Pop or Protect

I so enjoy attending the East Carolina University Material Topics Symposium.  Every January for the last seven years I look forward to getting out of town for a weekend full of lectures, workshops, exhibitions, and connecting with friends.  The entire experience is great, and it is student run, to boot!

A favorite event during the symposium is the charm and pin swap.  I will admit, some years I have been lazy in my submission, giving away a nicely finished sample or something rather simple.  This year, I was inspired to construct a small brooch.  For other swaps I have created small, circular brass brooches with frame like windows that expose a tactile material like cotton or sandpaper.  This was my starting point.

Perhaps bubble wrap, always at my fingertips during work days when I pack and unpack jewelry and other items, was in the back of my mind.  Small bubbles seemed best, right?  The temptation to pop one and then another.  The potential to leave someone unsatisfied at not having their fill of popped bubbles?  But how could I forget about the big bubbles?!  When I fitted one big bubble through the frame of the brooch and test popped it, I was simply delighted!

This was a fun, silly brooch; it was designed to be made quickly, to explore tactile sensations, and to present the option for one specific action.  That action, I anticipated, was to pop the bubble.  I did not expect the wearer's response, or my reaction to it that came nearly a week later.  When I saw my brooch being worn, I introduced myself as the maker and learned, at least for the time being, the bubble was being protected from the maliciously poking fingers of the wearer's friends.

Late the following week, as I was considering this conversation and my intention of creating a fun piece with a simple binary choice, I realized the bubble was imbued with all the usual particulars of any piece I have made.  Because it was made quickly and with the understanding of being given away, I failed to realize these connections.  I had, in fact, thrown caution to the wind and presented an exposed, fragile thing to someone else.  The same feelings of protection and watching over your shoulder so as to guard against outside forces that I have harbored, were instead stirred up in a perfect stranger.

It brings a wry smile to my face, the kind of smile that appears at the corner of my mouth with the slow realization that I've been outsmarted.  What gets me is this: I did it, so easily, to myself.

KLE

Regarding "Cameo Portraits"

I took these photos after a friend tried on this piece with the intended 'back' (pictured right) facing forward. "It's the prettier side," she said, "the side that should be shown!" Despite my efforts to replicate a neutral pose, these quickly snapped shots reveal the change in my posture and body language regarding the front/public and back/private of the pendant; a confidence and ease versus tension and turning inward.

While the typical themes of my work remain in this piece, this side-by-side image marks a shift in my making that very much reminds me of my brooch, Wishing.  Wishing is a piece I am fond of and, I dare say, proud of.  It not only solidified the aesthetic that would carry through my thesis work, but also proved to be the first intentionally visible and wearable piece I had made at that time.  Since making it, I have used it as a representation of myself and my work in both online and print materials.

Cameo Portraits is beginning to replace Wishing and though I am not necessarily fond or proud of this piece, I do recognize it as a transitional moment that I anticipate will carry me forward.  While the tangible, metalsmithed piece, Cameo Pendant, is not the first of recent works to incorporate a lighter color palette, it is however, the first piece that is neither a handheld object or a brooch.  The addition of a chain, allowed me to photograph this piece in a place other than my hand.  So, you see, it is one thing to have made small objects that are hyper-focused on addressing my vulnerability and unease, purposely excising my entire body from the image in which they are documented.  It is quite another to zoom out, to see my body reacting to my own work, and to realize I have been neglecting what that reaction looks like.  And yet another to use that image as a current representation of my work.

You would think these revelations and this allowance of vulnerability to expand from the hand to the entire body would be somewhat freeing, as if a pressure relief valve was opened.  That would only alleviate some tension, don't you think?  I don't know yet.  It feels a bit like opening a can of worms, if I'm honest.

