Keith Lewis: Joyful Jewelry!

Keith Lewis

I found Keith Lewis on metalcyberspace and was instantly transfixed. I thought his images radiated joy and happiness so I sought him out to find out more about the man behind the work. What I found was a person with a rare sensibility and wonderful sense of humor. Take a few minutes to enjoy Keith!

I want to make someone’s favorite earring. While that may sound more like motivation than style, if I want someone else to like the piece of jewelry, then I certainly have to feel good about designing and making it. I truly enjoy creating jewelry, and perhaps this comes across stylistically.

I am most drawn to techniques that bring out some unique quality of the material with which I am working. So, high heat processes with copper, electricity with niobium, chemical patinas with brass, roller forming with soft metals like silver are all techniques that showcase something that a particular metal does well. My hope is that the design ends up looking natural because I’m not forcing anything.


What are your influences and where do you get your inspiration?

I realize that I am out-designed every day by a mollusk. Have you ever looked at one of those amorphous slimy blobs in a shell? And yet, when I look at the pearl it creates, I know I’ll never make anything that wonderful. Have you ever just watched the colors of a soap bubble change from watermelon pink to lime green to teal to hot pink then blue, purple and finally bronze as it thins out? That’s exactly the phenomenon found in Niobium as I anodize it. How about the colors on old copper flashing or brass faucets? The world is full of the most creative wonders you can imagine, and I feel like I am collaging with some of them.

How did you first come to jewelry design and when did you decide to make it your career?

I had some other businesses earlier that foreshadowed what I do now. My first venture was going door to door in my neighborhood selling dirt. The profit margin was the best I’ve ever achieved since it wasn’t even my dirt, and as a seven year old I had low expenses. I moved on to collecting golden corn silk and bits of crushed glass in a cigar box, which when you think about it is rather jewelry-like. My first actual jewelry-focused activity was at twelve years old (40 years ago) in Seoul, South Korea in a craft shop where I learned to cut cabochons. I realized I had to work for myself while I was in undergraduate school in Oklahoma. At the time I was working in an all-you-can-eat-until-2AM pizza joint right next to the Oklahoma Sooner Football stadium; that might have helped me realize I needed a plan... Though, I truthfully don’t think going into business for yourself, especially in the arts, is as much a decision one makes as it is a path one fulfills. (Probably a stupid decision, but can be a wonderful path).

Finding an audience is easy. The hard part is getting them to find me. If you’ve spent any time at a craft show, I’m sure you’ve experienced some kind of mental work stoppage; it’s easy to become numb to the visuals and just walk by the booth. How many tiny things can one see before it all blends together and you just end up walking down the aisle talking to your friend about how bad the food is? I can only hope that enjoying what I do and feeling confident in the integrity of my work somehow comes across and is noticed. That, and I try to get big booths.

With the economy and price of metal on every one's mind, how has this affected your business and this industry?

This is too big a question for someone who likes to hear himself talk to answer here. Briefly, I have moved from using predominantly silver in my designs to silver together with a wide variety of materials while keeping the general feel of sterling jewelry. So, when silver goes from 9$ per ounce to 18$, my Cost of Goods component does not have to double as well. That makes my modest price increase look almost like a relative price decrease compared to others. I certainly have had to become more directional and purposeful in my business, and thankfully I’m married to Lisa who is patient enough to stay calm until I realize that her suggestion is the right one.

What advice do you have for fledgling jewelry designers?

Some Swedish friends of mine occasionally remind me of their proverb: “There is no such thing as bad weather, just bad clothes”. To me this says one needs to not get flustered, keep a positive attitude and plan realistically. I know if you are just starting, this may sound condescending or overly simple, but if you get flustered you’ll have no chance of being effective, if you don’t stay positive you’ll let yourself be ground to a pulp, and if you don’t have a plan that you can compare to reality you’ll end up spinning your wheels. You can do it, regardless of the weather. Once you get started, visualize your trajectory. Where will you end up if you keep doing what you are doing? Has working all the time instead of having a life lost it’s rosy glow? Facing the “bad weather” and making even a small change can have big and long-lasting and terrific consequences. One of my biggest mistakes was to nearly always choose to work harder and that’s not always the way to go.

In the end, you have to feel good about what you’ve done.

Where can your work be seen?

Anywhere but that pizza joint! I’m in many major craft galleries and museum shops (the Smithsonian shops have carried my work for many years). I also show at many major craft shows—my schedule changes each season and can be found on my website: http://www.keithlewisstudio.com/

I'm a major fan! I love Keith's work and found that there is a unique, fascinating person behind the jewelry---just as I imagined. Lucky Lisa! :)

Thanks for stopping by!

