My work is made following three specific elements: value, adornment, and craftsmanship. Each of these elements flow together, but have their own distinctive characteristics that express themselves throughout my process and artwork, and they work in tandem until I have created a completed piece. As a contemporary and classically-trained jeweler with an interest in historical metalsmithing, my work tends to involve older visual motifs made with a blend of modern and historical techniques. My primary aspiration is to create compelling pieces of art that will outlive me by a substantial margin, drawing from a concept I refer to as “Southern Fatalism”. There is an attitude pervasive in Southern culture of knowing that your days are finite, which starts to influence how we view our physical possessions and the impact we could have on the people around us. Every Southerner can look back and think of their grandparents starting sentences with “When I’m gone…” which would usually lead to talks of the heirlooms they would leave to their family. As an artist with my own pervasive chronic illness and a grocery list of familial medical scares, I make with inevitability. I make with value in mind regarding the intrinsic monetary value of my materials, as well as how value can be derived from adornment theory and the skill of the craftsperson. I make with consideration to how the piece could adorn the body or be used by those who buy or receive my work– expecting to give the owner an avenue of personal expression through my art. I make with craftsmanship being held as an absolute necessity, drawing from my classical training and understanding of tools, materials, and history to bolster the form, function, and value of the piece. I make with the intention of creating things that will outlive me because they are loved and appreciated and made well.

My current research deals heavily with the concept of value in jewelry and objects, specifically regarding the cultural and monetary elements that we assign. My work therefore is often made with materials that are monetarily of little value, while still being created with the skill and care of a professional goldsmith. I enjoy the dichotomy of my investment of effort and mind in these pieces versus the value associated with the cost of materials– the idea of granting the materials value by virtue of being manipulated by my mind and hand. The images above are of some art pieces that speak more to that conversation to me: a CAD model that only exists as an image and idea, a chain made mostly of copper that took weeks to construct, a brass matchbox that has innate utility, and a steel brooch with the likeness of my partner. All took time and effort and skill to make, but each is invaluable to me in its own way.