Check out new wearable artworks by three artists from the form & concept shop—including two designers who are new to our roster!
Suzanne Schwartz first discovered the freedom that art could bring when her grandmother taught her to sew and knit. Textiles inspired her even as a child: with their variety of patterns and textures, they opened her eyes to art’s boundless possibilities. As an adult, her creative medium moved from textiles to metals, but the stitches came with her, as seen in her Interwoven Collections. She finds texture and form in nature all around her: the surface of a leaf, the pattern of lichen on a branch, the curve where hills meet, the shadows of water over rocks. These lines and fluid shapes become part of her jewelry.
Julie Slattery‘s wearable sculptures explore emotional responses of attachment and loss. The objects she creates reflect sensations of unease, oddity, and a recognition of something that was or could have been. Slattery is an Albuquerque-based artist who works at the Los Ranchos Fine Art Foundry. Through the process of casting, she creates artwork that necessitates the destruction of an original object. This is often representative of crucial moments or pivotal experiences in her life.
Kat Cole finds meaning through the observance and intimate awareness of the places she inhabits. With each geographic change, she has become more attuned to the natural and man-made attributes that make a location unique. She looks to the built environment of the city where she lives for the formal qualities of her work: materials, forms, colors and surface qualities. The steel and concrete structures that surround us are evidence of human inhabitants, past and present. Cole distills her experiences of these monumental structures into the intimate scale of jewelry. They are completed when worn on the landscape of the body.
Click here to browse the complete form & concept shop collection.
Just in time for Father’s Day, here’s a manly twist on a timeless accessory! Give your dad—or father figure—a bold fashion refresh with the Bro Brooch. This style gadget can be worn in several ways, from the classic above-the-breast-pocket to the faux bowtie. Scroll down for more looks, and browse our complete brooch collection on the form & concept shop website.
We’re honored to announce that internationally renowned jewelry designers Robin Waynee and Ryan Roberts are form & concept’s newest represented artists. The couple has worked side-by-side since 1997, and though they strongly influence each other, they maintain separate practices and bodies of work. They’ll present new designs at the special event Introducing Robin Waynee & Ryan Roberts on Friday, June 29 from 5 to 7 pm. Look below to learn more about Robin and Ryan, and browse their work. Make sure to RSVP on Facebook for further updates on their reception.
Robin Waynee learned at an early age how creativity and hard work can lead to fulfillment. A member of the Saginaw Chippewa Tribe, Robin was born and raised in Mio, Michigan along with six siblings. Following her family to Santa Fe, New Mexico in 1991, and continuing to work in the family business of custom furniture making, Robin began designing her own pieces and pursued woodworking for several years.
After meeting local jeweler Ryan Roberts in 1997, Robin became inspired by his work and discovered a burning desire to create jewelry. Her wide range of jewelry styles, creative choices of precious stone and metal combinations and anodizing schemes, along with her careful selection of quality materials and attention to detail make Robin’s jewelry highly sought after by the discriminating collector and devotee of exclusive fine jewelry.
Born in the small village of Chimayo in Northern New Mexico, Ryan Roberts was raised in a family in which almost everyone is an artist. When he was a young teen, Ryan lived in Hawaii for a year, where he spent time with his aunt Gayle Bright, a talented sculptor and jewelry designer. Seeing the skill and care with which she made her art inspired him, and he began to cultivate a love and appreciation of jewelry making which would lead him to his life work.
Upon returning home to New Mexico, just after his 16th birthday, Ryan secured an apprenticeship at a local jeweler’s studio. By the age of 19, Ryan was hired by one of Santa Fe’s most talented local jewelers, Mario Chavez. In this environment, the young artist was exposed to an expanded array of complex tools and techniques. Ryan’s reputation grew as one of the finest jewelers in Santa Fe. Later, Ryan met the only person he had ever taken as an apprentice: his future wife, Robin Waynee. The two would both go on to become internationally celebrated jewelers.
