Good Mood Studio, formerly known as 1905 Magazine, hosts a release party and fashion show for their winter release, The Play Issue. Directed by Keynan Johnson, the fashion show will echo the varied aesthetics and collaborative energy that has become synonymous with Good Mood Studio.
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.
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.
We’re pleased to introduce our newest represented artist, Laritza Garcia. Here’s the story of her Still Life collection, in her own words:
This collection explores nature as a subject for jewelry. The growth patterns featured in the work draw inspiration from the botanical prints of the Hortus Eystettensis, a 15th century codex of the Garden of Eichstatt. My jewelry arrangements, similar to the prints, are composed with aesthetic considerations above botanical taxonomy. The collection is reflective upon natural aspects that are skewed by human intervention. The static jewelry compositions appear in full bloom, linked to parallel perceptions of what is natural and what is artificial in our surroundings. Each piece is made from hand pierced brass sheets. The surfaces are powder coated with layers of bold colors reminiscent of urban culture.
Lisa Klakulak debuts a series of deep blue, wearable artworks. She discusses why she works in wool fiber, and the adventure that inspired the new work:
I’m a visual artist who has found a strong affinity for working with wool fiber, and in particular the felting process. Attracted by its protective and nurturing qualities, I found wool fiber a relevant to use in my work that’s related to concepts of human vulnerability and security. I attribute the sense of contentment and calm that I feel when I’m working in the studio to the constant touch involved in the process, as well as bringing an idea into fruition. You need that idea, that inspiration. What is it that you want to say and communicate in your work? I have to schedule in time to adventure, to look, to think, not just to make. In my life and in my art, I have to find balance between the routine and the spontaneous. I do that by taking any opportunity to adventure wildly into the unknown, encountering other cultural systems, places, phenomena. One of the things that I’ve been most grateful for in my life is the opportunity to travel abroad to teach. I recently got to travel into southern Chile and seek some glaciers for the first time, and that’s what’s been inspiring all of the blue work, and all of the angular, structural forms.
Click here to browse the complete form & concept shop collection.
Alexandra Hart’s Shooting Star Necklace literally fell from the sky. It’s adorned with a meteorite pendant that drifted through space for untold eons before landing in the jeweler’s possession. The piece is an otherworldly standout in a body of work that is powerfully tied to the earthly realm. “Dramatically alluring yet signally protective natural organic forms inspire me, such as the radiating shape of the anemone, the sensuous curves of the nudibranch, and the concave surfaces of the cactus,” Hart says. “I hope to create jewelry which captures the delicate balance of the bold and sculptural with the sensual and graceful.”
Hart’s affinity with nature has inspired her work as a social and environmental activist, a mission that comes hand-in-hand with her metalsmithing. She has worked tirelessly to ethically source her materials, exclusively using recycled precious metals and certified conflict-free diamonds. Through diverse education efforts, Hart encourages jewelers and collectors to take up the cause. Her jewelry might look ethereal on first glance, but her ethos is decidedly down-to-earth. Scroll down to browse Alexandra’s work, and click here to view the full collection.
Our recent event for the form & concept shop, In Process: Artist Jewelry Talks, made for an inspiring Saturday earlier this month. The six participating jewelers set up tiny versions of their studios in the gallery’s atrium, and took turns discussing their design methods with visitors. It was a delight to see the artists interact with each other and the audience, asking questions and trading ideas.
Each designer also came bearing new treasures for the form & concept shop. Look below for photos and quotes from the In Process talks, and fresh designs by each of the artists. Make sure to mark your calendar for the next In Process event on Saturday, July 29. We’ll announce more details on the event shortly.
“I’ve realized how powerful objects are on the body—and not just for decoration. There’s a whole history of objects on the body being imbued with power, like talismans and amulets. I became obsessed with rocks and minerals, so I was trying to figure out how to wear them in the most simple, elegant way.”
“I make bronze jewelry using bronze metal clay, which was originally invented by Mitsubishi in Japan. They suspend tiny particles of the metal in an organic binder, and it feels like clay. I am originally a clay artist, so it was very easy for me to get into working with bronze metal clay. After you’ve made the form, it’s fired in a digital kiln and the binder burns out. The metal particles blend together to form a solid mass. What comes out is pure, solid bronze.”
“I have a background in biology, so I think about my work as behaving like a living thing. I think of the materials that I make the work out of as a resource for the work to exploit. I’m always trying to find new materials to make work out of.”
“I met a woman who had a Japanese paper company in Albuquerque. She offered me a show, if I would make my collages with her paper. Ever since then, I’ve concentrated on using Japanese paper. At some point my stack of scrap papers was so thick, that I decided to find a way to use the scraps. That’s how I came up with the earrings.”
“I make three-dimensional constructed gold and silver pieces, which can be worn or framed and hung on a wall. I immigrated to the United States when I was 20, and got my doctorate in psychology at the University of Rhode Island. That’s when I started taking night courses at RISD, for jewelry design. That was the beginning.”
“In terms of inspiration and process, wood has been my medium from day one. With so much of what I make, I go through four, five, six, seven iterations before I come to a design that I can start repeating and subtly changing. So much of my work comes about by necessity, and by solving a problem that’s presented to me. I learned that from my days in the School of Architecture at University of New Mexico. Here’s the brief, how are you going to solve it?”