is the newest member of my 2 Be Seen family, a snapshot of this time of universal, collective consciousness, the eye of David Bowie leading our way. His song Sunday (from Heathen, 2002) says it best: “Nothing remains We could run When the rain slows Look for the cars or signs of life Where the heat goes Look for the drifters We should crawl under the bracken Look for the shafts of light on the road Where the heat goes Everything has changed For in truth, it’s the beginning of nothing And nothing has changed Everything has changed For in truth, it’s the beginning of an end And nothing has changed And everything has changed In your fear Of what we have become Take to the fire Now we must burn All that we are Rise together Through these clouds As on wings In your fear, seek only peace In you fear, seek only love In your fear, seek only peace In you fear, seek only love In your fear, in your fear As on wings This is the trip And this is the business we take This is our number All my trials, Lord Will be remembered Everything has changed”

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Esther Knobel Pendant, 2020. Porcelain.

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These works were born from some ’basic’ exercises I gave myself, while trying to improve my skills working with porcelain. Made last January during winter residency at Penland’s lower clay studio.

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Eva Eisler

Social Distancing, necklace, 2020. Glass beads. 7’ 42

I made two necklaces based on the 6 feet social distancing idea, also stringing beads during the quarantine, meditative, repetitive movement, enhancing the quiet concentration, healing process. The black glass beads are to commemorate the loss of lives due to the COVID-19, the beads for the other necklace are mother of pearl colors ranging from white, beige to almost black–the virus doesn’t distinguish the color of people.

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Evert Nijland In and Out, pendant, 2020. Hand blown glass, silver chain.

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The pendant consists of four hand blown glass elements connected by a silver chain.

By blowing air into a glass tube, the organic shape is created. The sandblasted glass elements are imaginary vessels and refer to our present situation in lockdown where we stay at home as much as possible and where going outside is no longer self-evident. Together with the silver chain the pendant is an image of restrained freedom, but a chain also represents connection; this crisis makes us very aware we are all connected to each other and to the world in which we live.

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Florian Milker Hairball, pendant, 2020.100% cat hair, silver, nylon cord. 3� Dia.

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In conversation with Miss Otis in quarantine. Miss Otis can best be described as a mediator, a link between humanity and nature. She loves freedom, but she also enjoys the silence within her own territory as well as my company. A few days ago I met her on the sofa and asked her what she thought of all this: the quarantine, the threat of the virus and the uncertain future in general. She looked at me skeptically at first, but then made me comb her hair. While I combed her hair she lay down flat and started purring. A moment of harmony. Lost in thought, I combed on and collected her hair as usual. Suddenly she leapt up, hissed at me and went outside. I must have overdone it. Leaving me with her shed hair and the question: Didn’t humanity itself become a virus from nature’s point of view?

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G e o rg D o b l e r

Virus Unkown, brooch, 1982. Brass body, steel sticks, acrylic lacquer. 90 x 45 x 45mm

Exit Moon, pendant, 2020. Silver and niello, silver chain. 20mm Dia. 54

Perhaps the moon would be a better place for us.

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Jess Tolber t Pendant, 2020. Fused steel staples, cotton cord.

11cm H x 8cm W x 6cm Dia., cord 73cm

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“The first lesson a disaster teaches is that everything is connected.”

Rebecca Solnit In an attempt at understanding our current state of things – our isolation, fears, new routines, want to help, hopefulness – I cannot help but think of our interconnectedness. We may have different views from our front doors, windows, porches, or balconies, but this crisis has shown us the extent to which we are linked, and the commonalities we share.

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Karin Roy Andersson

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Helga, pendant, 2020. Leather, thread, sand, bone, silver. 10cm x 5cm x 4.5cm 62

Ever since the pandemic started to really affect Sweden the weather in Gรถteborg where I live has been absolutely wonderful. Crispy mornings, blue skies, trees with new light green leafs, lady frogs walking around with males on their backs and thousands of birds singing. It makes a sharp contrast to all the stress, worries and death caused by the virus. I find a lot of comfort watching and listening to the birds. They seem very happy, concentrating on eating, mating, building nests and once in a while polishing the feathers.

