Did time seem to expand and contract in 2020? It did to me. Some days I had surges of positivity and energy, emboldened by a studio full of art supplies, the promise of a new creation, only to settle in and binge watch a Neflix series.
When the pandemic started, I subscribed to MasterClass.com, a website where you can take courses from famous chefs, writers and directors. I was determined to become a genius in something by the end of the year. I made it part way through a writing course with David Sedaris, sort of learned to make a few cocktails, and I now know how to make an Italian-inspired hamburger so long as I can find wild boar somewhere. Read more
I’ve been trying to cull stories of what I call Creative Coping—businesses or people using creative solutions or workarounds during the pandemic. Sometimes they’re business strategies, often they’re just ways of adding delight in a dark time. In my pandemic fog, I often forget to write them down when one crosses my path.
Curators of color. Designers of delight. Purveyors of play.
Join 3 colorful makers for an evening of show and tell, a peek in the studio, Q&A the artists, and toast a new, and hopefully, better year. We make modern, playful, smart, handmade objects to brighten your life and make you think.
GAIL HEYMANN / Modern ceramics that are functional, sculptural, political Visit Gail’s Etsy shop Follow Gail on Instagram
KAORU SANZEZ / Modern, colorful, fun everyday items with original textile designs. Visit Kaoru Sanchez website Follow Kaoru Sanchez on Instagram
JANE PELLICCIOTTO / Contemporary jewelry for design lovers Follow me on Instagram
The pop-up will run approximately 30-40 minutes. Registration is via Zoom. Click on “register” below.
Want to join in with a colorful cocktail/mocktail? Here are some recipe inspirations for red, blue and green drinks.
Have your drink ready and we’ll do a jewel-toned toast at the end with all participants.
Plan to shop after? All the artists offer free shipping.
I wrote this a few days before the election, then headed off to a fellow jeweler friend’s for a little distraction. My intention was to post this before the election but realized soon enough that the delivery date didn’t matter. It didn’t matter who won the election. It just matters that you follow where the path leads and make lemonade from lemons.
Four years ago, a few days after the election, I got shingles. I won’t say where.
I also started a monotype printing class the day after election day. I recall walking through the parking lot, my brain in a fog, and, admittedly, hungover. I felt a lot of things, but creative was not one of them. Read more
A good diversion to the regular studio practice is entering a unique piece into an exhibition. It stretches you, and might even inspire new work. The brooch above, Come Here, Go Away, is my response to Danaca Design Studio’s exhibition and fundraiser “STATE | Meant 2020: significant and powerful jewelry.” This virtual exhibition called on artists to create a piece of jewelry that makes a statement and to designate a non-profit/charity. If a piece sells, 50% will go to that artist’s chosen non-profit. Read more
“While we are all watching caregivers, nurses, and doctors giving all they can to our communities, risking their lives for us, we want to find a way to honor them. They should all get a medal, a votive offering given in gratitude or devotion. At some point this crisis will end and there will be a moment when we can thank them for all they do. We propose to present as many health workers as we can with a medal based on a traditional ex-voto, also to mark the moment when we can see a future.”
The Hand Medal Project, conceived of by artists Iris Eichenberg and Jimena Rios, honors healthcare workers around the world for their service and sacrifice during the pandemic. The project’s idea was inspired by ex-votos—a small devotional object given in fulfillment of a vow or in gratitude or devotion. Read more
Join me once again for my Annual Holiday Pop-Up & Open House. I usually include an artist or two but this year I’m flying solo. I hope you’ll stop by even if you’re not in the market for jewelry. I’ll have some yummy treats and libations to enjoy. Come say hello!
This August I was fortunate enough to be one of 38 artists participating in the 11th Annual Frogwood Collaborative. Frogwood started in 2007 as a small gathering of woodworkers wanting to get out of creative ruts and stretch the artistic possibilities of their work. It has morphed into a community of artists working in a variety of mediums—paint, fiber, wood, metal. And within those mediums there are coppersmiths, blacksmiths, jewelers, weavers, printmakers and painters. The idea is to spend a week collaborating on projects.
Given that most of us work alone, the idea of collaborating can be a challenge. Even if you crave an exchange of ideas and diving into a new medium, knowing how to start a project with someone you don’t know isn’t easy. One place most of us started was a huge table piled with donated items from participants. Fine wood scraps, project boo-boos, plastic, animal bones, glass, you name it. It was all there for the taking.
Veterans came with ideas. Newbies like myself wondered how to start a project. Not to mention the pressure (self-imposed) of creating a piece worthy of sale at a silent auction that took place at the end of the week in Portland. On this Frogwood auction information page, you’ll find photos of all the completed projects at the bottom.
