EXPO ’2nd annual “Earrings Galore” group show’ – Heidi Lowe Gallery, US – 22 mai-6 juill. 2010

The second annual “Earrings Galore” group show at Heidi Lowe Gallery will showcase dozens of artists this year. From 6-9 p.m. Saturday, June 12, the gallery will host an opening reception in conjunction with Rehoboth Beach’s “Mosaic” art walk.
“Last year, ‘Earrings Galore’ was one of our most successful shows,” gallery owner Lowe said. “This year I am finding a new, fun, and unexpected way to display the earrings. The type of earring someone wears can say a lot about the person. So, I am displaying a lot of different styles to appeal to as many women as possible. The display will only enhance the earrings’ ‘cool factor’.”
The complete show will be on display until July 6 and features artists from across the United States as well as London. A partial display will be on display through September.

Melissa Borrell

Anya Kivarkis earrings

The Opulent Project- Costume Costume: Ring-Top Earrings -2010 -Enamel Painted Brass, Silver
Eliana Arenas Orange Earrings – 2010 – Mixed Media

Soyeon KIM – White and Pink Earrings -2010 – Pearls, Glass and Silver

Yevgeniya Kaganovich - Pearl and Rubber Earrings-2010 -Pearls, Rubber,  Silver

Mary Pearse – Crowning Earrings – 2010 – Silver

Lynette Andreasen earrings

Lynette Andreasen – more earrings  !!

ARTISTS : Lynette Andreasen — Eliana Arenas — Megan Auman — Jill Baker Gower — Arden Bardol — Thyra Bessette — Kristine Bolhuis — Allyson Bone — Melissa Borrell — Brenda Bregman — Ashley Buchanan — Laura Buckland — Raissa Bump — Analya Cespedes — Jim Charles — Susannah Fitz — Christina Goodman — Colleen Heineman — Annie Hinkes — Sarah Holden — Janet Huddie — Chris Irick — Yevgenia Kaganovich – Janis Kerman — Soyeon Kim — Kristin Lora — The Opulant Project – Jimin Park — Mary Pearse — Beth Pohlman — Shella Robinson — Alice Roche — Jessica Rosenkratz — Hyseung Shin — Amy Tavern — Jennifer Theokary — Stephanie Tomczak — Katja Toporski — Karola Torkos — Ben Ulsh — Veleta Vanza — Stephanie Voegele — Sadie Wang — Stacey Webber

 

Karola Torkos (UK) – Cluster Hoops -2010 -plastic, silver

Stephanie Voegele -Lime Green Chandelier Earrings- Plastic, flock, paint, epoxy, nickle silver – 2010

 

 

 

Heidi Lowe Gallery
Innovative Jewelry Studio
328 Rehoboth Avenue
Rehoboth Beach, Delaware (DE) 19971
302-227-9203
[e-mail]

EXPO ‘Addition and Subtraction’ – Heidi Lowe Gallery, US – 19 juin-13 aout 2010

« Two new collections of jewelry will be exhibited at Heidi Lowe Gallery as part of the Rehoboth Beach art loop from 6-9 p.m. Saturday, July 10. The opening of “Addition and Subtraction” by Sarah Loertscher and Gayle Friedman will be on display through Aug. 13.
“This show contrasts two women jewelry artists who are dissimilar in many ways but are harmonious in others,” gallery owner Lowe said. “The juxtaposition of Sarah’s complex yet specific shapes with Gayle’s free-form pieces showcases the broad spectrum of styles that fall under the umbrella of ‘art jewelry’. Despite this, they both use similar materials and techniques to reach two different conclusions.”
For those who cannot attend the Saturday opening, Heidi Lowe Gallery will host an opening for locals from 6-9 p.m. Tuesday, July 13. Tuesday was selected because there is less traffic and more parking than during the weekend.
Seattle-based artist Loertscher received a bachelor’s degree in metalsmithing from Ball State University in Muncie, Ind. Friedman is from Washington, D.C., and uses unexpected materials in her jewelry. »