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Katja Schlegel Pendant, 2020. Acrylic glass, 18k gold.

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Depending on the polarity of their electrostatic charging, lightning flashes can also originate from the earth. Positive lightning strikes from the upper part of the anvil cloud that has a positive electric charge. These "positive flashes" tend to be much more intense than their negative counterparts and often strike miles away from the original thundercloud. This is why a safe place should never be left too soon.

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Kiff Slemmons

Glow, pendant, 2020. Silver, thread, glow-in-the-dark star, cotton cord.

Omamori, pendant, 2020. Wooden gourds, gold leaf, aluminum coffee filter, silver, glass beads, cotton, paint, leather cord.

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In honoring our common origins, it’s the dust of distant stars that determined our humanity.

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Klaus Burgel Wrecking Ball, pendant, 2020. Silver. 35mm x 35mm

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Patti Bleicher of Gallery Loupe has asked some 40 artist to respond to COVID-19. It was supposed to be a sphere and a pendant.

Rarely do I say yes to those kind of challenges but I had a half finished project lying around that I thought would fit the occasion. A wreaking ball made from chain. There you go COVID-19. Fuck you too!

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LanĂŠ Vorster

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Pendant, 2020. Sterling silver, oxidized silver on reverse. 8cm x 2.5cm 78

Making sense of what is going on in the world right now is impossible. It is too much and too big for me to process. Our country is under lockdown, and plans for the future are uncertain. The uncertainty is daunting. It is challenging to be creative at this time, so I turn to what inspires me: architecture. Being confined to my property has allowed me to notice corners and shapes I never paid attention to before.

I now realize that the walls that confine us, can also offer our greatest escape.

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Luci Jockel

Winged Tears, pendant, 2020. Obsidian, honey bee wings, silk thread, archival glue.

29” x 2-1/4” x ¼”

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The state of this pandemic has tested the wellness and patience of our world. I chose to work with a material that would challenge my patience and to see what is possible without the appropriate tools to carve obsidian. Polishing took days and really tested me, but it gave me a moment to clear my mind. This mental clarity I was searching for is represented physically in the translucency of the obsidian: the more I polished, the more light could pass through. A lot of my work focuses on grieving and darkness – part of the process of healing, but it’s also about finding light through the dark.

“Grief is but a gate, and our tears a kind of key opening a place of wonder that’s been locked away.”

David Abram

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Lynn Batchelder Shift, pendant, 2020. Sterling silver. 1-1/2” x 1-3/8” x 1-3/8”

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In asserting a grid, or a sense of order, these longitudinal and latitudinal lines are represented imperfectly, drawn at a tilt. While resting at the pit of the stomach, the scale of the spherical form fits perfectly in the hand. This tactile quality provides a sense of balance, of grounding amid feelings of uncertainty.

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M a rg i t J ä s c h ke

Interlocked, pendant, 2020. Epoxy, silver, gold plated brass. 12cm x 7.5cm

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Never before was I so aware of the interconnectedness, the worldwide interlocking of our life, our economy as in this time – the time of the coronavirus pandemic.

That a tiny virus puts a halt to everything worldwide has something fascinating in it. The well-oiled day-to-day machine, our life, our economy have come to a halt – we are confronted with our mortality. Why should I want to wear a necklace addressing the coronavirus pandemic topic as a subject? I decide in favour of an amulet – a good luck charm – a necklace which is supposed to ward off evil and bring luck. Coronavirus tested in a test tube will change the world after it has coped with the pandemic. A disease overcome strengthens the body – parents will know this, having witnessed development leaps made by their children after recovering from an illness. Thus my amulet holds in it both – the disease and the strength, and the radiance afterwards -PARS PRO TOTO – we are part of the whole.

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Matt Lambert Amygdala Hijack, pendant, 2020. Steel, aluminum, rayon, leather.

