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Grad, Joy



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



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


Fabricated, Formed and Functional invitational, Lillstreet Gallery,

Chicago, IL

Pilsen Art Walk

Wells Street Art Fair - juried

Pilsen Holiday Show


Evanston Art Center Holiday Show juried

Pilsen Holiday Show

Pilsen Art Walk

Bessinger Studio Show invitational


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


Wax Carving and Casting - Lill Street Gallery, Chicago, IL 2001 Present

Beginning Metalsmithing - Lill Street Gallery, Chicago, IL 2003 Present


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.

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