Ancient Gold Necklace--Oldest Ever Found!

Although this story was widely reported worldwide in late March, I thought the necklace so beautiful and the story so amazing that I just had to include it as well.

This gold necklace was found near Lake Titicaca in Peru and dates back more than 4,000 years (around 2100 BC) , making it the oldest artifact found in the Americas.

The necklace was found in a burial pit and was all the more surprising because it was found among a society that was in the beginning stages of agriculture, meaning that they were just starting to settle in one place, rather than roam in search of the next meal. So, to find the time and means to make such a necklace meant that they had more time on their hands than just to hunt and gather for food and general survival.

The nine gold tube beads were made from local gold that was hammered flat and then rolled, perhaps around a twig, and strung, alternating with round stones identified as either greenstone or turquoise, on wool string. The result is a certain amazing sophisticated beauty!

From the earliest civilizations, it seems that people have yearned for adornment. So I guess it shouldn't be surprising in the least, that we all still love shiny, pretty jewelry!

Thanks for stopping by!
Sally

Jeanne Johngren: Shimmering Elegance in Living Color

Jeanne Johngren

I first saw Jeanne Johngren's work at a tiny, 19th Street shop in the Chelsea district of NYC called DVVS. One of the store owners, James Corry, showed me around, pointing out some of his favorite artists. When we came to the Jeanne Johngren display, he mentioned that one of his clients wanted to "just live in that case". I knew what he meant. The rich bead colors, gorgeous metals and fine workmanship combine to make sumptuous, beautiful pieces.

In reading more about Jeanne, I was surprised to learn that her path mirrored my own...a first career in the TV/film business with a switch along the way to jewelry design and creation. Although Jeanne is now very well-established and I am just starting out, her ability to successfully make that transition gave me renewed optimism!

Here's what Jeanne had to say:

Before becoming a jewelry designer I was a film and TV producer, based in NYC at the Tribeca Film Center. I made the decision to change careers because I wanted to have a family. Life in the film industry is about long hours where the myriad problems at hand overshadow outside life. I had many friends in the film business, few of whom stayed married. No matter what their occupation -- sound man, cinematographer, or actor, the long, intense hours meant that it was very hard to build meaning outside of that context. When I met the man whom I decided to marry, I went looking for my next career. I had certain criteria I had to meet -- I needed something creative, where I could make an aesthetic statement and I needed flexibility.


How would you compare the making of a video or film to the creation of jewelry?

I think that there are a lot of similarities between making jewelry and making a film.


In both mediums:


A)- you are realizing an idea, you are involved in an act of creation.

B)- you are working with a team of true artisans. In the film world it is cinematographers, sound designers, editors and art directors. In the jewelry world, it is CAD/CAM design people, gemstone dealers, gemstone setters, casters, finishers and polishers. In both worlds, you have to motivate the individuals involved to give the work their best effort.

C)- there is a strong relationship between left and right-brained thinking --Precise measurement and artistic gesture play complementary roles in the jewelry business, as in film and TV. The exact duration of a piece of music may need to correspond to the measured distance/ length of time it takes to film a scene and go through the dolly motion to cover it. That's a lot of choreography. Jewelry can go through many hands before it is a finished piece requiring serious choreography as well. Balancing cost and the achievement of the desired "look" are paramount concerns in both arenas (pun intended.)

D)- selling plays an important role. In the film industry people are always moving toward their next project. If you are the producer, you have to sell your ideas all the time -- to the cast, crew and financiers. In the jewelry industry, you have to sell to individuals at trunk shows and to stores at trade shows (or on appointments.) You can't be afraid of selling in either field.


How did you first get into jewelry making and where did you learn your techniques?


My first foray into jewelry making actually happened when I was in my early20's, before the film industry was paying my bills. I made items out of plastic and applique, paint and passementerie purchased from odd and wonderful places in Manhattan like Canal Plastics and M+J Trimmings. I sold the items I made to friends on the film sets where I worked. But soon my film producing career took off and there wasn't time for jewelry-making. I circled back around to jewelry-making after I had my daughter. She was in nursery school and the school was having a fundraiser. Someone was going to make earrings and I joined that team. My desire to make jewelry was re-kindled quickly. Within a week, I had bought and re-finished a roll top desk which became my workbench and took over part of the house for my hobby, which became a business 5 weeks later, after I made 3,000 dollars in a weekend at a local craft show.I learned some hand techniques from a local bead shop. But soon, I wanted to move into more stone-set work. The pieces that I am doing now are the result of my drawings and the understanding I have gained from working with wonderful masters in the fields of gemstones, CAD/CAM, stone setting and finishing. I have also applied my perfectionist tendencies and all of these talented, patient people who work with me know that I am a stickler for detail.

