Where is your inspiration coming from?
Before I play with a material or start piecing an object together I do a lot of drawing. I draw shapes and patterns but also scribbles and messy textures. I often do this for a few days before any good ideas for jewelry making emerge and when they do it is often a combination of the things I see in my drawings, the things I see in other objects and the things I see in nature. I love working in sheet metal so my eye is always looking for ideas that translate into this flat plane. In my studio, I have a pile of dried leaves, collected when walking my dog, sitting on the table where I keep my visual journals. The paper and the leaves get mixed up and have been providing me with a lot of fruitful compositions in recent times.
What are you trying to communicate in particular with your artwork?
I've always been interested in the surfaces of objects and materials. The marks that collect on the surface of objects we use motivate me to explore my own ways of working with materials. For the last few years I've been painting, enamelling, scratching and, most recently, drawing on objects that I fabricate in metal and wood first. It creates a surface that I think of as being sympathetic to the bodies my objects will adorn. Our bodies are a canvas that is constantly changing, showing signs of age and baring marks of our existence and I want my wearable work to acknowledge that, rather than contrast with it. I also like the human presence that these marks bring to the work, the connection it creates with a non-human material that can be transferred to someone else.
Which material you prefer to use and why?
I have always worked in sheet metal and really enjoy the flat surface that folds and can be cut like a sheet of paper. There is potential in the many ways I can colour and mark the surface of metal and at the same time use its strength to give my forms a lasting rigidity. However, I have recently been enjoying the use of basswood (lime wood outside the US). In 2016 I worked for jeweler, Tanel Veenre, who had me help him finish some carved wood pieces. I have since applied what I learnt from him to my own practice, specifically to using basswood, which has a soft and smooth surface when polished and is very light. I can colour and mark and the wood in a way that has allowed me to incorporate drawing into my work in a direct way, the results have been revelatory to me.
How much value do you give to researching material for your creations?
I could not separate material research from my practice and I think of it as falling into 2 categories. The first has to do with making and involves seeking how-to knowledge from other makers, testing processes and materials before committing to a final approach and constantly moving forward by reflecting on the successes and failures of the preceding work. The second has to do with investing in my understanding of the ideas behind the work and also of the field of art jewelry at large. I want my work to be informed and engaging and in no way reductive. I believe this kind of investment is helping me to hone my skill as an artist and a maker.
Is it more important for you the process, or the final artwork itself?
I cannot make a clear decision to answer this question. My process drives my work forward, giving me activity and direction, opportunity to play and experiment, and a well of ideas to draw from. However, if all I had was a process and I did not commit to resolving finished works, I would never have the opportunity to share my ideas and test their validity against a critical audience. I would also be depriving myself of the small benchmark that each new piece creates, the anchors of my practice that allow me to reflect on my progress. These are all equally vital aspects of how I work and form an opinion about what I will pursue and what I move away from.
Is there an artist you prefer and why?
My list is long and continually growing but there is something mysterious about Lori Talcott’s (US) work that captures my imagination every time I see images of it. I have a strong desire to wear those pieces when I see them, not that the opportunity has presented itself yet. One artist whose work I have been allowed to handle is Kristi Paap’s (EST). Her work is made of many components of wood or seeds loosely clustered together so that movement and sound become a part of the act of wearing. This really simple but effective use of scale and repetition is such a good example of an art jeweler’s mind and process at work that I set her work as a benchmark for myself.
Have you ever thought to collaborate with other artists, or you like to work on your own?
If I could work side by side with a collaborator I think I would really enjoy it.
Where do you feel you are at with this last collection?
I very much in a period of material experimentation. I’m resolving works just enough to confidently send them out into the world but not so much that I am finished with the processes of mark making and drawing that I have been focusing on.
What have you discovered of yourself, are you satisfied?
I used to be focused on the narrative content of my work I have recently found shifting my focus to material processes to be far more satisfying. I find so much meaning in the material and the making now that I’m less interested in imposing additional information on the work. Not to say the work is devoid of narrative, but I am not preoccupied by it now.
Two words to describe your last artwork collection.
inizia un nuovo format di
diari di viaggio
che di volta in volta pubblicherà per ogni artista che avrà voglia di lasciare la sua testimonianza.
saranno pubblicati sotto forma di intervista personale,
si cercherà di percorrere la vita , i pensieri, le paure,
i successi, le fragilità , la felicità degli artisti in viaggio
attraverso il mondo di myday-byday. Artisti che cercano di esprimere se stessi
attraverso la loro arte,
sia essa pittura, scultura, design, fotografia, o altra forma artistica.
myday-byday alla ricerca del bello,
al servizio dei suoi artisti per condividerlo
con tutti voi che siete il loro pubblico.
is starting a new format of travelling diaries which will be published for each artist willing to leave his/her story. These diaries will have the form of a personal interview.
myday-byday will try to interpret the life, the thoughts, the fears, the successes,
the fragility, the happiness behind each art collection travelling through the world and space of myday-byday. These artists try everyday to express themselves through their art, in different ways: from painting to sculpture, from design to photography, or other artistic forms. myday-byday is in constant search for 'beauty', but always at the service of its artists. The goal is: to be able to share and communicate with all of you what 's behind their work.
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