When I was a child, I had a Barbie version of myself for each profession I thought I wanted to have. I remember there was a lawyer, marine biologist, model, but oddly enough no artist or jeweler.
When have you started creating jewelry? How did this passion come about?
I technically started making jewelry around the age of 6 years old. I would make “gemstones” out of playdough and form them around plastic rings. I would then let them harden up before painting them with glitter nail polish. They were often given away as gifts to friends and family.
What was your first project or significant piece for you and from what point of view?
I do not have a picture of it, but it would have to be my first cast ring. The process of carving wax and watching how it transformed into metal was magical to me. I was in high school, and it must have been the moment I knew I wanted to be a jeweler.
How do you charge your batteries? What other passions and creative interests do you have?
I love spending quality time with my family. Cultivating life means a lot to me, I have a beautiful garden and plant collection. Most recently I have been looking to historical garments to inspire my jewelry practice.
What does the connection between manufacturing tradition and contemporary design mean to you?
Jewelry is inseparable from its traditional and historical contexts. As contemporary jewelers we are challenged with questioning those contexts and delivering a perspective that questions beauty and value through innovative uses of material and process. Jewelry is inherently personal, which makes it a perfect art form to express current themes of identity.
Is there a self-portrait piece that speaks most about you?
It is not a piece of jewelry, but I made a self-portrait object. My processes are very experimental, in this case, I was experimenting with laser etching portraiture into enamel. The two tiles in the piece were of myself but expressed very different emotions. The two looking at each other is reflective of how we see ourselves versus reality. I chose to keep them as objects instead of jewelry because I felt like the piece expressed how harshly I look at myself. Wearing those feelings as jewelry would take ownership of those feelings while the action of placing them down as objects would be to walk away from those negative feelings for means of acceptance.
Which material have you not yet used is a temptation and a challenge for you?
I am often amazed by the versatility of steel jewelry. I have been intimidated to try it because it seems like it would be a little dirty to work with and I barely have enough patience waiting for nonferrous metals to clean.
How was the pandemic period for you as a jewelry designer?
As a homebody, I loved lockdown. I developed an entire new process and body of work for myself. I spent my days pressing thin copper foil to take the shape of my body and using wire to stitch elaborate garments together. This body of work became my MFA thesis exhibition, and I do not think it would have happened without the pandemic.
How do you see the future of contemporary jewelry?
While the field of art jewelry is very much invested in unexpected alternative materials, I don’t think the public has really accepted anything other than gold, silver, and gemstones for their perception of valuable jewelry. Contemporary jewelers, and the cost of precious material is changing that. I think the future will see a greater value and desire for unconventional materials in jewelry.