Jeanne has described her work as a "marriage of opposites" which I asked her to elaborate on.

I enjoy investigating marriages of opposition in my work. Hard gold becomes supple in the form of a granulated bead chain, as in our Strata Collection. Finishes, both shiny and matte can be combined to pleasing affect, as in our Mandala Collection. Faceted stones can be combined with cabochon, to add another dimension of light and color variation to the effect of our stacked rings.

How would you describe your style?

I would describe my style as shimmering elegance in living color.

Where do you find inspiration?

Everywhere. Truly. Most obviously, perhaps, architecture -- stained glass windows, carved lintels, the curves of buttressed arches and their relationship to the human form. But, perhaps, not so obvious, the shape of pasta, television sitcoms from the '60's, Greek Tragedy, wallpaper, reflections of the sun and clouds on skyscrapers, the rainbow of refracted light from the city (NYC) at night. I have a pattern recognition brain. I'm always cataloguing what I see.

You made a decision early on to move to high end stones and metals. When did you know that you were ready to transition to these expensive materials?

I transitioned to expensive materials because I wanted to make things with long-lasting resonance. Items that are more valuable are less likely to be"throw-away." I transitioned early, as soon as I felt I had the skill set.

It appears that you have been more successful than most jewelry designers in the marketing of your business---including getting celebrities to wear your designs.

We have been successful at getting the jewelry onto some celebrity personalities. I think this is a key to some early acceptance in the marketplace.

What do you think is the key to running a successful jewelry business?


I think there are many keys and many different kinds of successful businesses. First, you must have work that strikes a chord in the audience. Second, use tried and true methods to reach your intended audience -- trade shows, trade publication coverage, consumer publication coverage, consumer advertising, celebrity placement. Third, perseverance. Fourth, willingness to learn from your mistakes.

What advice do you have for fledgling jewelry designers?

Design what you love. Find an audience. Decide what size business you want and GO FOR IT! What do you have to lose?


Jeanne's work can be found in over 40 stores throughout the country. She's grown her business to such an extent that she no longer makes the jewelry, but instead oversees a group of skilled artisans who see that her visions come to fruition. Jeanne Johngren seems to me to have reached the ultimate achievement of developing and marketing her jewelry passion into a viable and successful business. Hat's off to her!


Thanks for stopping by!
Sally

Melissa Finelli: Manipulating Metal-An Evolving Art Form

Melissa Finelli in her Boston Studio

Photos by: Peter Harris

Perusing http://www.metalcyberspace/ again, I came across some jewelry that appeared to me to be futuristic, ancient and outer space like...all at once. The pieces seemed almost eerie to me so I just had to find out more about the person behind this unusual and special work. Meet Melissa Finelle of melle finelli jewelry who has a studio in Boston. I asked her about her almost supernatural appearing work:

Sometimes I see my style as nature from another planet, sometimes I see it as architectural. I am process oriented so sometimes it's the tools that dictate what I make. I do not sketch; my pieces come to life organically as I form each shape. I see the "planetary", "futuristic", "ancient" thing going on in my work. I'm not sure where it comes from... maybe it has to do with the spontaneous way in which I work. I think i need to think more on that one.

On your website, you mention that you "feel lucky" to have discovered metalsmithing. Tell us about that.

I discovered metalsmithing while sitting at my dull job in a jewelry store that didn't get much business. I started examining the jewelry and all the little mechanical parts that made each piece move. I was curious and wanted to know about the process. I ended up looking in the phone book and found a school that offered jewelry making in Boston's north end. The school is the oldest trade school in the country and has people from all over the world attending (North Bennet Street School). This place intrigued me so I set up an appointment for a tour later that week. Basically I was so fascinated with the school, i decided to apply. I was accepted and started my jewelry training cold turkey. Ten years after I graduated, I went to the School of the Museum of Fine Arts and studied sculpture. This changed the way I worked on a smaller scale. I feel lucky because I've finally found a material that is challenging to me. It always keeps me curious and ready to keep exploring.

Where do you find your inspiration?

I think my inspiration comes from a combination of acquiring new tools and trying new ways to manipulate metal, as well as all the interesting little details I see while I'm walking around town. I always find it so curious to see green growth growing out of a knocked over stop sign planted in the concrete. Now that's determination! When I'm struggling creatively I take a walk.