KLE

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As an aside, I often reference these definitions when I think about this piece and its consequent image(s).  There are connections and layers that I find curious.  How it all fits together, I am not yet entirely sure.

cameo
a usually brief literary or filmic piece that brings into delicate or sharp relief the character of a person, place, or event

portrait
a pictorial representation of a person usually showing the face

selfie
an image of oneself taken by oneself using a digital camera especially for posting on social networks

The Power of Love and Jewelry

Last year at this time I felt a little like Katherine Heigl's character, Jane, in 27 Dresses.  Not the, "always-a-bridesmaid" bit, but as a bridesmaid in three weddings within three months, I did try on a lot of dresses!  I was also invited to attend the wedding of my good friend, Heather.  However it was on the same date as one of the others.  Despite being unable to attend, I sent all my love to Heather and her new husband, Andrew.  Now, almost a year later, that love has come back in the most special way.

Earlier this month, Heather and Andrew asked me to create a ring for their first wedding anniversary.  With their inspiration images in hand and feedback from Andrew, I set to work searching for just the right stone and began ordering materials.  Never mind I had never set a pear shaped stone or worked much in gold, the power of love (and a lot of research) overcame any lack of confidence in my ability to create such a meaningful token for my friends!

Simple as this ring may be, my moves were careful, measured, deliberate.  With each completed step of fabrication, nervous excitement bubbled through me because, you see, the intimate nature and significance of jewelry was really hitting home with this project.  This ring is instilled with all my happy wishes for my friends, and with Andrew's thoughtfulness and love for Heather.  Those intentions will be with Heather every day.  I am so touched to be part of that.

KLE

Delaware Bound

At the end of April, I left off with news of a job opportunity, but no details.  My friends, I am happy to report I have accepted a position as a gallery assistant at Heidi Lowe Gallery in Rehoboth Beach, Delaware!  For those of you who have visited, you know that Heidi's is an art jewelry oasis.  And for those of you who have visited again and again, you know there is always something new and exciting waiting for you in that tiny white house.  With the busiest season quickly approaching, I hit the ground running at the beginning of May and won't soon be stopping.  If you are in the area, be sure to stop by and say hello; I would love to meet you!

KLE

Travels, Talks, and Workshops

April proved to be quite a productive month, and in unexpected ways!  It brought some long awaited events, a few unexpected ones, and many hours in the car - but all for the love of demos and supporting friends.

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The Long Awaited: I can always count on the first weekend in April for the UMass Dartmouth MFA Thesis Exhibition opening.  It's a day of celebration with friends, family, studio mates, and colleagues after three years of hard work.  Having been there myself, I look forward to not only visiting my alma mater, but also supporting the jewelry/metals candidates.  Those graduating from the program this year hold a special place in my heart as they started their graduate work when I was in my last year and preparing for my thesis show.  It's a come-full-circle type of thing, I suppose. And so, a very hearty congratulations to Cuong Sy, William Vanaria, and Lillian E. Webster, who's neckpiece is pictured here!  If you're in Boston during the month of June, be sure to stop by Bromfield Gallery to see selections from the MFA Thesis Exhibition.
 

Another thing I can count on is an invitation from my friend Mr. Chase Stevens. Previously, he invited me to be part of a (Side)show at Guts & Glory Ink, but this time he asked if I would speak to his high school Art Club students, and what better time to stop by the Hudson Valley than on my way out to Massachusetts.

When I was in high school, I didn't know the worlds of metalsmithing and art jewelry existed.  I wanted to introduce these students to jewelry that goes beyond the readily available, easily accessible, and mainstream that we so often see.  And, I wanted to share with them metalsmiths who create sculpture, furniture, flatware, even machines in addition to jewelry, to show the versatility of these artists and their skill sets.  Of course I brought a lot of my own work so the students could get a hands on understanding of metalsmithed objets.  Chase let me know it was a successful and inspiring talk, especially for one of his students, who will soon be off to college in pursuit of a fine art degree!
 

