Here's Where It Started

So since you have all seen my latest collection of jewelry, I figured I would let you know how it came into existence.

I was initally inspired by origami and African tribal jewelry. I am interested in the patterns that are created by the beadwork of tribal jewelry and also the geometrical forms of origami. Also just as intriguing to me is the fact that ancient tribal jewelry was created with very basic materials. From beads, to wood, to shells, to roots, the most mundane things could/would be used as materials to create wearable jewelry. Traditional materials as we know them today were not always available then. In my work I often struggle with the question, "what makes a material precious?" and "does the value of a piece stem from the process, the materials or both?".





These artists often explore the use of non-traditional materials in their work.



Marjorie Schick creates large scale necklaces, "wearable sculpture" typically made with wood, paint and paper mache.



Tom Binns creates editorial, costume jewelry and the most amazing statement necklaces.



And Gijs Bakker, who was on the forefront of experimenting with materials and pushing the boundaries of what is considered jewelry.


Artists who use alternative materials in their work


Esther Knobel
Camouflage Necklace
Tin, fabric, paint, ribbon, silk rope


Robert Ebendorf
Necklace
Color core, wodden clothespins, rubber paint


Maria Phillips
Pig gut, steel, thread, beads, silver

Check these guys out! They are all pretty amazing!

With my newfound knowlede I had the creative juices flowing! I knew that I wanted to create a collection of necklaces that explored material choice and the process of creating. When I was working on my collection I frequently responded to what the materials were doing to make my next design choice rather than stick exactly to one design. This way of working was new to me and at the same time very liberating. It was refreshing to work on a piece and make changes to it based on what materials worked together and what solution I could create in the moment, this "process" allowed me to discover new techniques to transform very simple materials, like boating rope, into wearable pieces of jewelry. Through this exploration, I decided that my jewelry would be editorial and catered to fashion rather than more traditional jewelry or metalsmithing.

Thus, I give you my magazine inspiration. I cannot tell you how many magazines I poured over, tearing and ripping out anything and everything that spoke to me in some way.









With these powers combined, I give you "All Things Nice" my spring/summer 2010 collection. I hope that this babble about my "thought process" gives you a better outlook on my jewelry and the forces behind its conception.