How has your jewelry making informed your other studio practice?
My jewelry is quick to make in comparison to my sculptural line of work. So I’m able to treat them like miniature “canvases” to try out new patterns and imagery. My surfacing process demands a lot of time, so these smaller items allow me a greater opportunity to play in the studio, and they often provide a needed break when I’m frustrated with a sculpture. I’m also a mom, so studio time is sacred and I have to take it when I can get it. I might not have a large window to get a new sculpture started, but I can at least keep my hands busy and be engaged with my studio through making jewelry. My jewelry has a similar aesthetic to my sculptures, so in a way it makes my work more affordable and accessible as well.
With my jewelry, I utilize the same process for applying imagery as I do with my sculptures. I will either do a sketch on paper, which I then transfer onto tracing paper, flipping it to apply it to bone dry clay – or I draw with pencil right onto the bone dry clay. Any mistakes are easily rubbed away, allowing for a fresh start. I then use Duncan Underglazes, treating them like watercolors, to paint in the details. I then bisque them to 04, apply glaze, fire to 6 (allowing the underglaze to flux a bit, as it’s meant to stay at a lower temperature), and finally luster them, firing to 018.