Karin Abromaitis

“Every time I sit down to throw I feel like I’m being initiated anew into the world of magic. There is something about the way clay rises between my hands while I throw that I can only describe as magical. Is there any better reason to pursue an art form?

 

“I found that making pottery was my “missing piece” after twenty years in a successful career in the performing arts.  The quiet inner focus and solitude provide the balance in my life to the high level of outward energy that Theater and performance requires.  On those days when the clay flows and the theater buzzes with energy I think to myself that life doesn’t get better than this.  I am truly blessed.

“I have been working in clay since 1995.  I started with a pottery class in the Montgomery County Adult Education program when, after a long illness, I desperately wanted a creative outlet that I could pursue while sitting down.  That experience began an intense passion for working with clay that has remained sustaining and constant.”

_Karen Abromaitis

 

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.”

Sarah Nikitopoulos

Sarah Nikitopoulos grew up in Wading River, New York, and for as long as she can remember has had a passion for both art-making as well as the sciences. This interest further developed during her undergraduate studies at Alfred University, where she discovered a love for glaze formulation and material studies — leading to a particular fascination with crystalline glazes. After graduation, Sarah worked as a glaze technician for a ceramic lamp designer in New York City, and then moved to the Gateway Arts District of Maryland located just outside of Washington D.C., to work under a variety of local and nationally-known artists as an assistant – most notably ceramic artist Ani Kasten. Sarah currently lives and works in Brentwood, Maryland as a full-time ceramic artist, and during the rare times she is not working, enjoys traveling and seeing as much of the world as possible.

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.

Barbara Bayne

Barbara has been creating fine jewelry for more than 25 years. Her work reflects her interest in the natural forms and textures that surrounds her.  

The majority of her jewelry is fabricated from 18k gold or sterling silver sheet using a process called die forming.  This process involves pushing the metal into either wooden or steel dies using a variety of methods that include dapping and hydraulic pressing.  The dies are pieces of wood or steel with specific shapes cut out of the center of them.  The outline of the piece is dictated by the shape of the die but the depth can vary since the metal is formed over air.  Additional techniques, including hand texturing, roller printing and piercing, are employed before and after forming to embellish the designs.

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.

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.

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

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