A couple weeks later I was on the road to Pittsburgh for a little pin back action!  I volunteered to demo for the Allegheny Metals Club, which meets at the Society for Contemporary Craft.  It's a bit difficult to compete with a warm and sunny spring Saturday in the Strip District, not to mention a hammer workshop by Mr. Glen Gardner in the next room (I was sad I could not attend the 'hammershop'!), but it was great to be in such a lively studio!  I demoed a pin mechanism that is simple, yet effective, and also showed a variety of successful (and not-so-successful) samples that led to some great conversation about what to look for in a mechanism, how to make it, and even some problem solving.

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The Unexpected:

My weekend stay in Pittsburgh was extended when my sister connected me with the art teacher at the high school where she teaches.  I met Ms. Hess, who was excited to have someone show her 3D classes, who have completed some jewelry projects, another aspect of jewelry making.  We decided on a quick and simple introduction to enameling, and after a short demo, I was managing kiln traffic.  The energy and interest of the high school students surprised me, and just as with Chase's students, I think this mini intro to jewelry caught the eye of at least one college-bound student.  Unfortunately for me, these students knew their class schedules better than I and were out the door before I thought to snap a picture.

Finally, at the beginning of the month, a very unexpected email regarding a job opportunity arrived in my inbox.  Indeed, one leg of my travels this month incorporated a trip back to the coast, this time a bit farther south than New England.  I'll have more on that soon...

KLE

Kickin' Winter Blues

Cold and cloudy, northern PA winters inevitably make me feel like hibernating, hence the double sweater combo above. Fortunately, between a bit of traveling and some very special projects, I have resisted the urge to curl up in blankets and snore the day away, unlike my cats.

Every January I count on the East Carolina University Metals Symposium to kick my winter blues.  With inspiring lectures, demos, and exhibitions, this year was no exception.  And of course, I love having the opportunity to meet and reconnect with incredible thinkers, makers, and craftspeople.  Highlights included a thoughtful artist talk by Lauren Tickle, a pin back workshop by Marissa Saneholtz, the Smitten Forum 2015 exhibition, and chatting with both Mr. Chris Hentz and Mr. Leslie LePere.

Being in North Carolina, I decided to hop on over to Asheville to see my good friend, Jo Anna Hickman, who is currently a craft fellow at Warren Wilson College.  The whipping wind of an impending snow storm kept me from exploring Asheville, but I was able to preview the craft fellows' exhibition.  I was especially delighted by the felted dress forms and mixed media Miniature Collection of Jess Self.

After a week on the road, I was ready to get back to the bench, and I had a few projects lined up!  On the docket were two custom pendants and a brooch.  I still have one pendant pending, but for now I'm happy to share what happened with that empty setting pictured above.  If you've read my post, Old Experiments, New Thoughts, you know that I am exploring empty settings and thinking about the question, "Is this seat taken?"  Although that seat was, in fact, spoken for, I had to photograph the piece before setting the enamel.  I decided to wear the brooch, on a whim, and snap a shot.  It has turned out to be one of my favorite images, and I wonder if it is because this piece now only exists as an image. . .  In any case, here is the actual, finished piece, a donation to Contemporary Craft for their annual benefit auction, Out of Hand!

Here's to this piece melting someone's heart and finding a home in a lover of the handmade!

KLE

Mindful Video

The Society for Contemporary Craft just published this great video about the exhibition Mindful: Exploring Mental Health Through Art!  It gives you a bit of a peek at the gallery as well as thoughts from some of the participating artists and those who put the exhibition together.  If you'd like to know more about my experience at Mindful's opening weekend, please continue reading here. Be well!

KLE

Old Experiments, New Thoughts

This little piece has me so excited!  In my last post I wrote about looking for a community of makers and craftspeople.  While visiting Contemporary Craft for Mindful, I expressed this want to a few people who were able to point me in the direction of metalsmiths who teach or make at SCC's studio.  I was happy to accept an invitation to attend a meeting of the very newly formed Allegheny Metals Club.  The particular meeting I was able to attend was a pinswap; how could I resist?!  A swap like this is a great way to meet people in my field, introduce myself and the work I make, and is the best way for me to make something (relatively) quickly.  Another jump-start project was in order!  I had some ideas swirling around in my brain that I hadn't yet gotten out on paper, let alone in metal.