The Santa Fe Railyard is the place to be this weekend! The CURRENTS New Media Festival celebrates its 10th anniversary with a massive exhibition at El Museo Cultural de Santa Fe, and Santa Fe Institute hosts the inaugural Interplanetary Festival at the Railyard Plaza and other venues. Both festivals have partnered with numerous organizations around Santa Fe to present exhibitions and events that bring together art, science and technology. Check out Iris McLister’s article in this week’s Santa Fe Reporter to get it all straight, and make sure to stop by form & concept for two events on Thursday & Saturday. More details below!
Young Masters | NMSA
Thursday, June 7th, 6 – 7:30 pm
New Mexico School for the Arts will soon break ground on renovations for their new Railyard location, and they’re wasting no time injecting fresh creative energy into the arts district. The arts high school presents a special performance series at form & concept, hosted by faculty members and showcasing outstanding student musicians, creative writers and poets. Featured artists include Keenan McDonald, Myriah Duda, Adam Griffo, Acacia Burnham, Jada Baca and Lila Baca.
Join Inner Orbit artists Matthew Mullins and Drew Lenihan for this interactive tour. They’ll engage with Frank Rose and Jordan Eddy of form & concept in a conversation about the show’s themes. Inner Orbit spotlights contemporary artists from across the United States who meld fine art and craft mediums with technology for deeply personal looks at the firmament. The show appears in conjunction with Santa Fe Futurition, the Currents New Media Festival, and the Santa Fe Institute’s Interplanetary Festival.
Albuquerque Museum’s new exhibition American Jewelry from New Mexico, opening June 2, features over 300 spectacular objects that span prehistory to the present. We’re pleased to announce that six of our represented jewelers appear in this immense show: Robert Ebendorf, Debra Baxter, Robin Waynee, Ryan Roberts, and Steven Ford & David Forlano of Ford / Forlano.
“The 2,000-year history of jewelry in New Mexico incorporates everything from bottle caps to diamonds,” wrote Albuquerque Journalof the exhibition. “Some of the most important American designers and makers of contemporary jewelry live and work here.” Look below to see the works by form & concept artists that appear in the show, with links to their work in the form & concept collection.
We’re in the final stretch of voting for Best of Santa Fe 2018! form & concept was nominated by Santa Fe Reporter‘s readers in the Best Gallery category. We were in the running last year, and won second place. This year we’re going for the gold! If you like what we’ve been up to, make sure to cast your vote before the contest closes at midnight on May 31. You can vote in one click below.
Matthew Szösz’s Minimal Tension exhibition might be over, but his glass sculptures are still on view across our ground floor. While the Seattle-based artist was in Santa Fe for his show, we interviewed him about his artistic process and career. He discussed his Inflatables and Ropework series, which figured prominently into the exhibition. Watch the video above to learn more about Szösz, and browse all of his available artwork in the form & concept collection.
From a human perspective, the night sky is a densely layered cultural landscape. Long before they were subjects of scientific study, stars were laden with countless overlapping mythologies. Fortune tellers, sailors, writers, architects and artists have all projected profound meaning into the cosmos, tying earthly events to the movements of heavenly bodies.
form & concept is pleased to present Inner Orbit, a group exhibition of contemporary artists who carry forward this grand tradition. They meld fine art and craft mediums with technology to create personal or cultural visions of the firmament. Inner Orbit opens on Friday, May 25 from 5 to 7 pm, as part of form & concept’s Second Anniversary Celebration. Some of the artists will appear at a gallery talk on Saturday, June 9 from 2 to 3 pm.
Under the banner of Santa Fe Futurition, a number of local cultural institutions have banded together to present forward-thinking programming throughout the month of June. There’s the Currents New Media Festival (June 8-24) and Santa Fe Institute’s Interplanetary Festival (June 7-8), both in the Santa Fe Railyard, along with exhibitions and events presented by Meow Wolf, Axle Contemporary and the Thoma Foundation’s Art House.
“The Railyard will anchor a complete solar system of tech and science-themed exhibitions and events next month,” says form & concept Gallery Director Frank Rose. “We’re kicking things off at the end of May with a show that presents outer space not as a dark void, but as a rich source of artistic inspiration.”
Inner Orbit stands out as the first entry in Futurition’s formidable lineup—and also as perhaps its most down-to-earth program. During the curatorial process, Rose sought out artists who view outer space as an enormous cultural mirror.