Sarah Loertscher (US) -  Structure Jewels Earrings – 2010 – Sterling Silver

Gayle Friedman (US) -  Earrings – 2010 – Silver

 

 

Heidi Lowe Gallery
Innovative Jewelry Studio
328 Rehoboth Avenue
Rehoboth Beach, Delaware (DE) 19971
302-227-9203
[e-mail]

COUP de COEUR ! Jesse Mathes : « Elizabethan » neckpieces

« … An early interest in beaded jewelry led to a focus on Jewelry and Metalwork courses where Jesse Mathes was encouraged to create work outside the realms of traditional body adornment, and to unite craft with fine art. She spent a semester studying abroad at the University of Dundee in Scotland where she became interested in the clothing of Queen Elizabeth I.  Upon returning from this experience she began studying costume design, and started creating work inspired by historical clothing.  She entered the graduate program in Jewelry and Metalsmithing at Indiana University in 2001 where she was encouraged to continue exploring unconventional body adornment.   After completing a Masters of Fine Arts degree in  2004, she opened Gallery Mathes in Terre Haute, Indiana which featured contemporary jewelry and fine craft.« 

Ruff - Copper, Prismacolor

‘Rebato’ - Aluminum

Elizabethan Collar, Two - Copper, Prismacolor

 

Sphere Necklace, silver.-
Crotched green copper wire disk Necklace (both The David Collection)

 

COUP de COEUR ! un souffle de printemps – Michelle Pajak-Reynolds

Michelle Pajak-Reynolds (US) – Petal Series

Petals Series: ‘Slither’ – sterling silver, steel, glass, sequins, aventurine, organza 2004

Petals Series: ‘Sangria’ sterling silver, steel, glass, organza 2003

Petals Series: ‘Lush’ – sterling silver, monofilament, steel, glass, sequins, pearls, organza 2004

Petals Series: ‘Dandelion’ glass, organza, sterling silver, steel 2003

 

EXPO ‘MONEY’ – Hera Gallery, Rhode Island (USA) – 26 juin – 31 juill 2010

This exhibition will present artwork that reflects upon the influence that money has upon our society, whether it is the artists personal relationship with money, reflections upon current economic status, or money as material, the common denominator will be a critical look at MONEY.

The opening will be held on the evening of June 26th from 6:00 – 8:00pm

This exhibition will include a variety of different medias including photographs, paintings, sculptures, jewelry, and collage. Whether conceptually of formally, each work displayed in this show draws inspiration from the theme of money.

Exhibiting artists: David Alcantar, Joan Klatil Creamer, Claudia Flynn, Eric Galandak, Dorothy Handelman, Susan Hayward, Paul Hitchen, Yong Joo Kim, Jane Miller, Cindy Murray, Deanna Ooley, Gary Pearce, Margot Rocklen, William Sayler, Margi Weir, and Michael Yefko. 

I am please to participate in the upcoming juried exhibit « Money » at Hera Gallery in RI (Yong Joo Kim blog)

 

while waiting for some pictures, we stay with …. « eyes on money » !

‘Eyes On Money‘ – Judith Hoyt bracelet in found materials and copper (Facere gallery)

 

 

 

Hera Gallery
23 North Road
Lily Pads Office Complex
Bldg A, Suite 24
Peace Dale, RI 02879- USA
mailing address:
PO Box 336
Wakefield, RI 02880
tel : [phone]
Contact: [e-mail]
www.heragallery.org

EXPO ‘In Their Invisibility They Escape’ – Sienna Gallery, Lenox (USA) – 5–28 Juin 2010

Recent graduates of master’s programs at Cranbrook Academy of Art and SUNY New Paltz, Suzanne Beautyman and Barb Smith, respectively negotiate current trends in contemporary studio jewelry and sculpture by sustaining a rigor, imagination, and studious examination of their craft and its place in the world. Their voices are resolute and unique amongst emerging artists in the field.