How do you balance the business of the work with the creative process?


The balance between making my work (enjoyable), and the business side of things (not so enjoyable) is a hard one for me. Each year I've become more organized which is so important. I write everything down that needs to be done and tackle it a little each day. I keep my office separate from my studio. My workspace is my sacred place to experiment and be creative. There is no computer at the studio, and no tools at home. In fact when I want to hang a picture or something at home, I use a rock!

What advice do you have for fledgling jewelry designers?


Advise for jewelers to be... this is not a glamorous career choice. It's work. It's not easy to make, promote, and sell your work. It takes time and dedication to the craft. Get your work out there. Never say no to an opportunity to show your work. and don't let any rejection get you down. Keep at it!


Melissa's work can be found in more than 30 galleries throughout the country. Visit her website to check them out!

What fun it was to have a virtual visit with Melissa! I think her work is quite spectacular!

Thanks for stopping by!
Sally

Moche Beads From Ancient Peru

Christopher B. Donnan

Christopher Donnan Lecture at Bead Society of Los Angeles

Re-constructed Shell and Copper Pectoral

Monkey Bead

Spider Bead

Catfish Cuff Bracelet

(which took 18 months to reconstruct)

I had the privilege this past Wednesday to attend a lecture at the Bead Society of Los Angeles by archaeologist, Christopher B. Donnan, on the Moche beads of ancient Peru. What a fascinating presentation!

Christopher Donnan, one of the world’s foremost authorities on the Moche culture of Peru, is a Professor of Anthropology at UCLA. Donnan has spoken at the National Geographic Society, the Smithsonian Institution, the National Gallery in Washington, D.C., The Metropolitan Museum in New York, and the Art Institute of Chicago, so we were thrilled to have him visit us. Christopher's lecture included captivating stories and stunning photos which drew "oohs and ahhs" from the crowd of bead aficionados.

The Moche civilization flourished on the north coast of Peru between 100 and 800 A.D. Although they had no writing system, they left behind, in the tombs of their rulers, a vast treasure of gold, silver and turquoise ornaments demonstrating superb craftsmanship and exquisite detail.

This elaborate adornment was reserved for the elite men and women of the Moche society. Found among the tombs were pectorals, bracelets, earrings and necklaces including a magnificent pectoral (pictured above as a reconstruction) of shell beads in narrow, triangular patterns with copper spacers.

Many of the Moche ornaments were derived from nature and animals including images of catfish (thought to signify fertility and water), owls, monkeys and even spiders. And, often their beads were created with small balls/objects inside to make rattling sounds with movement--bringing the beads almost magically alive.

Like ancient Egypt, the Moche nobility took their adornments with them to the afterlife so this ancient society's need for these elaborate pieces must have ensured that skilled artisans were in high demand and constantly employed. This focus on the artistry of making ever increasingly beautiful adornments gave rise to the creation of some of the finest jewelry in the ancient world--and a glimpse of one of the most remarkable civilizations to inhabit the earth.

A more comprehensive article and pictures on the Moche civilization can be found in a back issue of Ornament magazine (Autumn, 1993).

Thanks for stopping by!

Sally

Bead Contest--Bead Star Challenge!

Last night at the Bead Society of LA meeting, we learned of a new bead contest sponsored by Bead Star, a new annual beading publication comprised entirely of prize-winning designs. The winners are chosen by beaders worldwide through an online forum on beadingdaily.com and the lucky grand prize winner receives $5,000 in cash plus other great prizes. There are several categories to enter, but the deadline is fast approaching on May 6th, 2008. Contest rules are online at: beadingdaily.com. Good luck!

Eni Oken: Fantastical, Whimsical, Ornate Beauty!

Eni Oken

I'm always on the look out for jewelry designers who are doing unusual work, so when I asked my Los Angeles friend, bead/jewelry expert, Ken Rogers, who he would recommend, he pointed me to Eni Oken's Jewelry website. Wowee! Such intricate wire work combined with bold colors for pieces that practically smile!

It turns out that Eni Oken, originally from Brazil and now living in Los Angeles, has a fine arts and architectural background, but worked extensively as a computer graphic design artist before turning her focus to jewelry design and teaching. Here's what she had to say:


I always worked on jewelry as a hobby, since I was a girl, on and off. For many years during the time when I was working as a computer graphics artist, I did not work on my hobby at all. Then by coincidence, a close friend mentioned she liked to make jewelry and we started getting together some to do beading and chat. That brought me back into making jewelry around 1999.