3.5” x 2.5” x 7”

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Millie Behrens Yellow Distress!, pendant, 2020. Sterling silver, lacquer, nylon cord.

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– fear – distress – change – cooperation – My thoughts about this situation have been fear and distress, but also thoughts about change. A need for change in the way we live our lives, and the choices we make.

It also reveals how connected we are and how important it is that we cooperate.

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Missy Graf f Ballone Mending, pendant, 2020. Silicone rubber, mending thread, sterling silver, silk cord. 1.5� Dia.

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To mend is to heal or repair. The body is incredibly resilient. It has the ability to bounce back and recover from injury. To overcome the challenges and vigorous moments of life. Our tissues tear and heal in non-linear ways. This Mending pendant is a reminder of the body’s ability to take shape, to bounce back, to heal.

It can also be used to massage your hands and forearms.

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Naama Bergman Pendant, 2020. Dead sea salt cube, 18K gold, cotton thread. 16mm x 12mm x 13mm Pendant, 2020. Dead sea salt cube, silver, paint, silk thread. 10mm x 11mm x 13mm Photos: Mirei Takeuchi

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We live in a time characterized by instability and uncertainty that emphasizes the fragility of mankind. When borders are being closed, and you are not sure when you will be able to see your family, I try to hold the notion of home in different ways.

One of them is through material souvenirs. The last time I was in Israel I collected a few of these salt cubes people can find along the shores of the Dead Sea. The ideal circumstances there can create salt crystals that are transparent and cubic in shape. The housing for the natural salt cube is like a coordinate system and everything hangs from the origin point. The forced stillness allows nature to restore itself, while we are searching for a balance between nature and humankind, between material and body. In times when hope and tremendous pain are mixed together, I wish to stop being afraid from possible disappointment that hope carries within it.

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Noam Elyashiv

shadow, pendant, 2020. 18k gold, silver, cotton cord. 3” x 5” x .02”

measure v, pendant, 2020. Hand carved soapstone, cotton cord, thread. 6’ L x 1� Dia. 116

It was clear to me that I needed to make an object using my hands, without many tools in-between. I chose subtraction to slowly find the form within the raw stone. A true sphere is a perfect form. Yet, I gauged the roundness of the “gradually becoming” bead using only my eyes.

I was questioning perfection: do “we” love something less if it is odd, defective or hurt? I made this bead using my eyes and hands; a quiet prayer that we still have the power to change the world.

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Peter Bauhuis You Are Here!, pendant, 2020. Nylon, thread. 40mm x 74mm

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New perspectives arise: You Are Here! in the times of #stayathome, suddenly reads quite differently: The teardrop-shaped form made of orange nylon reminds of the digital signpost on Google Maps. It is still a determination of position, a method of self-location. But now rooms have changed. Instead of constantly changing places, now there are very few places. Instead of always being everywhere on the spot, now everyone is at home. Where do you get lost, where do you find yourself? Do we learn anything from this for "later?�

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Reiko Ishiyama 1/20 Million Meters Long, pendant, 2020. Sterling silver, cotton thread.

1-1/2� Dia. x 18-1/2� L

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For the past few years, instead of using brand new manufactured silver, I begin with discarded fragments from my workbench. I look, touch and separate amidst this pile of gathered scraps. Out of all this a thread emerges, stretching out as a kind of white path. Sometimes this path might go nowhere. But as it unfolds and stretches out before me there can be often a way to arrive somewhere new and gratifying. At my workbench I have to be open. I have to empty out my preconceptions. Otherwise, intention will kill the space. Where to go is what silver and I discover together.

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Five years ago while in West Palm Beach for a craft show, I found a fallen green branch with a thick seed pod. I carried it back to my New York studio. Over the years it has continued to dry out, and now exposed at its core are large wings like maple seeds.

Each wing is attached to a smooth black seed. I have planted one deep within the sphere. Although I cannot yet find the name of this tree, it doesn’t matter. Perhaps the new owner of this piece will at the right time bury the pendant, sphere and seed in rich soil.