Suzanne Beautyman – Steel, Enamel, Ceramic Decal
Iron, Silver, Mica, Enamel, Ceramic Decal 

Barb Smith

Suzanne Beautyman at installation in Project Space
Sienna Gallery
80 Main Street
Lenox, MA 01240 USA
[phone] 8386
[e-mail]

The Provocative Beadwork of Joyce Scott

Often called the « Queen of Beadwork » Joyce Scott‘s beaded sculptural forms and neckpieces are beautiful and provocative while offering her own distinctive commentary on social issues.

‘yellow river’ neckpiece

« Her subject matter continues to stir up controversy, because Joyce never skirts the painful matters inherent in racial and sexual stereotypes, Rather, she confronts them directly with powerful image rendered with exquisite technique and proffered with unflinchingly candid titles.
Her own African American heritage deeply influences both her point of view and her choice of media. As child Joyce Scott learned quilting, and beading from mother Elizabeth Scott. Joyce got her BFA from Maryland Institute and she pursued a graduate degree in Mexico at Institute de Allende where she lost herself in native crafts. After Mexico she continued her work study of indigenous crafts, including Native American beadwork, Navaho’s rug weaving and the quilt techniques of the Kuna people of Panama.
From all these travels were not merely a gathering of technical skills but a diversity of perspectives. This multiplicity continues to inform her work where Buddhist, Haitian voodou, and Victorian aesthetic references can come into play. »

EXPO ‘Boris Bally & Seth Papac ‘ – Velvet da Vinci Gallery, San Francisco (USA) – 1 Mai-14 Juin 2010

Seth Papac - chatelaine with removable necklace, pendants and objects – Sterling silver, brass, aluminum, enameled steel, plastic,fiberglass, glass, rubber, paper, resin, powdered enamel
Seth Papac - neckpiece with removable necklace, pendants and objects, redblackleopard – silver, acrylic, plastic, mirrored mylar, glass, rubber, black and white ebony, leopard fur, resin, powder coated steel, silver leaf

Seth Papac « leopardantlers » brooch  –  Seth Papac « redlamp » brooch

Seth Papac‘s fascination with 17th century European parures, a matching jewelry set comprised of modular components, influences his current work. Papac’s work transforms and disassembles from one piece into another; necklaces become bracelets and earrings, chatelaines contain removable necklaces and objects. His broad range of materials, from traditional metal and enamel to found objects, wood, string, and leather, become narrative works of wearable jewelry or objects.

« My interest in jewelry as a medium of art is its site – the body. Much as the function of architecture is to house, to display and protect paintings and sculpture, the body acts as a literal, metaphorical and conceptual structure for jewelry. Placed on this site, jewelry acts as a personal signifier of taste, attitude, belief and history.
The formal and compositional focus is targeted at an investigation and interpretation of parures, a term from Old French for a set of various items of matching jewelry, which rose to popularity in early 17th century Europe. Cleverly the parure was modular and could be disassembled into different parts or easily remade to stay fashionable. An inherent narrative is created through this interchangeability. How does a collection of objects interact? How does this change when the collective group is disassembled? How does this disassembly affect the overall narrative?
Jewelry for, about, reflecting on a character provides the conceptual focus of the work. Through materials, processes, color, form and specific constructs of these variables my work describes settings/interiors/environments that impart a specific taste or style that then in turn speaks of a particular kind of character or personality.  » (Seth Papac)

Boris Bally brooches

Boris Bally transforms recycled street signs, weapon parts, and a wide variety of found materials into objects for reflection. He rivets and forms the hand-selected signs, which he purchases from cities. These pieces celebrate raw American street-aesthetic in the form of objects, often useful, for the home and the body.