Those ideas started forming a few months ago when I was given a small gold ring to use for scrap because of a broken prong and missing stone.  There was something about the empty oval setting and the three remaining prongs that I found very intriguing.  I began to think about empty spaces within a jewelry context, their ambiguity, and their potential.  Is there a part missing, or is that space a placeholder?  Could the space eventually be filled, and for how long will it remain empty?  When paired with another element, I imagine these questions as a conversation, and I especially think of the question, "Is this seat taken?"

What could I pair with an empty seat to evoke the questions I had in my mind?  When I started looking through potential objects, I came across some experimental enameled tiles I made a few years ago.  Although the experiments, silver knots embedded in opaque enamel, never evolved past their sample-like nature, I never completely forgot them.  When I considered the questions I was asking, the enameled knot samples mirrored by an empty setting fit the bill.

The things that have me so excited are a handful of never-would-haves.  I never would have come to this composition when I first made the enamels, which in itself feels like an accomplishment that has been a long time coming.  There's a feeling I wanted expressed, but it needed a few years to be realized a bit more accurately.  I am satisfied with this in part because I never would have used that setting for anything, and the decision to do that comes from thoughts and questions spurred by the little gold ring.  Finally, I never would have parted so easily with something I felt so good about.  However, I was making quickly and with the intention not to keep; I didn't have the opportunity to become attached, as I so often do with my work.  The makings of successful endeavors on all fronts, I think!

KLE

Creative Community: A Need

This past weekend I had the very wonderful experience of seeing my sister read poems from her collection, MAMMAL ROOM.  It was an adventure, driving to Brooklyn and finding the funky little bar/bookshop, but I had my trusty navigator and fabulous friend, Monica, to help me out! Monica and I were fascinated by Kristen and the two other poets reading that night because, as visual artists, the poetry world was one we had not yet discovered.  It makes me happy to know there are these little pockets of poets and writers, a small community of creative people who make events like Triptych Readings happen!  It makes me happy to know that happens outside of the craft world. As part of my adventure to the big city, Monica took me to Brooklyn Metal Works, where she has a dedicated bench for making her jewels.  Right now, though, she is preparing new work for an upcoming show at the Society of Arts and Crafts in Boston.  We happily pushed cast parts and pieces around the table as we brainstormed and problem solved.  It was a bit like grad school again, only way more fun and with a better doughnut shop near by.

Seeing my sister read, spending time with Monica in the studio, and of course my visit to Contemporary Craft a few weeks ago has me longing for a creative community.  I did not realize how important that type of community is to me as a maker and artist because, until recently, I had not been without one.  I enjoy the energy and buzz of a studio; it encourages me to make.  I enjoy attending artist lectures and gallery openings; they encourage me to explore, read, and think critically.  And I enjoy speaking about and exhibiting my own work; it encourages me to connect with people I may not have otherwise.  Each of those points may only be scratching the surface of a larger issue for me because it is less about enjoying these aspects of community and more about needing them.  With that realization, finding a new community is something I am working toward.

In the mean time, I've been feeling like I needed to get my hands working on something new without my brain getting in the way.  A jump start project, RJM (Radical Jewelry Makeover) style, was in order!  I recombined components of a broken bracelet to create miniature pendants in gold with oxidized silver chains.  It was a good project for me: necklaces (or, not brooches), multiples (or, not just one piece), salable (or, not emotionally attached).  This may be expanded upon...but that is another post for another time.

If there is one thing I know for sure, it feels good to make, and I'm going to keep on doing it!

KLE

Mindful: Exploring Mental Health Through Art

It has been through the action of making, with acquiescence for tending to such deep emotion, that I have created my own form of ministering, and have put myself in a position to share these objects with the very world of which I seem to be so afraid.