“It may seem a ridiculous idea, but the only way of fighting the plague is decency."

The Plague by Albert Camus.

brown seed wings, 2“ L, seed: 1/2“ L, pod outer shell: 4“ L Photo: Reiko Ishiyama

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Renzo Pasquale Wounded Planet, pendant, 2020. Silver, wood, gold leaf, acrylic, enamel.

56mm x 23mm

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I thought of this form under the suggestion of the world pandemic of COVID-19. I imagined the planet pierced (wounded) by this unknown enemy. I chose deep blue because it is the color of the earth planet seen from space and also the color of hope and spirituality. It is a planet that is breaking down, dying, under the effect of this serious world-wide catastrophe. Inside the planet keeps potential to regenerate (gold).

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Rian de Jong Hey Guys Shoot That Damn Thing, pendant, 2020. Cardboard, acrylic, coral, gold plated chain.

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Baffled by the run on weapons in the USA during the coronavirus outbreak, I feel I must do something with this very typical topic. During my research I came across the first archetypal “cowboy” pistols which are called “peace maker”? Shouldn’t it be ‘death maker’? Have weapons ever made peace?

Weapons incite grief, hatred, losers, power and deaths. How could weapons protect against COVID-19? It is a strange none One World.

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Lansing, Michigan April, 2020

Drawing

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Robert Baines Wuhan Consequences, pendant, 2020. Silver, powder coat, lacquer.

33mm Dia.

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Ro b e r t B a i n e s , w e l l r e s t e d , i n hi s s t u d i o , M e l b o u r n e , Au s t ra l i a .

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Sandra Enterline

Light Infundibulum pendant, 2020. Sterling silver, glass, stainless steel. 2.5” x 1.75” x 1.75”x 18” L

Dark Infundibulum pendant, 2020. Steel, sterling silver, glass, stainless steel. 2.5" x 1.75" x 1.75"x 20" L

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funnel/fnl/ verb: to concentrate, channel, or focus; “from the many, into one”; from the Latin infundibulum, “in” + fundere “to pour”; “A place or a moment where all the different kinds of truths fit together” (Vonnegut, 1959).

Sandra Enterline’s newest work is about the process of resolving contradiction and paradox, and the tension that arises during this. It is about coming together, moving away from polarization and binary understanding. In her work we see our fragile world mended. We can see the breakage, the fractures, and yet we are brought together by our shared peril: beautifully broken, yet whole.Although the external structures take the form of laboratory tools, which conjure up associations of industrial sterility, the interiors reveal delicate, secret worlds of refractive glass shards. The radiant effect of the vessels rely on the orientation of each shard, which may dull or enliven every passing ray of light.

In cooperation, yet imperiling, the individual shapes the whole. As in all of Enterline’s work, the message is hidden in the interior—only visible on the astute second glance.

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Seung-Hea Lee Pendant, 2020. Oxidized silver, mystic labradorite, cz.

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When we are connected as a whole...When we are complete as a whole...As a whole, we can change and make things better. As a part of whole, I wish everyone stay strong and safe.

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Shachar Cohen

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Hamsa, pendant, 2020. Stainless steel, cotton thread. 12.5cm x 9cm x .6cm edition 1/3

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A form of an abstract hand hanging off center and unbalanced.

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Thomas Gentille Pendant, 2020. Plywood, maple, cherry, paint and pumice, metal, synthetic fiber, heat-shrink. 210mm H x 21mm W x 25mm L

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On the 29th of April, 2020, the giant astroid, number 52768, flashed past Earth. When first discovered, it was thought the impact of its near trajectory could be devastating. It has passed us by. We still stand. Instead an infinitesimal virus, wreaking havoc, sprang out of nowhere. Laying low, so many, around our beloved Earth. Everyday, so many courageous people help us. Doing our individual parts, we in turn must help them. Together we can make the virus lie low while we discover how to make it pass us by.

