I've been investigating steel and silver and the possibilities of merging two materials that are traditionally considered opposite in form, function, and cultural value. Bonding these materials together in objects meant to call attention to the human form (ya know, jewelry is just as much about the body it's on as it is about itself) has been both a technical investigation and a thought project.
There are a few ideas swirling around in this work. Can you make a shadow tangible? What are we to do with an onslaught of the ephemeral? What does it mean to try to force opposing things together? Making during this time of great division and the sensing the muddy landscape between fact, fiction, perception, truth, and more I can't help but notice my thoughts coming out through these objects.
Someone asked me, why not do something else to get the same visual effect? It's an essential part of my practice to explore the meanings embedded within the life of materials. Looking into the history of the things we live with is not solely an effort to acknowledge it and move on. Instead, I look at materials an objects as suitcases ready and waiting to be unpacked and discovered. The steel grey and bright silver are more than just tones. Steel is part of a heated discussion over the dissolution of American Industry and silver feels at home with the upper-middle class.
This work has easily taken more hours of failure, mishaps, and flubs than success. Process is about exploring, failing, getting it 'right', and being just as open to contradiction as to surprise. Taking time (even when I want to throw a piece against the wall in frustration!) makes me a better craftswoman. It not only keeps me connected to the pursuit of making but also gives me the space and time to dive into thinking about what I make and why.