This past weekend I visited the Society for Contemporary Craft in Pittsburgh, Pennsylvania for the opening celebration of their newest exhibition, Mindful.  Two years in the making, SCC has thoughtfully curated not only an exhibition, but a socially engaged art experience that encompasses companion shows, community programming, and educational opportunities.  In a newsletter announcing the exhibition, SCC's executive director, Janet McCall writes, " There is both an urgent need and a great opportunity for arts organizations to convene civic conversations about how the arts can support positive mental health.  Mental illness is a topic of primary concern for many of us, but it remains a taboo subject.  A primary goal of Mindful is to remove the stigma associated with mental illness and to help increase understanding and compassion."

The exhibition is really quite wonderful and I believe that SCC is well on their way to accomplishing their goals for this project.  If you can't make it to Pittsburgh, explore the exhibition website, browse the exhibition catalog online, or continue reading as I share thoughts on my experiences during the opening weekend.

I had known for nearly seven months that my work was selected as one of the voices for Mindful, and after all those months of anticipation, I couldn't have been more excited to see the show.  The Friday night opening had a great turn out and from the moment I attached my name badge to my shirt, I was swept up in conversations with those who were curious about my work.

On Saturday morning I arrived at Contemporary Craft to spend more time taking in the show, sans the buzz and excitement of the opening.  About half an hour before scheduled artist talks and a performance by one of the Mindful artists, I stepped outside to find a place I could whisper my thoughts in preparation for my talk.  Sitting in the sun by the entrance with one of the artists was Janet, who cheerfully invited me to join their conversation.  I was happy for the distraction from my building nerves, even if it meant foregoing collecting and organizing my thoughts.  However, it was in accepting that invitation that I had the pleasure of meeting Jennifer Ling Datchuk, and discovered we shared an alma mater.  In that conversation, others we had throughout the afternoon, and her artist talk, I couldn't help but smile at the serendipitous meeting and the resulting feelings of connectedness.

Meeting an alumna of the UMass CVPA Artisanry graduate program, in Pittsburgh, PA of all places, wasn't my only discovery that day.  Within those misty thoughts I was trying to wrangle earlier, something finally condensed.  The great thing about Mindful is that it tackles the stigma that surrounds mental illness.  The exhibition is not shy about putting that mission out into the world.  Quite unintentionally, the display of my work compliments that mission.  However, I needed the openness of Mindful and this mini artist talk to fully grasp the importance of this particular layer of my work:

With the display for these objects, I am keeping people from experiencing the objects through touch, and that much I knew.  What I didn't understand was, for every person who approaches these objects displayed in this manner, I am beating them to the punch in experiencing the objects visually.  I have not allowed for the experience of seeing the objects closed, of seeing their pale, smooth, stone like exteriors, or of letting the imagination wonder at what might be contained.  Rather, I am openly presenting the anxiety and unease I have felt, bearing those emotions without any introduction.  The recognition and the honest display of my emotions prompts a conversation about it all: the good, the bad, and the ugly, which I joked may have been better titles.  Joking aside, it is that occasion for conversation that brings me to the quote prefacing this writing.

"It has been through the action of making, with acquiescence for tending to such deep emotion, that I have created my own form of ministering, and have put myself in a position to share these objects with the very world of which I seem to be so afraid."  I wrote this as the closing thought to my thesis in the spring of 2014.  More than a year later, this sentiment still rings true and is especially meaningful in the context of Mindful.  My work acts as a facilitator; these objects help me to speak about how I feel.  However, as objects that belong in my hand, I often have difficulty letting go of them as much as I do the emotions that inspired the objects' creation.  In learning about the exhibition from the folks at Contemporary Craft, in meeting many of the Mindful artists, and in each of the many conversations I had over the weekend, I realize that I couldn't have asked for a better experience in which to share and to let go.

KLE

Website as Work-In-Progress

Up to this point I have been keeping this site as a blog.  I enjoy writing to share with you my thoughts, news, and works in-progress.  Now, though, it is time for more and instead of a brooch or an object being the work-in-progress, it this little piece of web space.  If you see anything funky, it is me figuring out what will work best, so please hold tight as this transformation unfolds and be sure to visit again soon!

