|
Artist Statement:
My process involves the lamination of a thin layer of copper over a thicker layer of fine silver. The next step involves photo-etching through the copper to the silver to obtain my patterns. Occasionally I use a combination of copper over 22k gold over sterling, photo-etching through the copper to the 22k gold. The pieces are then constructed, and after finishing, the copper is oxidized. I make beads, pins, and earrings. My interest is in exploring the relationships of pattern to form. I often combine patterns to fit a certain shape. When the round beads are being dapped, the pattern goes thru distortion. Fitting the halves together poses both technical and aesthetic challenges. So I make adjustments to the pattern to include the seam as a design component.
In the early eighties I was exposed to the work of Carol Kumata; layers of silver with solder inlaid pattern looked like rice paper cradling a stone. Though I was attracted to her ideas, it was the pattern which appealed most to me. I was hoping there was an easier way to produce pattern. During that time I was trying to refine my mokume gane technique; my friend Alan Liu was working on various photo stencil applications. I was only mildly interested in photo etching, but, one day I combined the two processes. That was it! I was hooked.
I started making beads; round ones, cylinders and cones. That was another combination that seemed to work well; beads with pattern. The bead, being the ground, or foundation of jewelry was an automatic choice. My intent was that the jewelry have the quality of something familiar which is cherished.
Later, I spent a short time in China and Japan where the language of pattern, and it’s potential, made it’s strongest impression. I began to ask myself "What makes pattern; how can I use it’s language?". Then I had questions about the language and its symbolism. Questions like "What makes checkerboard so universal?" "What is so appealing about triangles?" I find answers in fragments, giving direction to the next step, or series of steps.
BROOCHES
Brooches are like poetry; personal observations, often subtle and emotional. They just float out there, surfacing on their own without the apparent constraints of wearability. Then, they become part of the wearers persona. Like chameleons, they have their own personality, yet change in relation to their environment. Like the balloon blips of the comic strip, they become a dialogue tool, representing something of the wearer, containing some history, indicators of personal mood or attitude. They can also be talismans, protectors to the wearer or imparters of magic. Or, just be something special to wear, for no apparent reason.
|
|
