they’re not original, they’re not what I want to sell, but they’re dainty little things that remind me of gum ball machines and cereal box prizes and being a Williamsburg to Big Sur transplant you know those ladies with straight brunette hair and striped shirts and a swipe of garnet-red lipstick and lots of houseplants.
1. Bezel Set Garnet Heart gold Ring
2. Bezel Set Diamond Heart gold Ring
3. Pastel Rainbow Pave Ring
4. Crisp Gold Tag Bracelet
5. Crisp Gold Tag Necklace
6. Bezel Set Round Diamond Ring
7. 6 prong Tiny Emerald Ring
8. Coin disc dangle Bracelet
9. Tiny Gold Ring Necklace on silver chain
10. Tiny puffed heart in gold, platinum, or rose gold
11. Tiny puffed heart in platinum or rose gold paved with diamonds
12. Tiny gold ball station necklace
12. gold ball with chain looped around it bracelet
13. Horizon circle necklace in silver
14. Horizon circle necklace in gold
15. Horizon circle necklace in silver and gold
16. linked gold rings ring
17. completely round thin wire bangle
18. completely square bangle
19. six prong pink diamond ring
20. tiny gold box chain bracelet
I get really excited when I see art/design where I’m like That’s genius! I wish I thought of that! I never would have thought of that! I crave that that brain massage click moment whether it’s a perfectly layered punchline or a minimally complex sculpture.
In a sea of crap it’s hard to remember that once upon a time people still see jewelry as an artistic medium
In no particular order
Victoire De Castellane
Digby & Iona
Kathleen Whitaker (even though she has several earring styles that I have seen iterations of elsewhere, I think she was one of the first more prominent indie designers to pioneer the simple dots and dashes)
Jewelry designers I admire but don’t personally “crave” their jewelry
Jo Hayes Ward
Yunus and Eliza
Sometimes I fear I have no talent at all because many of the designs came to fruition by the way of accidents, which makes me feel like I had no agency over their success.
But then I remember that there were many many other mistakes I didn’t keep, many many frustrating annoying mistakes that made me want to give up for the day and go read in Barnes and Noble. So maybe the decision to keep certain mistakes is still design input in and of itself.
When I thought of this piece a couple years ago it made me think of the line of a Regina Spektor song “we are born alone and covered with mmmother’s kisses” and also the cat in Coraline who explained only humans put so much emphasis on names as part of our identity when really without names we still, like, exist.
“What’s your name,’ Coraline asked the cat. ‘Look, I’m Coraline. Okay?’ ‘Cats don’t have names,’ it said. ‘No?’ said Coraline. ‘No,’ said the cat. ‘Now you people have names. That’s because you don’t know who you are. We know who we are, so we don’t need names.”
When I decided to add this piece to my jewelry line, half of me was like, well, this is like the most easily imitated design, I mean it’s quite literally a ready-made piece. And the other half of me was like who do you think you are ( and then that made me think of that Alice Munro book) it’s lame and obvious no one’s going to want to copy it, or it probably already exists in the ether. And then the third half of me was just like let it be, let it be, there will be an answer
But the reason I’m wary of it being copied is less because I want to be known as the author (though I do want credit for my ideas like every other egomaniac…what if these are my leather jogging pants??) But more because if it propagates like mustaches by the time someone sees it nestled in my collection it would already be super trite.
“the term naïve art is often seen as outsider art which is without a formal (or little) training or degree.”
1. Form/Craftsmanship: Obviously the first thing to be decided is the form, the design itself. What is the story, what is so special about this concept that it’s worthy to be realized? Sure, you have a great idea, but if it’s poorly executed, what might have been a gallery-level idea will look like it fits comfortably in the Forever 21 or Accesorize crowd.
2. Proportion/scale: The same form can be ordinary with one set of proportions, and intriguing with another. Stretch it out, shrink it down. Exaggerate the pendant of a necklace so that it’s ridiculously contrasted with a dainty chain. Go in the opposite direction so that the pendant is barely discernible from the chain.
3. Finish/Craftsmanship: Matte, high polish, sandblasted, brushed. Like form, the type of finish you choose and the quality of it can take the piece from exhibit-worthy to Forever 21, or vice versa.
I will not make letter jewelry unless I come up with some really original execution concept
I will not make number jewelry unless I come up with some some really original execution concept
I will not simply pluck designs and objects from my surroundings without reinterpreting them (e.g., punctuation, sharpened pencils, animals)
I will not directly cast found objects unless I come up with some some really original execution concept
I will not make personalized name jewelry unless I come up with some some really original execution concept
I will adorn my metal pieces in settings other than pavé
I will not make rings by just sticking some design on a plain band I will always think of my designs from all angles
I will never make traditional jewelry that someone can just pick up from Zales or the jewelry district. Sure it would be nice to make money from a customer that wants plain gold hoops, diamond studs, or a solitaire ring, but there’s no point to spend the labor and time and money to make something that is unremarkable and unrecognizable as my work.
I will never reproduce antique jewelry, unless I really, really want to. And I will never call them my own designs.
Shit. But I might have to make gold star pieces. I just have to. It’s a childhood thing, obviously.