Spotlight Exhibitions for 40th Year Celebration

Exhibition  /  08 Dec 2018  -  31 Jan 2019
Published: 26.11.2018
Harold O'Connor. Brooch: #4, 2018. Sterling silver, 18k gold, spectrolite.. 5.4 x 4.4 x 0.3 cm. Brooch and pendant.. Harold O'Connor
Brooch: #4, 2018
Sterling silver, 18k gold, spectrolite.
5.4 x 4.4 x 0.3 cm
Brooch and pendant.

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We are exhibiting extraordinary new work from 14 artists and celebrating our 40th anniversary!

Artist list

Dan Adams, Sarah Enoch, Shane Fero, Momoko Kumai, Norma Minkowitz, Harold O'Connor, Nora Rochel, Kayo Saito, Martin Spreng, Rie Taniguchi, Cynthina Toops, Karola Torkos, Ulla Stiner Wikander, Yoko Zeltserman Miyaji, Blanka Šperková
Martin Spreng
Martin began his artistic career in cabinetry with a particular talent for inlay and marquetry. This craftsmanship shows through in his masterful inclusion of ebony and other materials with richly textured designs. His pieces show the traces of his hand and tools, the textures forming landscapes of his imagination.

The inspiration for my work is a very intuitive process, rarely figurative, mostly abstract. I’m inspired by motifs with grainy aspects and crimps, stamps - often giving the pieces a 'galactic' look. Some shapes are closer to my wood-carvings and marquetry. Each object is sculpted and chased individually. The material is very important - as important as style and creativity. 

Gems and precious stones appeal to me for their incredible spectrum of colors and their inherent mineral richness and character. A vein, an inclusion, a veil, unexpected reflections or a glimmer, a certain light or sparkle resulting from the way they are cut... all contribute to the personal, unique 'being' of each creation.

In this new series for Nature Redefined, I am inspired by Titan, the powerful - combined with other natural forms…..I am exploring the superb possibilities of titanium, one of the hardest and strongest metals, which can be refined, patinated with rough, subtle finishes which I embellish with combinations of fine and precious materials -- gold, platinum or silver with gemstones and pearls for contrast.
/ Martin Spreng

Cynthina Toops & Dan Adams
In scale and utility, beads as objects of personal adornment, are perfect for the body. Their use in ethnic jewelry and folk art are the inspiration of the majority of our work. The humble materials they use and the ingenuity in which disparate elements are assembled together are intriguing and often surprising. Learning from this rich tradition, we try to reinterpret their aesthetic with these untraditional, contemporary materials. After twenty years of making jewelry we continue to collaborate although many pieces are individual as well. But we both still seek to reinterpret the past, hoping to create new artifacts that will also inspire as we have been inspired.
Cynthina Toops  & Dan Adams

Kayo Saito
Master metalsmith, Kayo Saito is inspired by nature and the environment, translating the textures of natural forms into her own unique designs. When working with gold and fine silver, Saito uses laser welding, micro welding, soldering and hammering techniques to create delicate, thin sculptural forms that allude to the fine qualities of paper, which she used in the beginning of her jewelry career.

Harold O’Connor
For O’Connor, jewelry presents a contrast between texture and smooth surfaces. He has experimented with various forms of casting, including cuttlefish bone, which leaves a porous imprint on the metal. He also favors reticulation, a method of texturing metal by dusting it with minute particles of silver or gold and then heating the piece until the granules become part of the surface, and mokume, a Japanese technique of laminating metals to create a surface for repousse design. He is an expert at laying metal until it looks like crinkled paper. Most recently, O’Connor has inlaid pieces of granulated metal in rock as one more exercise in the study of surface differences. A favorite stone of his is spectrolite, a feldspar discovered in Finland in 1938 that appears opaque and dark upon first observation. When the light strikes it at 30 degrees, it takes on brilliant hues of green and blue. While O’Connor does not do lapidary, he selects his materials carefully, even traveling to mines in Finland for the spectrolite he uses in his work.
/ Through the Golden Eye: The Artistry of Harold O’Connor by Dextrer Cirillo, American Craft Magazine.

