Susanne Henry

Bio

Susanne Henry is an American jewelry artist and metalsmith, in Chicago. She graduated from Rhode Island School of Design with a BFA in Industrial Design. Susanne works primarily in steel adapting traditional jewelry techniques and forms. She is a self-taught artist who has exhibited in many juried and curated exhibitions, including MAD About Jewelry at the Museum of Arts and Design in New York City.

Statement

As part of my work in steel, I gravitate toward explorations in chain-making translated into wearable jewelry forms. I explore material and technique, structure, form, rhythm, scale, and movement. My most well-known series, Paperchain, is inspired by the construction paper and tape chains remembered from childhood. I continue to create new pieces in the series exploring both the interconnectivity of chain and the selective application of gold onto steel. Since the pandemic, I have explored the Coily Chain series made from wire. It was a response to both the “work from home” movement and an exploration into the organized chaos that is wavy curly hair.

My work as a Jewelry Artist is rooted in a love for design ideals, art, fashion; and the belief in craftsmanship and focus. I frequently take on challenges, and much of what I create evolves from there. A challenge can be technical, material, or conceptual. I gravitate to working with steel, liberating me from the preciousness of traditional materials, and putting the emphasis on the art of it. Steel provides the advantages of exploration and experimentation, light weight and strength. It challenges me to create something thoughtful and compelling out of an industrial material.


Balance series
This jewelry series, I call Balance, came about during the pandemic at a time when I was working in my basement with only a bench and hand tools. It was driven by the goal to create a chain with a self-contained means of connection, and no soldering or heat of any kind. It is the product of experimentation with heavy steel wire. The resulting point of connection for the chain on each link sticks out in a “form follows function” way as a twisted circular protrusion. The final connected chain has both a mechanical and tribal appearance, and one that grows from itself like branches on a tree.

At a time when it seems that “more is more” is the trend in art jewelry, and technical virtuosity garners the most vocal recognition, this series has a quiet and calm presence. The point of it is to focus on form and structure. And so, the work has a minimalist aesthetic. The complexity of the pieces in this series is hidden and serves to underlie the final work. The decisions are subtle. I have named it the Balance series because every aspect of a piece is considered and weighed, such as: which direction to twist the wire to form the protruding eyelet; how long the link should be for the chain to hang; which way and how dramatic is the curve to lay on the body; or where to add gold highlights for impact and contrast.

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