Your wire work is very unusual and detailed. How would you describe it?

If you look at all my other work such as clay modeling, embroidery, fiber arts, fantasy art and especially the computer graphics, the style is ALWAYS the same. It’s a little whimsical, ultra ornate and very colorful. Friends who know my other work laugh when they see the jewelry, because they say I did not change a thing, only the medium.

How do you think your Brazilian background influences your designs?

I believe the strongest cultural influence I took from Brazil is the liberal use of color – Latin countries are typically known for using strong, saturated colors combined in unusual palettes. Before I returned to jewelry making, I was also a color theory teacher, and was able to observe Brazil’s cultural influence on my work in depth in all areas.

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

I find inspiration everywhere, as many artists do. I could be talking to someone, suddenly something catches my eye and I have an idea for a design. I also like to look at historic references and to keep a close watch on fashion trends. When I do find inspiration, I draw or write it down in a “creative journal”. Those are invaluable when running out of ideas -- we all go through phases when the ideas seem to go dry.


Eni's website has an unusual "artist's statement" that seems to reflect her sense of humor. It says, "Learn how to make pretty shiny things. Teach others how I made them. Repeat from the beginning." I asked her about it...


I just got tired of the traditional “artist’s statement” where people embellish so much their words, most of the time you can’t understand what they truly want to say. I was hoping to convey a quick and short message of what I am all about. I have always, in my entire artistic career, followed the same cycle: create, learn and teach – and then back to the beginning.

What do you enjoy about teaching?

Besides the obvious reward that comes from giving someone else the ability to create, teaching is a learning experience for me too – I learn more about the technique or design when I need to explain it in detail. By doing so, I am able to glimpse other derived design possibilities. So the cycle starts again (create, learn, teach): after teaching, new creation comes from what was learned during the teaching process.

You mention "fantasy" often as you describe your work. How does that factor in to what you do?

During the time I worked in computer graphics, I created what is called ‘fantasy or fantastical art’. Surrealism, sci-fi, sword and sorcery are all different styles of fantastical art. I was also a teacher of fantasy design for video games. As mentioned before, my style remains the same no matter which medium I am using, and jewelry making is particularly suitable to interpreting fantasy design.

How have you managed to be an artist and also successful business person?

I think there are three components to being successful in any artistic profession: focus, persistence and taking care of business. Intense focus is the first one: you need to choose one path and really stick with that one. The hard part is not CHOOSING ONE, but giving up on all the others!!! Persistence is the second ingredient and very necessary if you want to pursue any kind of business – most people tend to give up too soon. In my experience, any venture takes at least 2 to 3 years to show the smallest sign of success, and most people give up way before that. The last and final component, taking care of business, is doing the grunt work that needs to be done even when we hate it, such as accounting, marketing and financial matters. Most artists dislike those tasks intensely. I don’t like them either, but I know they have to be done, so I just do it.

What do you think are the most difficult challenges of making jewelry design into a viable business?

I believe there are two: a) deciding what kind of artist you want to be (and sticking with it) and b) finding the right venue to sell the work you decided to create as that type of artist. For example, if you decide you want to be a designer and mass produce your work, then you have to sell at chain stores and department stores. If you want to be an artist producing one of a kind pieces, then you need to find galleries or find a niche on the web.


Eni's work is sold only by special order through her website and she also offers online jewelry making tutorials.


It was great fun to "meet" someone who so clearly radiates joy and happiness in each piece she designs!


Thanks for stopping by!

Sally

Cynthia Eid: Evolutionary Transformation

Cynthia Eid

Folded Rings

Sea Grass Necklace

Sample Judaica: Miriam's Cup

I found Cynthia Eid on metalcyberspace which is rapidly becoming one of my favorite sites for viewing spectacular jewelry design and skill. Cynthia's work first caught my eye with her beautiful and unusual "folded ring" design, but as I got to know her better, I found her personal story and ideas even more interesting. Here's what she had to say:

You mention on your website that you love the evolutionary transformation of metal...can you talk about this?

I love the way that metal can seem so hard, and yet it can be moved and formed as if it were clay. In fact, when I teach forging and forming metal, I help students understand how to move the metal with a hammer by having them think about how a rolling pin can move clay or dough. I love the paradox that “soft”, fluid-looking metal has evolved from flat, stiff rectangles of metal----it’s fascinating that a piece can look soft and squishy, but feel hard and unmovable.

