Tina Rath
Jeweller
Published: 24.10.2016
tinarath.comNecklace: Tangled Circles 12, 2016
Sterling silver, African blackwood, pyrite
61.5 x 16 x 2 cm
Photo by: Ken Yaniovak
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Tangled Circles 11, 2015
Sterling silver, African blackwood, pyrite
61 x 15 x 1.5 cm
Photo by: Robert Diamante
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Tangled Circles 6, 2015
Sterling silver, pyrite
62 x 13 x 1 cm
Photo by: Robert Diamante
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Tangled Circles 7, 2015
Sterling silver, pyrite
59 x 13 x 1cm
Photo by: Robert Diamante
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Tangled Circles 8, 2015
Sterling silver, pyrite
59 x 13 x 1cm
Photo by: Robert Diamante
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Tangled Circles 9, 2015
Sterling silver, pyrite
60 x 15 x 1.5cm
Photo by: Robert Diamante
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Buttressed Circles, 2016
Sterling silver
42 x 16 x 3.1 cm
Photo by: Ken Yaniovak
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Buttressed Circles and Loops, 2016
Sterling silver
68 x 18.5 x 5 cm
Photo by: Ken Yaniovak
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Tina RathNecklace: Buttressed Loops and Fragments, 2016
Sterling silver
61 x 18 x 5 cm
Photo by: Ken Yaniovak
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Fragmented Ruffles, 2016
Sterling silver
42 x 16 x 3.5 cm
Photo by: Ken Yaniovak
From series: Mala Mala
© By the author. Read Klimt02.net Copyright.
Necklace: Fragments
Sterling silver
45 x 20 x 1.5cm
Photo by: Robert Diamante
© By the author. Read Klimt02.net Copyright.
Tina’s fluid practice includes jewelry, drawings, prints and objects. She completed her studies at the University of the Arts, Philadelphia (BFA) and in Amsterdam at The Sandburg Instituut (MFA). She augmented her passion to engage and explore ideas through conversation and object making by teaching. She was Associate Professor at Maine College of Art in Portland, Maine and was the Chair of the Department of Metalsmithing and Jewelry for a combined total of eight years. She also held short term positions at the Pacific Northwest College of Art and at the University of Wisconsin, Madison. Tina is passionate about supporting the field of contemporary studio jewelry through education and awareness. She served as president of the Bay Area Metal Arts Guild in Northern California as well as served four years on the board of the Society of North American Goldsmiths (SNAG). Tina currently works in a bright and active collective studio she developed in Oakland, CA that serves to support young jewelers in their budding careers as they transition from school. Her work can be seen in numerous books and magazines and in the permanent collections of the Museum of Art and Design in New York and The Mint Museum in North Carolina.
Statement
Jewelry is intimate, personal, private, quiet. Jewelry is public, invitational, sometimes confrontational, powerful. For me, jewelry is a reflection, a response, a reaction to the felt aspects of living. I play with thoughts, organize them, try them on, take them off. I push materials around. See what can happen, what is possible, what is not possible. Models, experiments, failed attempts and a few successes litter my workspace. I work a lot. I take breaks and read a bit from that book, a little from this one. I draw, I write. Then I sit down and try again. Some things come like a divine flash, already complete before my hand touches anything. Some things feel like I am digging into the darkest recesses without any tools or light. They are hard won. This is the rhythm of studiolife. I have a profound interest in time. The clock ticks. If I fear anything, it is that I will not get all my ideas out before my last breath. I confess I am annoyed by responsibilities and other interests that take me out of the creationary space, but I know I need these things so my work has meaning, something to dig into, push against, play with, translate. My work is ultimately a reflection of my observations - power dynamics, the choices people make, sex, performance and projection, hidden truths, the quest to be in the presence of beauty, contemplative and reflective practices, regeneration - the stuff of life. I use materials that will remain long after we are gone. Metal, bone, wood, stones, coral, leather, fur.CV 
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