Ford / Forlano
-
Hydro Pin 454$ 350.00
-
Hydro Pin 457$ 350.00
-
Hydro Pin 508$ 350.00
-
Big Bead Necklace 160$ 1,900.00
-
Big Bead Necklace 196$ 2,200.00
-
Shell Necklace 28$ 3,200.00
-
Shell Necklace 31$ 700.00
-
Seed Necklace 25$ 3,000.00
-
Pebble Bangle 33$ 300.00
-
Ring 41$ 250.00
-
Ring 40$ 350.00
-
Ring 53$ 350.00
-
Chip Earring 16$ 400.00
-
Pebble Earring 329$ 300.00
-
Button Earring 308$ 350.00
-
Button Earring 333$ 350.00
-
Clip-on Blue Shell Earring$ 175.00
-
Clip-on Shell 108$ 175.00
-
Pebble Earring 167$ 250.00
-
Pebble Earring 193$ 300.00
-
Pebble Earring 215$ 300.00
-
Large Button Earrings 305$ 250.00
-
Cuff Link 7$ 200.00
-
Cuff Link 9$ 200.00
-
Cuff Link 11$ 200.00
-
Cuff Link 12$ 350.00
-
Cuff Link 13$ 200.00
Artist Statement
Our artistic collaboration began in 1984, when we met in Rome during a year abroad program through Tyler School of Art. Immediately, we were intrigued by some essential differences in our approach to painting, and these distinctions led to heated debates. David created large, abstract paintings, focusing on the richness of surface treatment. Steve’s work, in contrast, addressed the question, “How can I make a painting as an object, a fully integrated three-dimensional piece?” We liked how our differences challenged our individual thinking. To learn from each other, we started trading half-finished drawings and paintings and working both of our individual ideas into them.
This “swapping” has become an essential element to our collaboration. After years of working side by side, David moved to Santa Fe in 2005. We have tables in our Philadelphia studio with half-finished brooches. Steve sends them to David, who develops them further. Other threads from our art-school days continue to be important. While David’s strength has always been to push color, pattern and surface in new directions, Steve is constantly fascinated by three-dimensional structures and the ways things fit together mechanically.
Throughout our collaboration, we have often looked to nature for inspiration. In seed clusters, shell formations and flower buds, for instance, numerous carefully organized parts, seemingly identical, but really unique, are arranged beautifully. These exquisite structures led us into new ways of envisioning necklaces, for example, both three-dimensionally and texturally. Many of our brooches are like collections of fragments. Not necessarily of literal fragments, like shards of pottery, but more like conceptual fragments, like a piece of music, a chapter from a story, an ingredient from a cuisine or an element of a language.