JEWELRY edition Vol. 3


My effort is to delight the viewer by integrating my creative thoughts with a timeless material and an endlessly interesting process and making beautiful, contemporary, and wearable works of art. All of my pieces are unique in how the enamel is applied even though some shapes are repeated.

My jewelry is in tribute to holistic life cycles, intra-nature relationships, and nature-human connectivity. My intent as an artist is to highlight the grace, complexity, simplicity, and essence that is present in the vastness of the other organisms we as humans exist with. The lines of a jaw bone are complex and delicate, the skeleton of a seedpod, which once held within it hundreds of seeds, is now veins of lace. Through metalsmithing techniques, I create a context which implies a physical connection between the wearer and other life forms, impermanent made permanent.

I approach jewelry as both the format and subject of my work which straddles craft and design.  Undulating between these two fields, my research centers around mass-produced jewelry, because it has the capacity to serve as a cultural symbol for sentiment as well as commodity. As a designer/maker I am suspicious of industrially produced objects that embody emotional significance. The potency of craft objects stems from their connection to the maker and their enduring value. I find the area where industry intersects with emotion and my own values related to craft very intriguing. With these ideas in mind, I am developing a craft based body of work in which I appropriate found mass-produced commercial jewelry. Inversely, I am also producing a design based line of work in which I examine jewelry as an industrially produced luxury object related to commodity.

My work  investigates the inner structures of buildings and the process of casting cement while capturing geometric, minimalist and organic shapes. I am interested in the differences between Mexican and American architecture. Structures made from Cement vs. hollowed and unfinished structures. I focused on this dichotomy in this work and explored with the materials I remember as a child incorporating them with modern materials and colors that I am surrounded by now as an adult.

Although  the cement forms themselves look heavy, most of the pieces are hollow and very lightweight. I want to create the illusion of heaviness, but it is the complete opposite, allowing you to wear the pieces comfortably. I use materials like; latex gloves, condoms, to create a sense of tension, plastic shot glasses, coffee milk cartons and toys to create unusual forms and textures.

I believe art jewelry is another way in creating functional and conceptual work on a small scale that is also mobile with the body. Currently, I am interested in creating pieces that juxtapose polished, traditional fashion jewelry ideas with rough, asymmetrical, and dynamic wearable art.

Lindsay Locatelli’s process is entirely intuitive making every piece unique.  Each component is hand sculpted and carved from polymer clay. After fabrication, she applies various finishing techniques such as paint, carving texture and gold-leafing.  This is the single-most important part of her process, which requires many layers of materials and tedious sanding sessions in between.

As a jeweler and artist I am concerned with the qualities of my material and by what means they can be skewed.  By questioning the conventions of the medium, I can make an object that is not bound by the viewer’s preconceived notions of material hierarchy. My work aims to exist as a graphic statement greater than its material components.

I find meaning through the observance and intimate awareness of the places I inhabit. With each geographic change, I have become more attuned to the natural and man-made attributes that make each location unique. An interest in the anti-aesthetic aspects of a place draws me to the abandoned buildings and factories, scrap yards, piles of trash and detritus found in the streets. This is the evidence of human inhabitants- past and present. The play between the intimate scale of jewelry and monumental landscapes and structures that inspire me brings a kind of tension to the work. An attempt to contain some quality of place and experience that is larger than the individual or object.

I choose jewelry to express my creative interests, and for many years, this has been a fascination with the body. I began my career in the arts studying dance. This led me to making adornment for the body, activating pleasure and enjoyment through wearing. Each piece is very much an effort in creating body-conscious work. Material exploration and the lineage of jewelry history also inspire me to challenge myself in the work while evolving alongside a world with new technology and processes. I strive to enhance the silhouette of the body and create work to be worn as a celebration of performance and adornment.

Reception December 10, 3-6PM
December 10 – December 31, 2016

Jewelry Edition is a project co-founded by Kat Cole and Laura Wood to support and promote the work of early career jewelry artists and those who wish to exhibit a new collection of jewelry work. Jewelry Edition seeks new ways to attract and educate clients on contemporary jewelry such as interactive web presence, and popup gallery events. Each year is a new edition of artists, pop-up venues, and collaborative opportunities.