Karola Torkos
Creating variable pieces is the focus of my jewellery collections. The option of changing the appearance of jewellery offers a facet of playful interaction between wearer and jewellery. It transcends beyond simple display on the body.
The wearer decides on the look of a piece and explores its possible variations. The formal language can change from clean shapes to opulent drawings on the body.
Giving the wearer the possibility to change the look of a jewellery piece is in some way handing over the last step in the design process. This is a challenge for both the designer and the wearer and it leads to a very personal relationship to design or art.
Karola Torkos

Sarah Enoch
The collier S I L V A is inspired by a recent visit to the tiny Dutch Island Vlieland. I was fascinated by the vast variation of plant growth on such a small surface. I tried to capture its richness in my collier by bringing together 15 different forms and  154 elements in total. By merging a pallet of brown-, yellow- and gold-coloured granules I represent the season of autumn.
Sarah Enoch

Nora Rochel
Nora’s work is heavily influenced by flowers, roots, seeds and herbs which she reimagines through extraordinary sculptural silver jewelry.

Blanka Šperková
Blanka began to experiment with wire in 1970. Inspired by traditional wire techniques used by Slovak tinkers, she has worked extensively with wire since 1975. She does not, however, use traditional tinker techniques. Rather, she has created a unique technique of finger knitting, which uses neither knitting needles nor other tools. Using a basic loop, she creates both free sculptures and jewellery. Early in her career she created figurative forms, based on the human body and animal motifs, but these gradually evolved into more abstract forms, always based on some distinct meaning. She has applied her wire techniques to her work in animated films and graphics. She often manipulates the airy transparency of knitted wire to create within forms that demonstrate an expressive interplay between light and shadow.

Shane Fero
Shane Fero has been a flameworker for 40 years. He creates color and pattern on his flameworked objects by using rods of glass color and glass powders to paint on the object’s surface. Fero is also an educator and has shared his time and knowledge at institutions such as the Penland School, Urban Glass, the Pratt Fine Arts Center, the Studio of the Corning Museum of Glass, the University of Michigan, the Pittsburgh Glass Center, Pilchuck Glass School, Bild-Werk, Frauenau, Germany, and the Niijima Glass Art Center in Japan. In 2014 he was recognized for his accomplishments with a Lifetime Achievement Award from the Glass Art Society.

Shane Fero is in numerous museum collections around the world including the Glasmuseum, Ebeltoft, Denmark, The New Orleans Museum of Art, NOLA, Museum of Art and Design, NY, fur Glaskunst, Lauscha, Germany, the Niijima Contemporary Glass Museum, Niijima, Japan.

Momoko Kumai
Momoko’s precise geometric forms, fabricated in various colors of gold, allude to architectural elements. Each gem is custom cut to compliment the form.

Norma Minkowitz
All of Norma Minkowitz’s sculptures are remarkable for their ability to evoke what are seemingly opposing visual sensations. The psychological complexities of her work, the observation of human behavior, and the metaphorical containment, fuse into the beautiful forms she creates, making some of the most important sculptures of our time.
/ Jane Adlin, Assistant Curator, The Metropolitan Museum of Art

Ulla Siner Wikander
For more than 10 years I have collected cross-stitch embroideries and today I have quite a big collection with over 100 different designs. I think that sometimes they are really beautiful and I want to bring them back to life.

In 2012 I started to cover ordinary household things from the 70s, like a sewing machine, vacuum cleaner, electric mixer etc. I find it interesting to see how these objects transform in a new context; the obsolete, the things we do not want any longer, the old and forgotten things. I give them a second life and although I cut the embroideries into pieces, I still think they look very 
beautiful, when the object has been 'dressed up'. 
Ulla Siner Wikander

Yoko Zeltserman-Miyaji
Hako - 箱 - is the Japanese word for box. In this series of nine boxes, Yoko Zeltserman-Miyaji has constructed worlds within worlds with masterful technique. Each box opens to a surprising other universe inside. They are playful, interactive, and functional. These are treasures to hold your treasures. The finish is rich with layers of the alluring lacquer of Japanese urushi.

