Sondra Sherman
Jeweller
Published: 23.10.2024
News!
8 new pieces have been added to the artist's profile.
- Mail:
- ssherman
mail.sdsu.edu
Bio
Sondra Sherman’s work explores the distinctive voice of jewelry and the psycho-social context of the body/wearer. Head of the Jewelry and Metalwork Program at San Diego State University, CA, previous teaching includes, SUNY New Paltz, Savannah College of Art + Design, and Rhode Island School of Design. Sherman received the Diplom degree (Statement
Statement series: Upside Down in Paradise‘Upside Down in Paradise’ is a series of jewelry which explores imaging the natural and cultural landscape of Southern California. to express the poetic paradoxes found in the day to day of ‘California Dreamin’ as photographed or recorded from ‘the road’.
While ‘Upside Down in Paradise’ has a particular geographical reference, its subject is inherently universal- in the diversity of ethnicities and social histories which make up the culture of California, but also in the common experiences of (re)locating oneself in an unfamiliar place, or the perceptions developed while traveling through.
I have been collecting visual research for a few years; taking photographs and videos while traveling by car or train within SoCal. The viewpoint provided by traveling in climate controlled spaces of cars or trains, on the freeways or tracks, as they transect the natural landscape became a resonant framing device. As a relatively new resident of California coming from Northeastern U.S. urban environments, I can’t help but reflect on the history and socio-cultural conditions evident in the urban roadside scenery, especially in relation to the magnificent natural beauty. As an artist, I tend to see the potential metaphor in everything…
The vestigial glamour of the California idyll of the 1950’s and 60’s, palpable in the faded commercial signs, and architectural facades which punctuate the roadside with their gemstone-like shapes, and generous proportions, against the expansive blue sky inspire oversize jewelry with sun weathered surfaces. The cultural diversity visible in the urban landscape appears in the variety of elements of material, color and composition.
The imagery is distorted and fragmented reflecting the heightened awareness, continuous movement, and endless sky, sea, roadways, and … dreams- encountered when going to California in your mind.
The landscapes show no consistent relationship to the horizon, or gravity amplifying the surreal sense of detachment car culture provides. At times the freeway is a sea of cars; green interstate signs are floating clouds, and the freeway flyover brings the sense of a passing ship. The neckpieces translate those sensations as the passenger becomes the wearer – surrounded by the landscape-with a disorienting view.
Statement Artist
I have been involved in fine art since childhood, and was eventually drawn to jewelry by the inherent and socially interconnected meanings of personal adornment. I choose the limitations of jewelry in trade for its distinctive opportunity. Not professional opportunity, but a personal sociopolitical opportunity. Jewelry, even artists jewelry, through its mobility and psychological accessibility/presumed familiarity invites a broad audience to a conversation grounded in empathy.
It is my nature to ponder in making, (or perhaps it is simply my nature).
In various series of work, form language changes with any significant change of subject.
I explore something I am engaged by on multiple levels; personally and socially, emotionally and intellectually, over a series of pieces. Intuition inspires research which folds back into new intuitions taking material form. Perhaps starting as a painter left a mode of adding and subtracting, or maybe because I'm a Libra, or commitment phobic...I can't decide.
I choose the subjects, methods and materials of the jeweler which challenge my commitment and amplify the authentic voice and context of jewelry. I am thus less interested in artworks about jewelry- than in jewelry that does, what jewelry does. I consider ‘wearability’ essential to the expressive power found in its dual nature; perceived privately/personally in relation to an individual - and as an object for public display.
So, does the wearer complete the jewelry or does the jewelry complete the wearer? I suggest it is reciprocal - changed by each other they venture out into the world, to start a conversation.
CV 
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News!
8 new pieces have been added to the artist's profile.
- Mail:
- sshermanmail.sdsu.edu
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