Here is what's to come: - updated 'about' section and contact info - portfolio showcasing lockets, brooches, and objects - photo-documentation project of "The Hand & . . ." - résumé

KLE

The Story of Wishing

This brooch is called Wishing. After writing some thoughts about brooches in Why Brooches? I wanted to provide a bit of insight to this piece. It is the image you see on this website and, after all, it is a piece that contributed to the development of the brooches and objects I would make next.

In the summer of 2013 I made this brooch for my sister. It was a celebratory piece. She had just earned her MFA in poetry and would soon be moving to Boston. At that point in time, I was preparing to enter into my last year of graduate school and was, after two years, still struggling to fine tune the aesthetics of my making. But it was summer and I didn't have to worry about editing artist statements or meeting critique deadlines. I was just making, alone in the stuffy studio with the lights off. What I made was large and wearable, a piece that would call attention to itself and to the wearer.

Large, wearable, and attention grabbing had never been intentions with which I ever set out. Of course, large to me at that point in time was barely over an inch and fifteen sixteenths. However, in letting this piece breathe, by making this world just a bit larger, I began to see how those who handled it remained curious about and engaged with it. What followed was a study in form, color, and texture through the format of brooches. I was able to take what I learned in making those brooches and translate it, even if I did compress it, into my objects.

As to the title, well, I had been introduced to Neko Case's Blacklisted ten years late. But I fell hard for her music and listened to that album almost non-stop. I Wish I Was The Moon, as well as Hard Way Home by Brandi Carlile, were at the top of my playlist. Between the songs I was listening to and the observations of those who saw the brooch often comparing it to the moon, my thoughts gravitated toward the curiosity and wonder surrounding the unknown, the anticipation of meeting it, and even the wanting and wishing for it.

KLE

Why Brooches?

Rings flash when we move our hands and earrings sway as we move our heads. Both draw attention and become part, become extensions of our bodies. Wearing a brooch is a bit subtler, I think, and a bit more involved than feeling cool metal slipping over your finger, warming to your body. The mechanism of the pin back provides a process or a ritual. It provides the performance of specific actions required to attach a brooch to clothing, that clothing which is as much a part of the body and the self as skin. There is something grounding, solid, and satisfying about a brooch with a well-made pin back. It is the knowledge that, unless otherwise designed to do so, it will not move, but will nonetheless call attention in its own distinct way. With this in mind, I make my brooches, my small worlds, hoping they will be discovered through eyes, hands, and bodies other than my own.

Above is a short statement I wrote on brooches that I wanted to share.  Honestly, until I was asked to submit to the pop-up version of #ThisIsABrooch, which is part of Adorned Spaces at this year's Society of North American Goldsmiths conference, I had not thought about why I make brooches.  However, I was asked to write a statement answering that very question in 200 words as part of my submission.  Well, I do love a writing challenge, especially when its focus is to draw out the answers to "why?"  It's a good start, that little brooch blurb, and I'm sure I will have more thoughts on it in the future.

As for the present, my thoughts are with the metalsmiths and brooch lovers at the SNAG conference in Boston, especially my UMass alumnae and friends who have put a lot of planning into the conference.  I wish I could be there to see you all, but this weekend is also the start of a summer filled with the wedding celebrations of three lovely ladies!  First up, a bridal shower for my little sister!

KLE

MAMMAL ROOM Cover!

Here it is, folks!  An update on MAMMAL ROOM, as promised!

"LOOOK!!!" was in the subject line of an email sent to me by my sister, Kristen, a few weeks ago.  What we were excited to see was a few potential designs for the cover of her debut collection of poems, MAMMAL ROOM.  Knowing about this has been one of those just-too-exciting bits of information that wants to bubble right out of me.  I'll admit, and my family will attest to it, I can be a bean spiller about these things.  But with the book sent off to the printer earlier this week, I can finally let it out!