 

Velvet da Vinci
2015 Polk Street
CA 94109 – San Francisco
United States
Telephone: [phone]
Fax: [phone]

website: www.velvetdavinci.com
mail: [e-mail]

EXPO ‘Beppe KESSLER’, JewelersWerk Gallery, Washington (US) – 21 mai-4 juin 2010

Un vent de chaleur souffle sur les nouveaux bijoux de Bepper Kessler ….. les titres des bijoux sont parlants, et les bijoux … ensoleillés !

Bepper Kessler – necklace ‘Luminious circle‘ – Gold, acrylic fibre, resin, colour – 2010
Brooch ‘Bright side‘ -  Acrylic fibre, colour  - 2010

Bepper Kessler – Brooch ‘Warm wind‘ 2010 – Limewood, alabaster, messing, colour
Necklace ‘Warmth‘ 2010 gold, amber, wood, resin, red cedar wood

Bepper Kessler – Brooches ‘Yellows’ 2007 -Balsa wood, acrylic, plastic, soapstone

 

Mais je ne peux résister à l’envie de vous montrer cette « série rouge » (datant de 2005-2007) que j’adore !

Bepper Kessler – brooch ‘Red’ 2007 -Balsa wood, pvc, acrylic
Pendant  ‘In storm and shine’ 2005 – Bramble wood, balsawood, acrylic, silver
Brooch ‘Up and down’ 2007 – Balsa wood, copper, acrylic

 

 

Jewelers’ Werk Galerie
3319 Cady’s Alley,
NW Washington, DC 20007 (USA)
Tel [phone]

http://www.jewelerswerk.com/09shows.html

Mary Lee Hu … Using metal the way clothiers use thread – de l’OR, pour une fois …..

“Mary Lee Hu uses twined structures in 18- and 22-karat gold to create extraordinary pieces of jewelry which are impeccably crafted. She has developed a double twining technique for her exquisite earrings, rings, brooches and neckpieces. Her elegant work explores intricate patterns and surface texture. She weaves with 18k and 22k gold wires, using multiple warps and wefts. » (Arline Fisch, Textile Techniques in Metal)

Habituellement, l’or et moi ça fait deux ….  mais là ! c’est au-delà du matériau ! devant cette technique époustouflante et qui pourtant à l’air … de couler de source, chapeau bas !

Et, encore une fois, j’aimerais TOUCHER ! est-ce que c’est souple ? doux ? mouvant ? rigide ?….

Hu was introduced to jewelry and metalsmithing in high school. She was also exposed to small scale metalworking during a summer camp program. She was immediately attracted to the scale of the work, the processes and the image of herself wearing what she made. She went to University of Miami, Ohio for two years and then went to Cranbrook Academy of Art, Bloomfield, Michigan to complete her undergraduate degree. Hu learned various metals techniques. What was so unique about this experience is that at that time the student body was composed of mostly graduate students. Hu went on to graduate school at University of Southern Illinois at Carbondale. Her work consisted mostly of jewelry and small scale objects. Hu’s designs were based on natural forms, movements and symmetry. During her graduate education, Brent Kington (her professor) encouraged her to seek for and develop her style. Kington’s commitment to metalworking was inspiring to Hu. He became a very strong role model for her and her classmates. Kington, at the time, did not have his own separate studio and worked in the main studio with his students. Hu worked directly across from her professor. During her second year of graduate school Hu started to investigate weaving and knotting techniques with wire. She wanted to emulate the lines in her sketches in her metalwork. Hu quickly noticed that the twined wire recreated this effect.
One advantage to working in this manner is ease of portability of tools and supplies. This aspect suited Hu’s lifestyle during that period of her life, since she was frequently traveling. Upon her return to the United States, Hu entered numerous competitions to build up an exhibition record.
Hu also became involved with the Society of North American Goldsmiths. She served as president and was also a contributing member to the development of the organization. Hu is also involved with the American Craft Council and the World Crafts Council. She currently is a professor at University of Washington, Seattle. Hu has exhibited extensively nationall and internationally.