Today's market is saturated with pieces that often prioritize shock value over functionality, challenging their categorization as either jewelry or sculpture. Ivan Barnett interviewed by Klimt02

I have a genuine talent for connecting people and ideas that energized Patina Gallery, transforming the 2000 sq. ft. space into an organic "found object piece" of sculpture. This immersive experience for visitors was made possible by my disciplined focus and extensive five-decade experience in the arts.

Raised in an unconventional artistic family, I observed my father, a renowned illustrator and painter, expertly navigate multiple creative realms. He could be sketching a scene for Life magazine one moment and creating a pastel drawing of a pueblo ceremony the next. This dual capability was typical of his contemporaries, who viewed their output as serious pictures, not merely commercial art.

From a young age, I learned the rigorous discipline required to succeed in both artistic and commercial worlds. This early education in the 1950s laid the foundational skills for my dual career, following in the footsteps of artists who effortlessly wore two hats. My expertise today lies in continuing this tradition of dual excellence in art and business.


Tell us about your background. What were your first influences to be creative and become an artist and what has drawn you to contemporary jewellery?
My formal art training commenced at the Philadelphia College of Art, with design as my primary focus. Influenced early by Piet Mondrian, Paul Klee, and Miró, I began experimenting with art by assembling colorful beads into earrings in my youth, selling them from my mother's studio. My early exposure to Native American pawn jewelry, which my mother acquired during trips to New Mexico in the '60s and '70s, also shaped my aesthetic. My first significant mentor in jewelry was Olaf Skoogfors, during the founding of the Society of North American Goldsmiths in Philadelphia.

By the early '70s, I was immersed in the burgeoning American contemporary jewelry scene, participating in craft fairs and forming connections with notable artists like Pat Flynn, Thomas Mann, and Linda McNeil. By 1992, I established the precursor to my Serious Play consultancy, recognizing a saturation in the craft market and the fatigue among jewelry artists.

Throughout the 1990s, my involvement in America’s jewelry movements deepened. I actively engaged with renowned makers such as Tod Pardon, Harold O’Connor, and Petra Class for Patina Gallery, viewing their works as small wearable sculptures. In New Mexico, where the traditional arts are intertwined with contemporary classic jewelry, I fabricated my own unique pieces, briefly selling them to galleries before launching Patina Gallery.


How important is networking for you in your professional practice and what are your preferred tools for this?
Networking is a crucial skill across all professions, and as for jewelry artists, it can be transformative. Early in my career, leveraging my natural networking abilities helped garner significant media attention, culminating in notable coverage by The New York Times in 1987, which significantly boosted my visibility. This pivotal moment came a decade before the rise of the internet.

In today's digital age, despite abundant technological tools, the challenge for artists is to stand out. Simply posting work online isn’t enough to capture attention; what matters is featuring the unusual and exceptional. A measured approach remains effective: select your best works, ensure they are well-photographed, and use these images to highlight your talent. Traditional methods like making phone calls to connect with collectors can still be impactful, allowing for a more personal interaction.

It's also essential to build genuine connections. Be polite, express gratitude consistently, and share your authentic personal story. Work with galleries, and seek mentorship opportunities that offer hands-on experience. Shadowing a respected maker can provide invaluable insights. Remember, the impression you leave on someone goes beyond the art itself; your humility and passion are what they will recall. Avoid the temptation to project an exaggerated persona—authenticity is what truly resonates with audiences and collectors.


What are your general thoughts on the contemporary jewelry world, (education, market, development...), where do you see chances and where are dead ends?
In the ever-expanding world of jewelry, the lines between what is wearable and what constitutes art are increasingly blurred. Today's market is saturated with pieces that often prioritize shock value over functionality, challenging their categorization as either jewelry or sculpture. For artists making a career in jewelry, it's vital to balance creative expression with marketability. If you're inclined towards creating unconventional pieces, maintain a collection that appeals to broader consumer tastes, or be prepared with a secondary source of income.

The dwindling number of traditional jewelry programs in U.S. universities highlights a shift away from classic bench techniques, steering the industry towards more innovative, albeit less commercially viable work. This raises the question of supply and demand, a fundamental economic principle that still applies. If your jewelry is selling well, pricing can be ambitious. However, if demand wanes, a reevaluation of strategy becomes necessary.

Remember, there's always a market for well-crafted, classic jewelry. Pieces that embody exceptional design and craftsmanship will invariably hold their value and appeal. Take, for example, the works of Ulla and Martin Kauffman, which remain esteemed for their innovation and enduring design.

Ultimately, every artist grapples with the desire to leave a mark—to say, "I was here." This is a universal impulse, shared across all creative realms. Yet, in the pursuit of recognition, one must consider the marketplace's demands. If the current market doesn't support your artistic endeavors, finding alternative revenue streams to support your passion is a time-honored tradition, not a compromise on creativity.


Thinking about your over 50-year career, what role do technology and the digital play in your artistic development & communication?
As an artist and businessperson, I view technology as just another tool crucial for effectively integrating into our studio and business practices. Decades ago, I relied on traditional methods like telephone calls and postal mail, which were effective for the time. The advent of the fax machine in the 1980s and later the electronic word processor revolutionized my studio workflow, followed by my first encounter with a computer in the early '90s, a nod to Steve Jobs.

Technology, however, is only as effective as its user. It doesn't inherently enhance the art we create. In my studio, many of the tools I use are the ones I've adopted long ago, though I acknowledge the benefits of modern tech like CAD programs for many artists. The appeal of handcrafted imperfections often resonates more with clients and collectors than flawless machine-made pieces.

In terms of marketing and commerce, I've always embraced the latest affordable technology to keep pace. Currently, my new websites, Ivan Barnett Studio and Serious Play, are in development. While I leverage tools like digital cameras and smartphones essential for social media, I direct all creative outputs to ensure they meet my artistic vision. Remember, technology like AI can save time, but must be used judiciously and creatively—it's a supplement, not a replacement, for creativity.


How has your work changed over the past few years and what are you excited about in your studio?
From my earliest drawings, which still hang in my studio, I've been drawn to flat, two-dimensional designs and strong silhouettes—a preference that persists. Color remains a crucial element in my work, even when limited in palette. My fascination with primitive shapes, especially ovals and curves, has deepened over the years. In the last two decades, collage and the use of found objects have grown into a significant passion. I thrive on assembling materials to create narratives through symbolism, mobiles, wood constructions, and small sculptures. My recent works lean more towards the abstract, particularly in photography, which has become a favorite medium due to its spontaneity. Ultimately, I can’t let go of the fact that 25 years of curating studio jewelry has become part of my DNA.

I am thrilled with my new home studio gallery in Santa Fe, which embodies a quieter ambiance reflective of my current creative phase. Here, I also engage in collaborative endeavors, assisting other artists in tackling often age-old challenges in their professional studio lives. A recent highlight of this collaborative work is assisting William Harper, the esteemed American jewelry artist. I am helping Bill navigate his 70-year career and better integrate his fine art with his jewelry. Having admired Bill's work for over four decades, it's a privilege to contribute to his artistic journey.


© Ivan Barnett 2024, All rights reserved.