Sally

Beth Lauren: Fabulous Fibers!

Beth Lauren

I found Beth Lauren on one of my favorite stand by sites, metalcyberspace. Her work jumps off the page from the others partly because her focus is the use of fiber to create eclectic, fabulous pieces. I asked her about her interest in fibers:

I think fibers add a less refined quality to jewelry. Traditionally jewelry is only hard metals, so I’m drawn towards shifting that perception to something a little more organic.

I hope to achieve a style of jewelry that can be worn casually or with higher end pieces. Something that translates and conforms with what a person is wearing. I would say my style is certainly eclectic and a fusion of different genres just as you said. And that way the jewelry itself can translate and work on different personal styles including bohemian, high fashion, hipster, preppy, or whatever it may be.

-what appeals to you about combining fibers with antique pieces?

It’s just the fusion of styles and materials. I think the rich vintage pieces juxtapose nicely with the use of soft fibers which then also contrasts with the use of 14K gold filled metals.


-your use of stones in your diamond shaped pendants and earrings almost appears to be woven. Does that come from your focus on fibers?

That came from an attempt to frame the vibrant colors in gold, which I think elevated the colors, giving them a richer quality. But it does also transition back to the woven and soft fiber pieces.


-when did you first begin designing jewelry and when did you know it would be your career path?

I first started designing over my summers off from college. I knew I wanted to do something artistic, and there weren’t too many of those opportunities in Washington DC that also involved making money. I did that for two summers, selling to local boutiques in the area, and then after graduation I simply grew tired of searching for jobs and started it back up again. It was pretty soon after that I was accepted to have a trunk show at a high end New York department store, and I then realized that this could possibly work as a career path.

-what was the most important thing you learned from your studies in Italy?

In Italy, I worked with hard metals in jewelry design class which is probably what pushed me to begin working with softer elements. I was actually pretty frightened of working with all of the sharp tools, and machines, so now I tend to do everything by hand without soldering, sawing, etc!

-you have been extraordinarily successful getting your product in magazines and retail outlets. What has been your path to get to the level of success you experience now?

I would just say taking risks, and investing back into the business.

-how important is it, do you think, to showcase in magazines? Cost versus reward?

It really depends on the magazine itself. But it certainly all helps to brand your company, and get its name out there, so that you can become more recognized and established. However, I certainly feel that I’m still a long way off from becoming a more recognized brand.

-how has the economy affected your business?

It has influenced me to create lesser expensive jewelry that isn’t in precious metals, since people don’t want to spend as much on jewelry these days.

-what advice do you have for fledgling jewelry designers?

Just to follow your own creativity, and what you’re attracted to. And to research the market and competitors, and know who you’re up against!

Beth makes the most extraordinary pieces and has the marketing savvy to put herself out there ahead of the pack. My hat is off to her!

Thanks for stopping by!

Sally

Hilary Hachey: Creating Beauty With Contrast and Opposition

Hilary Hachey on the Eastern Shore

"Bauhaus" Bracelet--2005 Niche Award Winner

"Avocado" Necklace--2008 Niche Award Finalist

I found Hilary Hachey's work through metalcyberspace. I was instantly drawn to her intricate craftsmanship and use of repetition--mostly of interesting box shapes--to create sophisticated, stunning pieces. Working out of her studio in Baltimore, Hilary has been recognized by prestigious awards for many of her designs, most notably her Bauhaus Bracelet which won the 2005 Niche Award and Avocado necklace which was a 2008 Niche Award Finalist. Here's what Hilary has to say about her work:

I want my pieces to work as a whole and stand on their own as visually interesting. I am a minimalist. I focus on clean lines and simple designs. I sometimes describe my work as "architectonic", meaning I focus on the well-built over the mass produced, among other things. For some reason, my brain is wired so I find the repetition of forms to be very pleasing....who knows why? But, I also like to create tension in a piece, so it is pleasing to view again and again--not just once.


Where do you find your inspiration and what do you do when it is in short supply?

Wow, if I could answer that......... It's all a mystery to me and I hope it doesn't run out.

You mention that you previously worked in other mediums but once you started metalsmithing "it just made sense".

I took a lot of studio courses in college and before that in high school. In college, I focused a lot on clay but I never really got anywhere with it. When I took my first metals class, after college (at the Maryland Institute College of Art), it clicked for me. I didn't feel like I had to write down the procedures because it all seemed so logical. It was like opening my eyes and seeing it all laid out in front of me--like, "of course that's how you do it!"

You appear at various Fine Art Shows, doing about two a month. How do you find the contrast between the long days of set up, standing in a booth, tear down type work to sitting in a studio creating jewelry?