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Timothy Veske -McMahon Contact, pendant, 2020. Aluminum, thermochromatic coating, cotton.

6" x 6" x 1/8"

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The creation of proximity over long distances is a daily task of modern existence.

Yet still, the moment proximity becomes critical and collapses – contact – is essential for our wellbeing. Worlds of information are stored in a touch – conveyed by pressure, heat, and duration. How can I create a signal of contact?

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Uli Rapp Precious Skin, pendant, 2020. Textile with screen print and metallic foil, medical grade plastic.

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The pendant is all kinds of 'precious stones’ in different human skin-tones. Together they form a unity that moves when worn. Creating different compositions together.

I believe strongly that unity and sticking together in this crisis is most important.

Also never underestimate the preciousness and importance of each person.

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Urmas Lüüs Ex Voto, pendant, 2020. Cocobolo wood, late 19th C. iron wire.

12cm x 9cm x 6cm

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It’s both frightening and astonishing how fast the virus harms our entire body. Pain in the lungs, headache, rising temperature, all-encompassing lack of energy. Blood that never sleeps is carrying the infection everywhere. It demonstrates the amazing wholeness of our organism. But its by far not just a problem of any individual any more. Things that started to happen far, far, far away on the other side of the planet, became the reality of the entire world within just a few weeks. Now even indigenous tribes far away from the main society are fighting for their lives. The virus did not ask our gender or religion or side on the pointless political rallies. Our planet is one huge living heart and we are the bloodcells. It does not matter, if we look through telescope or microscope, we are always looking at something that is bigger than us.

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Ve re d Ka m i n s k i Pendant, 2020. Aluminum, silver chain.

115mm x 65mm x 3mm

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Vered Kaminski, in her studio, Jerusalem, Israel.

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Yutaka Minegishi Mushroom House, pendant, 2020. Fossilized mammoth tusk.

Photo: Arne Schultz

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This ring formed pendant is made from 10,000 year old fossilized mammoth tusk, and carved in the shape of a fairytale mushroom house.

It’s form is very smooth – be careful though, it can scratch you too!.

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ONE WORLD Price List PAGE 1 2 8 12 16 20 24 28 32 36 40 44 48 51 52 56 60 64 67 68 72 76 80

ARTIST Annamaria Zanella - A Unique Red Line Annamaria Zanella - Red Alien Attai Chen Barbara Seidenath Biba Schutz Caroline Gore Deganit Stern Schocken Doris Betz Emiko Oye Esther Knobel Eva Eisler Evert Nijland Florian Milker Georg Dobler - Exit Moon Georg Dobler - Virus Unknown Jess Tolbert Karin Roy Andersson Katja Schlegel Kiff Slemmons - Glow Kiff Slemmons - Omamori Klaus Burgel LanĂŠ Vorster Luci Jockel

PRICE $750 $750 $750 $220 $750 $520 $750 $400 $295 $750 $600 $750 $750 $600 $600 $650 $750 $700 $750 $750 $750 $660 $550

PAGE 84 88 92 96 100 104 104 107 108 112 116 122 126 132 135 136 140 144 148 152 156 160 164 168

ARTIST Lynn Batchelder Margit Jascke Matt Lambert Millie Behrens Missy Graff Ballone Naama Bergman - Untitled (right) Naama Bergman - Untitled (left) Noam Elyashiv Noam Elyashiv Peter Bauhuis Reiko Ishiyama Renzo Pasquale Rian De Jong Robert Baines Sandra Enterline - Light Infundibulum (left) Sandra Enterline -Dark Infundibulum (right) Seung-Hea Lee Shachar Cohen Thomas Gentille Timothy Veske McMahon Uli Rapp Urmas Lüüs Vered Kaminski Yutaka Minegishi

PRICE $700 $750 $350 $750 $350 $450 $320 $675 $675 $750 $500 $750 $555 $750 $750 $750 $750 $750 $750 $180 $370 $500 $500 $750 188

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