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My metalwork has always been a vehicle for personal
expression. In each piece I intend to strike a balance between formal and expressive
concerns. My primary focus as a metalsmith is my interest in jewelry as a dimensional
object. Each piece is meant to form an alliance with the human body, incorporating the
human form, extending its shape and volume. The pieces are in proportion to the scale of
the body, which is why they appear to be larger than traditional jewelry. The absence of
color in the work is intentional so that the focus is on form, dimension, sensuality and
detail. The viewer must then focus on the sculptural quality of the jewelry as it relates
to the wearer. It is not my intention however, to give the impression that I am only
interested in jewelry as adornment. My work is an exploration of form, intended to create
a visually unique and personal experience. I have almost exclusively utilized the brooch
as ornament, because it works as well on the body as it does in isolation. Whether the
piece is exhibited on or off the body, it is meant to be a complete experience.
Beauty has always been an honored value in the crafts. My optimistic view of life
originates from the fact that man is cable of creating and appreciating beauty and an
aesthetic experience. The preciousness of that aesthetic experience relates as well to the
preciousness of carefully considered materials, surfaces, colors and forms.
As an American growing up in the 60s, I was affected by the unraveling of conventions. The
sixties was a turning point for the crafts. There was a break with tradition, a breakdown
of the barriers between art and crafts. There was an open attitude towards experimentation
and discovery; anything was possible, artists were limited only by their imaginations. I
was also influenced by the prevalent attitude that the practice of craft was an effective
means of self realization. Through creating, and manipulating materials, one could explore
ones own nature.
I am interested in the psychology of wearing unconventional objects, and issues of
identity and individuality. My work is motivated by an understanding of the importance of
ornament as a vehicle for self expression. Throughout my career I have endeavored to
search for new interpretations of ornament. This investigation began and was fostered in
the 60's, and continues into the present. As we enter the twenty first century there is
yet another break with tradition. Today's information age has changed the way people
communicate, interact, and define community. We now have a changing paradigm for human
interaction that presents new challenges. One of two paths can be taken. One can become
nostalgic and turn to the past for answers and continuity; or one can embrace the present
and the future, and try to speak to the issues of change. My challenge is to produce work
that will respond to the need for self expression and individuality in an age of
information technology. |