I love going to shows and meeting my customers. It is great to get the response of those who wear my work, especially when I return to the same show year after year. I used to be so afraid that the customer would get home and realize they'd made a horrible mistake; but instead, they come to tell me how much they love it and how they are constantly complimented when wearing it. Also, it is really nice to get out of the studio and socialize with other artists. I don't mind the heavy work of set-up and standing for hours on end, although it can be a grind. I see artists much older than I am, and I wonder how they do it.

How do you balance the creativity of the work with the business of being in business?

I am a very logical, orderly type of person. Keeping records and doing office work isn't a problem for me. Also, I grew up watching my father run his business and it never occurred to me that other people had employers. (Of course, I mean when I was little.) I guess I learned a lot without even realizing. I love running a business.

How do you find the high price of precious metals and the soft economy is affecting the jewelry design business?

Well, it's tough for everyone. I think there is a danger of some of the less experienced and smaller designers fading away.

I'm a huge fan of Hilary's work! As I begin my metalsmithing journey, I am constantly inspired by accomplished artists such as Hilary Hachey!

Hilary's next show will be the Columbus Arts Festival in early June.

Thanks for stopping by!

Sally

Tamra Gentry: From Science to Art

Tamra Gentry

Perusing through metalcyberspace again, I found a relative newcomer to the field, Tamra Gentry of Ag Jewelry Design . I was struck not only by the quality of her work, but also by her explanation of her love of the work. Her words, expressed so much better than my own, resonated with me, reflecting my own reasons for the love of creation in this medium. On her website she says:


The beauty of my designs highlights all that is precious and valuable—our planet. In addition to the work of my caring and skilled hands, so much science and history went into the production of the colorful stones and metals we see before our eyes.


Incorporating science into her art comes easily to Tamra since she majored in physics in college. In fact, her company name, Ag Jewelry Design, uses the Periodic Table symbol for silver, Ag in her logo. Her website explanation:

I came up with the idea to use its Periodic Table representation as a logo because I find physics and chemistry fascinating. I knew that I really wanted to link this, via my logo, directly with what I do and who I am as a jewelery artist. I am also very awe-struck by our planet and its composition, its uniqueness and beauty—and its fragility. The Periodic Table is one of our many great equalizers on both micro and macro levels.

As jewelers we are quite fortunate to have treasures such as silver, gold, copper, platinum, precious and semi-precious gemstones as our canvases for artistic works. The logo is a tribute to and talking point for the science behind our beautiful natural resources.


I asked Tamra about her transition from physics to jewelry design.


Growing up, I was heavily involved in creative play—sewing, writing, classical piano, making jewelry, etc. But, creative play was just that for me—play. It never occurred to me that I could pursue any of my creative activities as career options. My focus was always on what I thought to be the more “practical” route, so I originally went to college as a business major with the intent of eventually becoming a corporate attorney.

Despite having laid out a course to go the “safe” route, by the time I graduated high school I was quite an accomplished pianist, and I still fantasized a lot about fashion design. It still didn’t occur to me to pursue either as a career!

Majoring in business didn’t work out well, as I found the whole notion of conforming to traditional corporate culture totally unacceptable for me. So after my first year in college, I changed my major to physics. Well, what did I want to go and do that for? I didn’t like it when I was forced to learn it as part of my major because with all of the classes I was taking at the time, I never felt like I had the opportunity soak in what I was learning. As such, I grew to love physics only after I graduated and studied it on my own. However, all the while I still felt the pull of my creative and artistic sides.

At some point the light bulb did come on with regards to pursuing a career in the arts. However, because I had already devoted so much time and effort to science, I was torn—and as a result I oscillated back and forth between the arts and the sciences for a long time. I felt that if I pursued one, I would have to forsake the other altogether—and I was really scared of “missing out.”

Long story shortened, after making and giving jewelry as Mother’s Day gifts one year, I got hooked. I became really fascinated with the many different ways in which jewelry could be made. I began with beading and wire wrapping, then I moved on to PMC clay, and from there metal fabrication. I feel so deeply in love with jewelry making and came to the conclusion that “this is it!” For the first time ever, it felt right, and it felt natural.

A lot of jewelry fabrication involves chemistry, physics, geology, and the like. With an undergraduate degree in physics, not only were many of these concepts familiar to me, I found their expression through art to be a fun and initially unexpected way to maintain continuity between my past and current undertakings.

What about jewelry design especially fascinates you?

Three specific things actually: I love the variety of processes that can be used to make jewelry—the learning potential is endless, I love the fact that there is an unlimited number of materials available, and I love that there is so much science and history in the field.

