As promised, I’m posting my artist statement. Thanks to Suzanne for tweaking it and making me sound legit:
Textile and furniture designs of the 1950s and 60s are prevalent themes in my work. The use of geometric patterns is recurring, but the circle is my personal favorite. In my mind, circles signify completion and perfection, two characteristics I strive to achieve in my designs. Influences of notable designers such as George Nelson, Vernor Panton and Frank Lloyd Wright can also be found in all of my pieces as I interpret the elements of line, color, spatial relationships, and negative versus positive.
Initially creating in sterling silver for its forgiving properties, in recent years I have added the challenges of working in 14k and 22k gold, vitreous enamels and nickel. Within these metals, I explore techniques of granulation, cloisonne, and married metal. No pieces are cast, but created by hand from raw materials, ensuring that each piece carries with it a unique fingerprint and human quality unachievable by mass production techniques.
Vitreous enamels, granulation and married metal techniques allow me to add color and texture to my pieces on an individual basis. With the married metal work, nickel surfaces gain their patina from torch firing which allows for the formation of distinctive colors. The result is an organic appearance, similar to leather or rust.
I create my own original cloisonne patterns individually and use unleaded enamels for color. I particularly like the stark contrast achieved using bright colors against a dark background, which is reminiscent of the mod prints of the1960s. The addition of 14k and 22k gold in my work adds richness not achieved by sterling silver alone. By combining the two metals, I can create a warm and cool palette in one piece.