Some of my friends like to create in metal by putting forms together. They solve a design problem by adding another element. In contrast, I tend to resolve a design problem by unifying the design, taking away anything extraneous, making it more fluid. I love being able to manipulate metal----making a single complex form out of one piece of metal without adding any other parts. The folded rings are part of this body of work. I like to use gold/silver bi-metal for these rings. The gold on the inside emphasizes the inside vs. the outside. The gold preciousness enhances the intrigue of the inside. The textured edges catch the lit in a way that is more interesting to me than smooth polished metal. I like to make forms that look like something nature could have made----yet are not a copy of something in nature. I prefer inventing new forms, rather than faithfully duplicating one of nature’s designs.

From her website, http://www.cynthiaeid.com/, Cynthia's background is rich in variety and experience:

Cynthia creates jewelry and holloware in her studio in Lexington, MA and teaches Advanced Silversmithing and Jewelry at DeCordova Museum School in Lincoln, MA. She has worked as a designer and maker of custom jewelry in goldsmith galleries, and as designer/modelmaker and production supervisor at a gold jewelry factory. Cynthia began making jewelry in high school. She earned her Master of Fine Arts in Metalsmithing and Jewelry Design from Indiana University in 1980 and a B.S. in Art Education from the University of Wisconsin in 1977.

It seems that many of today's jewelry designers were first introduced to the metalsmithing in high school. Tell us about those early experiences and what you got out of it that caused you to pursue it as a career.

As a child, my family used to regularly visit my mother’s best friend from college. She was married to a man who was a jeweler/silversmith---Ed Niemi was the head of the jewelry and metals department at the University of Illinois in Normal, IL. I always enjoyed seeing his studio and what he made. I think that knowing him helped make this seem more possible as a career. When I was in junior high, my oldest brother came home with a ring he had made in high school. I remember thinking to myself that if HE could make jewelry, then so could I. I talked my art teacher into getting me some carving wax, and I made two rings that he had cast for me. I spent all my free time hanging out and working in the jewelry studio. The teacher had been there for 40 years or so, and I adored her. I remember the hurt of being hidden behind a partition in the jewelry supply room, and overhearing my jewelry teacher say, "Cindy is a terrific craftsman, but so-and -so is really creative." Because I loved and respected her so much, I feared that she might be right. For years those words rang in my head, and I strove to prove them wrong. When I teach, I try to remember how intensely my words can either hurt or encourage.

I did not really picture or plan a life as a jeweler or artist. But, I have always made decisions that allowed possibilities, rather than dead ends. For instance, I got a bachelor degree in Art Education, so that I had the possibilities of being a teacher, an artist, or anything that a college degree might be helpful for. At the same time, I always tried to pursue my dreams----I’d rather try and fail than wonder what would have happened if I had only just tried.

You are also involved in creating Judaica. How does this work differ for you from designing jewelry?

It is intriguing to design works that are aesthetically exciting, are something that I want to make, that fit within my body of work, and yet, the object fulfills a Judaic function. I like to stretch the limits of convention while still making sure that the object will function--- for Judaica, and hollowware, as well. I find it particularly satisfying to make ritual objects that will be used by a family in their home or a congregation in their synagogue. It is wonderful to make a piece that will be publicly enjoyed by generations of people.

Your work is part of the permanent exhibit at the Jewish Institute of Religion Museum. You must be proud!

I am, indeed, pleased and proud. I am fortunate that my work resonates for the curator.

What advice do you have for fledgling jewelry designers?

Watch for opportunities. Learn to meet people----it can be scary, but most people are happy to meet others, especially if you say something nice. Follow up on opportunities. If someone asks you to send them photos, or a resume, do so right away---don’t delay, and don’t forget. Try not to be discouraged by rejections. If you try 5 times, and get rejected 4 times, you have one success. If you try 15 times, and get rejected 12 times, you have 3 successes! Each success tends to lead to another. Opportunities multiply. Make sure that your photos of your work are terrific. More people see the photos than the actual work.

Where can people find your work?

Mobilia Gallery in Cambridge, MA has a lot of my work, and they are the only place that ALWAYS has my work. Libby and Joanne Cooper have supported me in my work for over 20 years. The Cooper family is wonderful----their grandma used to come in every week to help them. Their sister and mom help out, too. When I brought my parents in to visit, they were treated as esteemed guests. Check my website for other exhibitions and galleries.

It was a great pleasure "meeting" Cynthia through cyberspace. It sounds as though she has found true happiness, spirituality and life balance through her beautiful work.

Thanks for stopping by.

Sally