The three processes I find most fascinating are mokume gane, which is the ancient Japanese process of simultaneous diffusion bonding of several sheets of metal at one time, and those sheets are then rolled out and patterned to resemble a “wood grain”; granulation, which is the ancient Greek/Etruscan process of fusing tiny metal spheres to a metal backplate; and married metals, which is the process of combining different types of sheet metals (e.g., silver and copper) via soldering.

I find all three of these processes and their histories fascinating. When done correctly, the results can be beautiful. Not to mention, each technique has its own challenges, and for me, I really love getting into the processes and solving issues to try to make things work to achieve beautiful results.

You have said that you love running your own business--what do you find is the greatest challenge between making the pieces and handling the business of the business?

Handling the business has always been the easy part for me. The business part comes quickly and naturally. With regard to the art-side, I’ve found that I am subject to my own whims and inspirations. It’s hard for me to sit down and make a piece for the sake of selling it. I don’t like the extent to which I sometimes have to coax out the creativity and art. When the creativity comes though, I’m usually pretty pleased with the results.

I find my inspiration all over the place—I’m like a sponge in that regard. Many design ideas evolve from ones I’ve had before. However, when I’m doing work with what I call “art stones,” for example Wave Hill agate, the inspiration comes from the stone itself—the colors, patterns, shape of the stone, etc. Even then, spontaneity is subject to taking over and overriding my original design thoughts. Sometimes I try to plan around a particular theme to see where it takes me.

How would you describe your style?

I’m still trying to “find my voice.” As such, I’m not sure I’ve really yet developed a particular style. What I feel a strong affinity towards one minute changes with the discovery of another process or procedure—or with the evolution of an old design idea.

Tamra's passion and vision is so apparent that she seems destined to find continued success as she works to "find her voice". Her work can be seen on her website and through Esty. Galleries and shows are on her near horizon.

I so enjoyed learning more about Tamra's point of view, especially regarding the privilege of working with precious materials from our fragile and beautiful planet. I wish Tamra great success!

Thanks for stopping by!

Sally

Julie Glassman: Extraordinary Enamels!

Julie Glassman In Her Studio

A Higher Ground

Love Is Not Constant

Hot In The City

Spring Tree

I love to take a stroll through metalcyberspace from time to time to see what the best-of-the best are doing in jewelry design. This is a magnificent website for seeing some of the most interesting work in the world. And, it's where I stumbled upon Julie Glassman's work. I opened her website, Julie Glassman Fine Art Jewelry and was stopped in my tracks. WOW! The color, humor and uniqueness of her work is something special indeed. One of her specialties is her series of Byzantine enameled landscapes. Here's what Julie had to say:

My landscapes are actually my interpretations of places I have been. It is how my minds eye sees these places and I have a yearning to infuse that onto glass and canvas. The Hopi people that live on the mesas in Arizona don't allow people to take pictures of their sacred place so a lot of their art has paintings or drawings of where they live. I like to think of my landscape series as a memoir rather then taking a photo. My inspiration comes from nature, hiking and life experiences. It is actually like a sixth sense. I wish I could say that my visions and ideas had a down time but I have always been just the opposite. I have too many visions and ideas but not enough time!

With Byzantine enameling an enamel jewel is created by painting and firing various layers into a fine silver or gold cup with many wires. It is then sanded down, high fired and set into a piece of jewelry. Most enamel is just a one time surface firing.

Many of your pieces seem to have a spiritual quality including your "evil eye" series and talisman pieces. Why have you gone in this direction?

I have always been fascinated with symbols and the meanings behind them. To many people, symbols bring strength or empowerment. There is something very wonderful about symbolic jewelry. It brings the person a sense of connection.

You mention in your website that you started making jewelry as a child. It's rare that a person takes a path in life that was of interest as a child....tell us what was so instantly gratifying to you about making jewelry and how it sustains you now?

When I handled a blowtorch at fourteen, I knew this was the way for me to extract all the images and visions I had as a child. That is also the main reason for enamel. Metal wasn't enough of a way for me to get my creativity out. Jewelry and art sustain me in spiritual way. When I create a series of enamels it is my way of working through something emotional or sharing with others.

With metals I had lots of training in high school and college. With enamel I am self taught. I feel it allows for one to develop a style and somewhat of a technique that is their own. There is a lot of trial and error but nothing good comes easy.

What advise do you have for fledgling jewelry designers?

I would advise that patience is key. I would also say that sometimes we need to take a few steps back in order to move forward.

Julie's work can be found at art shows around the southwest and on her website http://www.julieglassman.com/ which she tells me is constantly updated. It was such a pleasure "meeting" Julie and seeing these extraordinary enamels!

Thanks for stopping by!
Sally