 |
|
|
|
Grad, Joy
Medium
jewelry
|
|
| |
| |
|
|
| |
ARTIST BIO
EXPERIENCE
Designer - City of Joy. 1987 - Present
Design and creation of fine gold and sterling custom jewelry
Design and creation of one-of-a-kind mixed media jewelry
Designer - Matthew Hoffman, Inc., Ann Arbor, Michigan 1992-1996
Design and wax modeling for custom fine gold, platinum and sterling jewelry
Artist/Owner - Points of Departure
Gallery, New York, NY 1989-1990
Co-owner, curator, merchandise curator, treasurer, gallery jewelry artist
RECENT SHOWS
2002
Faculty Exhibit - Lillstreet Gallery, Chicago, IL
Fabricated, Formed and Functional invitational, Lillstreet Gallery,
Chicago, IL
Wells Street Art Fair juried
Gold Coast Art Fair juried
Evanston Lakeshore Art Fair juried
West End Art Fair juried
Bucktown Art Fair juried
Wicker Park Art Fair juried
Cornelia Street Holiday Show - juried
Pilsen Art Walk
Pilsen Holiday Show
2001
Fabricated, Formed and Functional invitational, Lillstreet Gallery,
Chicago, IL
Pilsen Art Walk
Wells Street Art Fair - juried
Pilsen Holiday Show
2000
Evanston Art Center Holiday Show juried
Pilsen Holiday Show
Pilsen Art Walk
Bessinger Studio Show invitational
EDUCATION
Lillstreet Studio, Chicago, IL Pam Robinson 2001 Present
Matthew Hoffman, Inc., Ann Arbor, Michigan - apprentice 1992 1996
Penland School of Crafts, Penland, North Carolina scholarship, Sandra
Zilker 1992
Ann Arbor Art Association, Ann Arbor, Michigan 1990 1993
YMCA Crafts School, New York, NY 1989
TEACHING
Wax Carving and Casting - Lill Street Gallery, Chicago, IL 2001 Present
Beginning Metalsmithing - Lill Street Gallery, Chicago, IL 2003 Present
|
| |
STATEMENT
Inspired by shapes and surface textures I see around me in the city I hand
craft porcelain first rolling the clay into a slab and then texturing the
surface using found objects. Then I either bisque the slab whole with the
intent of breaking it into smaller pieces after glazing or I cut out shapes
with cutters that I made myself, paying careful attention to the placement
of the texturing within the shape. I want all the pieces to have an
ancient, shard-like quality, which I accomplish by having the texturing
interrupted by the edges, as if falling off the piece. I glaze the pieces
with combinations of glaze and oxides, high fire them and pick the best ones
to be set into jewelry pieces.
The second stage in my jewelry process is design. I either design pieces
inspired by the finished ceramic or see how the ceramic piece works in a
previously though out design. Refining the designs also entails the
technical working out of setting the ceramic as well as any other elements
such as cast pieces or stones. If IIm not 100% happy about a design it
stays on my design bench until I find a solution or a better use for those
elements. Only then do I begin construction, making adjustments when
necessary for any technical concerns. Construction involves the use of a
variety of fabrication techniques that may include riveting, soldering,
bezel, flush and prong setting, reticulation, fusing, granulation, stamping
and many others depending on the piece. I choose to high polish many of my
pieces often in combination with a black patina. This contrast gives the
textures a depth and implied age, as if old treasures were dug up and given
a surface cleaning.
The contrast between the silver and the ceramic gives the effect of ancient
treasures revered by their treatment as valuable stones, something they are
often mistaken for. What stone is that?? is a question I hear often. I
love this aspect of my work, creating the unexpected and transforming
materials to seem other than what they are. Surrounding these brokenn
pieces with sterling silver and gems I create a new whole that becomes a
contemporary talisman, imbued with individual importance and meaning by
their new owners.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Click thumbnails to enlarge. |
| |
|
|
| |
|
 |
|
|
)
)
)
)
)
)