Martin Spreng. Brooch: Untitled, 2018. Titanium, tourmaline, cabochons.. Martin Spreng
Brooch: Untitled, 2018
Titanium, tourmaline, cabochons.
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Cynthia Toops. Dan Adams. Necklace: M is for Mobilia, 2018. Cynthia Toops: polymer clay mosaic inlay, sterling silver.
. Dan Adams: Flame worked glass beads.. Two-sided necklace.. Cynthia Toops
Dan Adams
Necklace: M is for Mobilia, 2018
Cynthia Toops: polymer clay mosaic inlay, sterling silver.
Dan Adams: Flame worked glass beads.
Two-sided necklace.

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Kayo Saito. Necklace: Untitled, 2018. Silver, 18k gold, hand hammered, laser welded.. Kayo Saito
Necklace: Untitled, 2018
Silver, 18k gold, hand hammered, laser welded.
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Karola Torkos. Necklace: Wearable Construction, 2018. Plastic, silver and gold threads.. Karola Torkos
Necklace: Wearable Construction, 2018
Plastic, silver and gold threads.
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Sarah Enoch. Collier: Silva, 2018. Polyethylene, paint, oxidized silver.. 63.5 cm long. Sarah Enoch
Collier: Silva, 2018
Polyethylene, paint, oxidized silver.
63.5 cm long
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Nora Rochel. Necklace: Flowers in the Garden, 2018. 925 Silver, blackened and patinated.. Nora Rochel
Necklace: Flowers in the Garden, 2018
925 Silver, blackened and patinated.
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Blanka Sperkova. Necklace: Pomeranian, 2018. Different colored and silvered, finger knitted with glass beads.. Blanka Sperkova
Necklace: Pomeranian, 2018
Different colored and silvered, finger knitted with glass beads.
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Shane Fero. Object: Pastel Mist, 2018. Flame-drawn hot glass, flameworked glass, sandblasted, acid-etched.. 56.6 x 16.5 x 16.5 cm. Photo by: Jenny Wolff. Bottle gaffed by Pablo Soto.. Shane Fero
Object: Pastel Mist, 2018
Flame-drawn hot glass, flameworked glass, sandblasted, acid-etched.
56.6 x 16.5 x 16.5 cm
Photo by: Jenny Wolff
Bottle gaffed by Pablo Soto.

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Rie Taniguchi. Necklace: Tarsier, 2018. Silver, 18k gold, copper, enamel, citrine.. Rie Taniguchi
Necklace: Tarsier, 2018
Silver, 18k gold, copper, enamel, citrine.
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Momoko Kumai. Necklace: Untitled, 2018. 22k gold, citrine, milky amethyst, lemon quartz, Swiss blue topaz, rose quartz, sky blue topaz, pink amethyst, green quartz.. Momoko Kumai
Necklace: Untitled, 2018
22k gold, citrine, milky amethyst, lemon quartz, Swiss blue topaz, rose quartz, sky blue topaz, pink amethyst, green quartz.
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Norma Minkowitz. Piece: Down the River, 2018. Cotton, synthetic thread, paper.. Norma Minkowitz
Piece: Down the River, 2018
Cotton, synthetic thread, paper.
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Ulla Stiner Wikander. Installation: After Hours, 2018. Found objects, cross-stitch.. A Special Window Installation at Mobilia Gallery.. Ulla Stiner Wikander
Installation: After Hours, 2018
Found objects, cross-stitch.
A Special Window Installation at Mobilia Gallery.

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Yoko Zeltserman Miyaji. Object: Bubbles on Still Water, 2018. Wood, Resin, Pigments. 17.8 x 19 x 19 cm. From series: Hako. Yoko Zeltserman Miyaji
Object: Bubbles on Still Water, 2018
Wood, Resin, Pigments
17.8 x 19 x 19 cm
From series: Hako
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