Evert Nijland: Ascendance

Galerie Rob Koudijs, Amsterdam, The Netherlands

The theme for this series is the so-called “centerpiece.” The topic “ornamental object” is for me a natural extension of my research into the meaning of the ornament. Ornamental objects have no real function other than propagating the  conviction of what is viewed as beautiful in their time. This is a property that is also characteristic of the jewel. The ornament is, however, a broader understanding than the jewel alone; a piece of jewelry is always ornament but an ornament is not always a piece of jewelry.

Hide a Face, Hide a Sex: Jewelry at the Edge of Resistance

In Conversation with Diane Azzam

As a woman, I’m from the generation who experienced the women’s liberation movement and read The Second Sex by Simone de Beauvoir. Seeing our liberties taken away and a return to wearing the veil concerns me a lot. This is what I wanted to bear witness to.

Jorge Manilla: Oscure Sacrifices

Four, Gothenburg, Sweden

Black is traditionally a powerful and foreboding color, representing death, destruction, doom, fear, and sorrow; especially when used alone, black represents mourning and misfortune and it’s often worn at funerals. This is probably the reason people usually asociate black with something negative or final. I agree with this, black might be final, but in my mind the end always implies a new beginning.

Myra Mimlitsch-Gray

Master Metalsmith MMXIV

Looking at these pieces as fine art in a museum—where we are supposed to suspend awareness of monetary value—completes the through-line to Mimlitsch-Gray’s body of work: From object, to decorative object, to fine art, what is lost and gained in the transfer? What is the use and value of each?

Peter Bauhuis: Armillaria

Gallery S O, London, England

Armillaria (actually Armillaria mellea) is the Latin name for the honey fungus—a species of fungus that forms a huge and invisible underground network. When we see its fruits popping up here and there, we call them mushrooms. No one would realize that they are interconnected, and yet that is what determines the organism as such. 


Ten Years of Lateral Jewelry Thinking

ThinkingJewellery 10 was the 10th anniversary symposium presented by the Department of Gemstone and Jewelry at the Idar-Oberstein campus of the Trier University of Applied Sciences. The overarching aim of this annual symposium is to develop a theory of jewelry through academic presentations and contemporary jewelry exhibitions. 

Aimee Petkus

Heidi Lowe Gallery, Rehoboth Beach, Delaware, USA

I feel like there is a lot of crossover between art jewelry and fashion. Many people view fashion in the same way they view art, but it’s more fleeting. The body is a canvas and fashion can be a form of expression for the wearer. I would love for my work to be seen from both avenues and appreciated in the same way. I think it would be amazing to do some sort of collaboration, but in the little experience I’ve had trying to work my way into the world of fashion, I still feel there is a strange division that keeps it all separate.

Ernestine Mills, Angel of Hope

One on One nº12

This kaleidoscope of colors, allied to the popularity of colored stones in their own right, makes identification of suffrage jewelry problematic unless provenance can be traced. The Angel of Hope presentation was recorded in the Votes for Women periodical of May 14, 1909, as a “slender chain with stones of purple, green, and white,” where purple stood for dignity, white for purity, and green for hope. 

Rebecca Myers

Gravers Lane Gallery, Philadelphia, Pennsylvania, USA

I strive to make my work desirable because it makes the wearer feel sexier, more beautiful—not unlike a great piece of clothing or something tailored specifically for the client’s individual style to enhance her already existing beauty. We call it the “fairy dust” quality in the studio. When something is quiet but powerful, twinkles without being gauche, is sculptural/artful without being intimidating, textured but not enough to snag a beautiful garment—that’s when I decide to commit to a design. 

When Attitude Becomes Form

“What is the attitude that lies at the base of jewelry?” 

Grasping and defining this attitude would not only help to position contemporary jewelry in relation to contemporary art and culture (arts, fashion, and design) but also—and probably more importantly—it would allow for a more precise formulation and extrapolation of what (future) jewelers are good at and what their praxis could look like.

From the Forum

I Wouldn't Let Him Go To Jared

The Stereo Leg

Lisa Walker: Necklace