Curated by Judy Parady
12 Jewelry Artists
from across the U.S. 

Exhibition July 14 - August 27, 2016


I use my work to illustrate the individual experience of walking New York City. Through the use of layering and watercolor, my pieces take on a whimsical and playful nature as they record and re-enact unique and fleeting moments of time that I have documented as I carve my own individual path throughout this city. Using elements of perspective I leave the pieces up to interpretation, allowing the viewer to project his own individual experience and path in the imagery of my work
        Andrea Rosales Balcarcel



My work focuses on image, pattern and decoration in order to reference ornamentation and historical jewelry. As a maker, it is my intention to challenge the conventions of handmade jewelry through the use of inexpensive materials and new approaches to design and surface decoration. I am interested in a reality that exists through images and representations and how the appearance of an object can substitute for the original. Utilizing silhouettes allows me to reduce these images down to their most basic form and reference the history of jewelry with a clean, contemporary aesthetic. This is reinforced through the use of powder coating, a process commonly used on an industrial scale to coat or color large metal objects with a durable, uniform finish. By using a limited color palette of black, white, greys and the occasional pop of yellow, I am able to allude to common colors of metal such as silver, gold and oxidized metal. In select pieces, I specifically reference a particular piece of jewelry by introducing digitally scanned photographs, which have been made into inexpensive buttons. These buttons are then prong set onto the final object in order to mimic the original presence of a gemstone. The use of repeated iconic imagery has proved to be very important to my work and in my most recent pieces, I have been exaggerating simple motifs such as teardrops, ovals and chain links while including hints of decoration in order to create pieces that are less recognizable than traditional silhouettes but maintain a familiar identity between the viewer/wearer and the object. By combining the handmade with the industrial and the digital, I aim to produce pieces that speak to the past, present and future of Craft while maintaining familiar identity between the viewer/wearer and the object.

 Ashley Buchanan



My work is inspired by my experiences, intermingling metalsmithing techniques and design with various artistic traditions from around the world. Inspired by the cultures I’ve encountered during my travels, I work with intrinsic materials, combining the traditional with the unexpected to elevate their status and reassign their function as jewelry. 

My works explores the conceptual play of material and meaning. Travel photography and vintage snapshots serve as mementos that embody the present reality. In one group of pieces, photographs of architectural antiquity are transformed into body adornment. In another group, paper money used as an Asian ceremonial offering of currency for the dead, transcends its original function and serves as an evocation of metal and the sentiments of mourning. Through the juxtaposition of materials that may be perceived as incompatible, I combine the transparency of hot glue with the luster of silver to create a piece of subtle shifting color and texture. This intermingling of a lowly material and a precious metal elevates the perception of the hot glue through its encounter with the silver.

Pushing the boundaries of traditional techniques, I have experimented with materials such as inlaying Kingfisher bird feathers in unconventional ways as well as using unorthodox binding methods like melting monofilament. I have developed pieces through creative processes that connect mind and hand, and abstract ideas and tangible forms, in the medium of jewelry.

I also reference familiar symbols like the phoenix which are rearranged to create new silhouettes and meanings. Graphic elements, for instance, are layered to create textures, while old photographs may portray events but as well as a sense of action. Through these methods, I create new context.

My pieces are complete objects on their own but are enhanced when they are worn—they integrate with the wearer by reflecting and shadowing a person’s body and movements. This is a pivotal moment and expresses a creative continuum from the inception of a work to its material explorations to the dynamic experience of the jewelry on the human form.

Tzu Ju Chen



Samantha Nania is originally from Stratford, Connecticut and holds a BFA in Jewelry Design from Pratt Institute. She works with various flooring companies and woodworking shops in order to utilize their wood cutoffs.The biggest supporter of wood supply comes from an incredible company, Harden Furniture.  Samantha believes that true sustainability is found through utilizing all materials and the materials' excess. She sees potential in the smallest amounts and always finds use for anything she finds. Samantha wastes no metal, saves all of her scraps and carefully chooses her saw marks before cutting in order to optimize the use of her materials. 

Her work is simultaneously organic and geometric. Samantha has a love for inlays and tends to inlay various crushed stones or silver square wire. Her work is sculptural, elegant, and will always create a subtle, yet noticeable statement. 

Samantha makes her work in the same cellar that her grandfather spent all of his free time. His workspace was filled with any tool, bolt, nail, or screw imaginable. She’s continued her grandfather’s tradition by creating her own woodshop and jewelry studio space in the same space he once used.



I am interested in how jewelry has functioned historically as a marker of status, class wealth, and a record of human experience. The objective of my work is to increase the depth and breadth of the critical dialogue concerning objects and how they participate in culture, particularly through modes of representation, process, consumption and desire.

Mary Pearse


Anthony Tammaro is a new media artist who operates at the intersection of Art, Design, and Craft.   

His inspiration, as the artist states, comes from things of beauty both real and imagined.  Tammaro’s studio practice attempts to create objects, which excite the imagination and challenge the typical idea of adornment and material worth.  

His most recognizable work leverages his expertise with 3D software and additive manufacturing processes.  Tammaro believes this allows for the creation of objects, which are unattainable using typical manufacturing techniques.  

Recent works draw inspiration from both geometric and biomorphic forms.  These are combined to create a language which is highly expressive in form and intuitive in function.


Demitra Thomloudis is a studio jeweler, visual artist and an Assistant Professor in the Jewelry and Metalwork area at the  Lamar Dodd School of Art located at the University of Georgia. Originally from the Philadelphia area, she received her MFA from San Diego State University and her BFA from the Cleveland Institute of Art.  Her work is recognized nationally and internationally and has been invited to exhibit, lecture, and teach at institutions/fairs/events such as SOFA Chicago, Athens (Greece) Jewellery Week and  the Penland School of Crafts to name a few. Artist residencies include a yearlong appointment at the Houston Center for Contemporary Craft and Smitten Forum. Demitra is included in publications such as, 500 Plastic and Resin Jewelry and 500 Enameled Objects, The Art of Jewelry: Plastic & Resin: Techniques, Projects and Inspiration. Demitra’s work is represented by Charon Kransen Arts-USA, Alliages Organization-France, and Penland Gallery located at the Penland School of Crafts- USA.


Life and death are uncontrollable. The pain of loss does not disappear, instead it continuously transforms. Repetitive processes are used as agents of transformation to gain a better understanding of one’s relationship with grief, while paying homage to life lost. In the series Inconsolable, objects and their creation blur the distinction between making and mourning, allowing mixed concepts of grief to be explored. Each container illustrates both composure and turbulence experienced by a mourner in the wake of death. Central to my investigation of loss is how grief is represented (and not represented) within the public sphere and these objects. Some grief is too great and some losses can never be resolved, yet observing grief’s transformation can reveal new depth into loss and life.
          Lauren Tickle-Tietje

Zoetic Dance Ensemble

Be Sweet to Each Other

August 25, 7 - 9 pm 
Performances at 7;30 and 8:30
Created in collaboration with Judy Parady and Zoetic Dance Ensemble