Gabrielle Gould

My jewelry is an interpretation of the natural feel of coastal Florida, where I live. It is a figurative representation which depicts the environment of the south with feathers, birds, and shells from the beaches or scrubby dune hammock.

Inspired partly by the ornamentation of indigenous people, my use of feathers is comparable to today’s prevalent use of gemstones. The color, texture and size of each of the feathers is carefully considered when I create a one-of-a-kind feather neckpiece. The time-consuming process of organizing, trimming, and lastly hand-wrapping the feathers onto the neckpiece is a small part of a fulfilling endeavor. By fabricating in silver and gold, I create an “armature” upon which I add feathers. These metal forms are linked, strung and/or woven to allow movement with the body– my goal being to create a textile-like feel. 

My figurative bird imagery is also from the southern landscape—mainly coastal Florida. Each bird pin is based upon a species common to this area. Like the feather pieces, all of the birds are made in silver yet, I often add high karat gold, feathers, and even oxidization to them.

Ultimately, I want my art to convey harmony in design, grace in execution, and a sense of elegant simplicity.

-Gabrielle Gould

Eileen Sutton

“I was born and raised in New York, on Long Island. When I pierced my first piece of copper plate at age 17, I was instantly hooked. I was somewhat of a metal purist until my last semester at Tyler School of Art. It was then that I began working with cast resin. Incorporating other elements is sporadic, whereas the constant interest of resin remains. When I finished school, I stayed in Philadelphia because there was a great community of artists and craftspeople.

My first studio was in the space of the late Olaf Skoogfors, a pioneer in the field of art jewelry. It was a shared space with some graduated students from Tyler School of Art. This workspace was more than just memorable, it was an experience that paved the way for where I would go with my work.

“There is also a strong bicycling community in and around Philadelphia, which became almost equally important to me. Some of my earliest pieces were from lines I saw painted on the road while cycling. It was a thoughtful place to live. I realized then, I didn’t have to go back to N.Y.C. to get inspired.

“My forms are definitely influenced by the color and materials I use, along with what I see in the world around me. Now that I have a family, I don’t travel as far to see the world, but presently going to an aboretum or working in the garden is enough to spur some vision.”

-Eileen Sutton

Edgewood Designs

Started by George Dubinsky and David Short, Edgewood brings a unique and exciting take on home-ware design standards. With background from RISD and coming from the success of George’s MFA thesis show at RIT, Edgewood was conceived. Standing for all that is just, while also ushering in a bright new era of design, Edgewood stands as it is today. Equally a design and a production company, Edgewood works with the best in the business to take design all the way from conception to production.

Constance Gildea

This jewelry was designed and created by Constance in her New England studio.  She earned her BFA in sculpture, which is evident in the intricate detail of each piece.

“Although I keep an eye on current trends, I tend to design for women’s diverse lifestyle.  Women have many opposite dimensions to their roles and personalities today.  I design for the softer, romantic side.  My new work is bolder but still botanical in nature.  I incorporated an ancient Asian technique of permanently bonding fine silver with 24 kt yellow and colored golds with gemstones”

Constance’s jewelry designs have appeared in Vogue, Bazaar, and “W” magazines in addition to the New York Times.

Arden Bardol

“I usually describe my work as rich in complexity and simple in form. I focus on thoughtful craftsmanship and pay attention to the detail on every side of a composition, embracing the notion of edges, yet excluding the idea of front or back. All sides are created equal.”

Bardol works with custom-blended polymer clay. She mixes the clay with metal powders and a variety of other materials to produce unique colors. She sometimes rolls textures onto the clay or uses a cut-away process to add depth to the clay. Then, each tile is formed into a bead. Once the beads are formed, she adds additional texture and detail. Then, the beads are cured and fired at a low temperature.

Bardol received her professional training at Carnegie Mellon University, earning a bachelor’s degree in architecture. Upon graduating, she worked in architecture and interior design. Bardol studied ceramics at the Pittsburgh Center for the Arts where she pushed the limits of the clay and learned new firing and glazing techniques. During her many travels, she was exposed to the vast cultural influences of each place, which she now uses as inspiration in her art.

Pamela Whitlock

Whitlock designs and hand weaves fashion items for the person and the home out of 100% bamboo.

Yes: bamboo.

“When we begin work, we are working with bamboo yarn that has already been spun and dyed.  The yarn is created by a method similar to that used to create rayon from wood waste: the cellulose is plasticized, extruded into a fine filament, then spun into an extremely long-staple, very strong yarn.

Despite the bamboo plant’s reputation for outstanding strength and toughness, bamboo in the form of yarn creates fabric of amazing softness and drape.  Our bamboo scarves, for instance, have the feel of a silk/cashmere blend, but only require the easy care of machine wash, machine dry.”

Ahrong Kim

My work is based on psychological observations that are representative of voices we all hear inside. I make ceramic figurative sculptures that describe emotions from my life as a diary. By exploring expressive possibilities of my visual language, the figurative form and its multi-colored surfaces reveal the abstracted version of my interiority.

Creation of ceramics requires endurance. Looking at its chemical changes through the process of firing, it is a creature granted with invisible power, which means its outcome belongs to nature. Ceramics are regenerated by fire, the most fundamental aspect of nature. Borrowing human hands, it cannot create emotions unless the will or passion of the artist is naturally melted down upon it.

Through my works, I aim to express the topic of emotions outwardly by attempting to describe a various range of psychological states existing in our environment with visual formation of colors and figurative form.

Lisa and Scott Cylinder

   LISA and SCOTT CYLINDER began collaborating in 1988 shortly after graduating from prominent University Jewelry Programs. They have created limited production studio multiples under the auspices of CHICKENSCRATCH for the past 28 years. Ten years into their venture, they craved a greater technical and creative challenge and began making One-Of-A-Kind pieces under “L and S Cylinder”, in addition to their studio multiples. The skills they use for these grander works were never fully explored before. This jewelry is more substantial and more serious, both in concept and execution. The Cylinders began manipulating and incorporating Found Objects and Epoxy Resins into their metalwork. They take a no-holds-barred attitude about materials and techniques and create a very limited number of highly collected Art Jewelry pieces.

   Their works display a dichotomy of the man-made and the natural worlds; How they intersect, weave and parallel each other both in their choice of subject matter and materials. Influences are as varied as these materials, with a reverence for Lalique, Spratling/Los Castillo, Jensen and Ken Cory, and many other archaic     Hand-Craftsmen. Lisa and Scott Cylinder are always looking for that elusive inspiration from which their next concept will emerge.     

They’ve recently been featured in American Craft magazine.

Paula Shalan

 

Paula Shalan received her BA in studio art and child development from Sarah Lawrence College. She furthered her ceramic education

at The Art Institute of Chicago and Penland School of Crafts. Her smoke fired ceramics have been shown locally and nationally including Crafts National, The International Orton Cone Box Show, and History in The Making. In The Berkshires, her ceramics can be seen at Lauren Clark Fine Art in Great Barrington, MA, LOCAL in Lenox, MA, or at her studio in Stockbridge, MA. Paula participates in fine retail shows such as The Philadelphia Museum ShowCrafts America, and Craft Boston retail shows. This spring she exhibited at the The Smithsonian Craft Show in Washington, DC, where she won the Honoring the Future Sustainability Award. She has been teaching art for over 20 years. For the past 13 years she has taught ceramics and multi media at IS183 Art School of the Berkshires and held the position of Head of the Young Artist Department. She has taught at various private and public schools in the Berkshires and at the Berkshire Museum.