Like most experiences that involve people, it’s the people that make it memorable. I don’t know if every gathering of a few dozen artists and craftsmen always yields good results. But I have a pretty good idea that it does. One thing that kept coming back to me during the week was this feeling of relief, of being understood. While there was little time for much in-depth conversation, I took comfort knowing I was surrounded by people who obsessively absorb their surroundings, wondering “what if,” dreaming up that next creation. Check out the 2018 participants.
We were in the beautiful wooded setting of Camp Colton in Oregon. Even being in cell phone range, it felt like the middle of nowhere. Time was divided into clear chunks—breakfast, work, lunch, work, dinner, work, sleep. I never slept so well in a tent as I did at Frogwood. Working 12-hour days helped. I kept thinking I’d want to wander the woods, sit and read a book or sketch. But all I wanted was to return to my bench and keep working every day.
I didn’t expect such a professional set up. The big modern barn, with concrete floor surrounded by enormous patio space, was filled with every tool imaginable. Nothing like this comes together with ease. Thanks to woodworker Tom Willing at the helm and his trusty board, there wasn’t a single thing lacking in this space. Well, except for nails when it came to securing hanging devices on the backs of finished pieces. All those tools and not a single nail!
I went with a goal, despite not knowing how the collaborations would work, that I wanted to work with wood. I’d been craving working with a more gentle material than metal. Most of my collaborations involved self-generated projects, getting inspiration from materials I found on the table and getting invaluable help from others. Without exception, someone would drop what they were doing to show you how to use a tool, hammer a copper head for a spoon or help figure out how to connect materials. My go-to wood guy was instrument maker Adam Mendel of Joyner Instruments. Having been a teacher, he would sprinkle each interaction with invaluable tips that I know I’l tap into if I get more serious about wood. Below are a few projects I worked on with his help on the wood parts.
In all, it was a truly memorable experience that I recommend to any artist if you can find a collaboration near you. Or better yet, start one in your community. The rewards of having three dozen new artists/craftsmen/makers/friends in my circle who I know I can reach out to is invaluable. I’m inspired to keep experimenting and being open to new materials and processes, not to mention collaborations when we’re not at Frogwood. Once a year isn’t nearly enough!
I grew up on the East Coast and spent many summers kicking up sand on Rehobeth Beach. Just writing this makes me hunger for a Nic-a-boli. So it’s fun to be able to circle back and be part of the Heidi Lowe Gallery annual “Earrings Galore” exhibition featuring work by 30 artists from around the U.S. and abroad.
The show will be up for the whole year with an opening reception on June 29 from 6-8pm. But it’s coming to Portland as a pop-up exhibition as part of the Society of North American Goldsmiths (SNAG) annual conference. The exhibition is open to the public, so if you’re in the area, please stop by.
Portland pop-up location: 219 SW 9th Ave. in Portland, OR.
Opening night: Thursday, May 24, 3–6 pm
Additional hours: Friday, May 25, 3–6 pm and Saturday, May 26, 1–3 pm
There are many more exhibitions going on as part of the SNAG Conference, not all of which involve metals. Here is a list of happenings that are open to the public. I’ll have work on display at both Alchemy Jewelers and Annie Meyer Galleries.
Thursday, May 24th
Pearl Arts District Galleries
5 pm–8 pm
I’m honored to be in a group art show at one of my favorite places in Portland—Powell’s Books. The show, entitled “Edges,” includes work from seven Portland artists working in a variety of mediums, from found object assemblage to collage to painting. The show will be up till the end of November. Check it out while you’re there loading up on holiday gifts. The four collages on the right are mine. Enjoy!
So nice to have a photo to share of an exhibition in which I have about 13 pieces of jewelry. Very cheerful! The title of the exhibition is called “Likeness,” and is on view till October 1 at the John Michael Kohler Arts Center’s ARTSpace in Wisconsin.
From their website:
As part of our yearlong celebration of 50 years of art at the John Michael Kohler Arts Center, ARTspace connects works by five contemporary artists to works housed in our collections. These works were not created in reaction or response to our collections; they were made unbeknownst to it in a separate time and space. However, the work bears a resemblance, a likeness in style, material, or concept.
I was very honored to be invited into this exhibition, a first for me in my fledgling jewelry endeavor. I’m familiar with the work of a few of the other artists, but a lovely surprise was being included with Ayn Hanna, whose work I’d admired at the American Craft Council Baltimore show in 2016.