The work my sister and I create takes different forms.  In some ways, though, I think it comes from similar places.  Kristen's words about my work have always pushed me forward with a reminder of why I make.  I can never seem to accurately articulate what or how I feel, but with every object I create, I come closer to representing, capturing, and evoking those emotions.  It feels incredibly special to have my lack of words support those that she has so carefully crafted.

I sincerely hope you take a look.

KLE

MAMMAL ROOM

My older sister, Kristen, is a reader and a writer.  To be specific, she is a poet.  Collaboration has been on our minds for years, but it wasn't until last February that it finally happened.  I picked her poem, Who Needs A Stomach Except To Be In Love With A Man, and made an object to accompany it.  Here's the exciting part: Kristen's collection of poems, MAMMAL ROOM, was selected to be published by SpringGun Press!  Another exciting part: she showed them an image of the piece I made in response to her poem and they are interested in using it!  It is all very much in the works right now, but I'll be sure to update with more exciting parts as I hear about them!  And if you're on Twitter, follow Kristen at @paperalphabet.

KLE

Naughty Narrative: Lives Revealed

Naughty Narrative: Lives Revealed is an exhibition curated by Andrew Kuebeck and Danielle James that will be showing during the East Carolina University Material Topics Symposium at Art Avenue in downtown Greenville, North Carolina.

"For over a decade the lines between our private lives and the public world have become so blurred that there is now very little that one doesn’t know about or can’t discover about someone from an online search. This causes one to ask, “What is private?”, “What do I keep secret?”, and “Why am I keeping it secret?”. Naughty Narratives: Lives Revealed calls for works that deal with the precarious balance (or unbalance) found in the mixing of our private lives and public personas. Naughty Narratives: Lives Revealed seeks traditional and experimental works that deal with the politics of the public/private, secrets, personal narratives, and other “naughty” things we do everyday."

This prospectus had me so excited, because the type of work I had been making dealt exactly with that "balance (or unbalance)" of what I choose to show the public - a calm facade - versus what I feel internally - sometimes very anxious and unsettled.  Three of my objects were selected and I cannot wait for the symposium to see the show!

KLE

Happy Holidays!

A Happy Thanksgiving to you!

It's a snowy one here in northern Pennsylvania!

KLE

What Are You Thinking? Project Update

Tonight was the opening reception for the University of Massachusetts Artisanry Alumni show, What Are You Thinking?  Although there were only a few in attendance, it was great to have my work in the company of so many talented artists, and see some of the things they've been working on.

Above is the piece I made, 'Wobbly.'  A small brooch, only about 2 x 2", 'Wobbly' is the first piece I made after graduating.  I have a few more of those wobbly, moon-like rings, so this could be the start of a small series!  It felt so good to make this little piece and I look forward to more post-graduate making.

KLE

#ThisIsABrooch Online Exhibition

It's here, it's here!  I was so excited to check out the online exhibition for #ThisIsABrooch.

For weeks I, and so many other participants, have been digging out our favorite brooches, taking photos of them, and posting the images to Instagram with the hashtag #ThisIsABrooch.  The exhibition categorizes the brooches into Hand Made and Factory Made.

I am happy to say a few of my brooches were accepted!  The Snake Charmer brooch was misclassified as factory made and was therefore replaced with the lovebirds:

Check it out!

KLE

What Are You Thinking?

What Are You Thinking? is an upcoming show featuring UMass Dartmouth Artisanry alumni.   Anything goes, from a sketch, to a piece in process, to a finished work, as long as it is 6 x 6"!

My brain has been occupied with a few things as of late, but this show is coming to the forefront as it is very quickly approaching!  Here are a few different things I am thinking about: Wobbly hollow formed rings, hole-y enameled domes, and...

a new place to work!  I found a small desk, but it was about ten days before I took out that Plano tackle box holding all of the essentials.  In simply setting out a few of my most basic tools, I felt a deep sense of joy and satisfaction.  With a few modifications, this little desk will be a great place to use those lovely tools and to finish the thoughts started earlier this summer!  Be sure to check back soon!

KLE