Painter Katie Dorame recasts space aliens as European colonizers descending upon the Americas. New media artist Andrew Yang presents a two-channel video titled Interviews with the Milky Way, which weaves together cosmic imagery with sound bites from conversations about the stars. In a series of densely detailed graphite drawings, Nina Elder examines the history of meteorites stolen from Indigenous lands by the United States government. Artist duo Hillerbrand + Magsamen contribute portraits of their family in spacesuits, à la Lost in Space.
“These artists work with their hands as much as they’re using computers,” says Rose. “They’re blending technology with other, more analog artistic mediums to tell powerful stories.”
The White Sands Missile Range is a world-famous site of military bomb testing, but its recent history is tied to an isolated village 600 miles to the north. For ten years during the Cold War, Green River, Utah was the launch site for test missiles that detonated in White Sands. That’s the reason Arizona artist Erika Lynne Hanson landed there for a month-long research project in 2017.
Hanson’s time in Green River marked the start of a major body of work regarding the scraps from the missile tests. In a new series of weavings and video artworks, Hanson uses a little-known language to inspire nuanced perspectives on these sites. Her artworks pose open questions about the nature of humanity and our relationship to nature. Movement Choir: Landscape Scores opens at form & concept on Friday, May 25 from 5 to 7 pm, and runs through June 23, 2018. Hanson will conduct an artist talk on Saturday, May 26 from 2 to 3 pm.
“Green River was the stage for a fascinating chapter in American history,” says Hanson. “We were quite literally bombing ourselves for a ten-year span.” During her stay in Green River, Hanson became fascinated with the considerable marks—both psychological and physical—that the project left on the community and its surroundings. “These parts of the missile would fall off and land in the landscape, leaving behind scars,” she says. Hanson researched the sites of this accidental jestam. She returned to her loom with a challenge: how to explore the significance of these unintentional land artworks through fiber?
Hanson is accustomed to tackling creative projects that span many miles and artistic mediums. She’s an Assistant Professor of Fibers and Socially Engaged Practice at Arizona State University, and also maintains a multidisciplinary artistic practice that has taken her from Alaska to Iceland. Broadly, her artworks propose potential connections between material, history and place. Recently that has manifested in a series of imagined dialogues between humans and different elements of the landscape. Before her Green River excursion, Hanson completed a project in White Sands, New Mexico where she planted gypsum-colored flags as tributes to the land.
“The idea is to say, ‘I will weave a flag in your honor, and then we will have a conversation,’” Hanson explains. “It’s a funny proposition to think that a human can broker a dialogue between, say, a gypsum crystal and the White Sands dunes. It never totally works, so it becomes an absurdist proposition. I’m in this landscape, I don’t fully understand it, but I’m going to try.” Flags appear in Hanson’s body of work for Movement Choir: Landscape Scores as well, though they’re more than just offerings.
To incorporate the story of the missile fragments into the work, the artist turned her banners into semaphores of sorts. She used the Labanotation system, invented by 20th century choreographer Rudolf Laban for dance performance scores, to indicate how the viewer might move their body through each site. Video artworks of Hanson planting the flags will also appear in the show. “By suggesting how the body might move through these spaces, I’m proposing potential connections amongst material, history, and place,” the artist says.
After all, Hanson points out, the places that were in the paths of the missiles were hardly empty. “They picked Green River to deploy these missiles because they said it went over the least amount of inhabited lands to reach White Sands,” she says. “It goes over all of this National Park and BLM land, so it’s not really uninhabited, it’s just uninhabited by people.” If the landscape could speak, Hanson wonders if it would complain about these rusty thorns in its side. “Is it a trauma when the landscape is hit with a missile?” she asks. “What does a rock care, or does it care? Maybe I’m just reflecting my mortality into this, which is a very short span in the face of geologic time.”
Danny Hart‘s latest series of wearable artworks is spectacularly varied in material and technique. To create the new line, he carved walnut, olive, coolibah and tiger woods, and shaped brass and bronze. The result is an elegant collection that’s as versatile as it is visually unified. Look below for some of our favorite new works by the New Mexico-based artist.
Click here to view more wearable artwork by Danny Hart.