Metalsmithing

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https://hdl.handle.net/10217/180170

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Now showing 1 - 17 of 17

Open Access
Adeline Gavin: capstone
(Colorado State University. Libraries, 2015) Gavin, Adeline, artist
The artist's statement: Life without emotion does not exist. Love without passion is not love. For me, art has become a deep and constant affair with materials and meanings. Sometimes I create with a clear purpose and I make exactly what I desire to create. Other times, I create for the pure joy of exploring materials. I enjoy constructing pieces that have meaning and substance but also beauty and elegance. The process of exploration, growth and struggle all play into my constant desire for this process in my daily life. Recently, I have been focusing on embracing personal independence and strength. I believe that finding acceptance and peace in solitude is important as an artist and an individual. Growth has always been an overarching theme that I have been drawn to. The idea of cherishing every stage of growth and existence is not always easy. However, I believe we should embrace each unique moment. Passion has led me as an artist to see the unique beauty within every stage of life, even failure and loss. Growing from such situations is where true beauty and strength lies.
Open Access
Chelsea Moller: capstone
(Colorado State University. Libraries, 2015) Moller, Chelsea, artist
The artist's statement: As both a textile and metal artist, I see a special relationship between these two materials that, at first appearance, both seem vastly different. Metalwork and textiles have a shared history of ornamentation and body adornment, as well as being a part of everyday life. All of us use metal on a daily basis from the utensils we eat with, the cars we drive, to the jewelry we wear. I am passionate about the transformations that metalwork and fiber art goes through to create a variety of textures, shapes, curves and lines; the way they can be crafted to appear delicate and fragile yet are strong. I enjoy the processes required to turn raw material into recognizable items; for example, the process of raising a flat disk of copper into a rounded vessel. I show this in my work by using pattern and structure to create narratives that honor this process. Many of my metalwork functions as tools that facilitate transformations within my fiber work. In this way, I use metals as a conduit to facilitate changes in other materials. For example, this is both seen and accomplished in my drop spindle called The Three Fates. This narrative shows the cycle of wool being transformed into cloth; it displayed on a drop spindle that functions to create yarn. This symbiotic relationship is an overall theme in my work. I make beautiful tools that tell the story of the transformations of fiber while also functioning as a contemplative object that reflects the work that it creates as well as a piece to be admired by the maker who uses them.
Open Access
Colin Smith: capstone
(Colorado State University. Libraries, 2015) Smith, Colin, artist
The artist's statement: My works are details. They are the objects that bring a story to life, and story is something I engage in depth. My work is sited in a land of fiction, and I want my viewer to explore that fiction; to allow themselves to be immersed and excited about a world, and a story within that world. Through fiction, viewers will feel a connection and want to know more about each object that is before them: what is it, what is it used for, who uses it? I want them to ask questions. For the viewer to be curious. I am also interested in the concept of culture itself. What is needed to create a culture and how can I clearly present that? This body of work serves to help define a fictional society through the lens of the artifact. I provide the viewer with a glimpse into the world that these objects came from. These cultural artifacts are paired with written context in order to better explain each piece as well as the culture I have created for them. In this way, I provide the viewer with a glimpse into the world that these objects inhabit. Through these objects the story becomes more inviting and the viewer is more likely to investigate it further. Writing and making are two processes that I use to express my imagination and creativity. Separately, each can result in beautiful work, but when they are combined they create something more. I am able to breathe life into my pieces by providing them with a world to live in through writing. My stories, too, are made tangible by being paired with a physical object. For me, writing and making enhance one another and allow me to present my work in a complete form.
Open Access
Eisen Tamkun: capstone
(Colorado State University. Libraries, 2019) Tamkun, Eisen, artist
The artist's statement: Every day we experience thousands of interactions, both big and small. It is easy to get caught up in the speed of everyday life; to forget the who and the what which have shaped us into the persons we are today. There are moments which hold a great deal of meaning and those which hold very little, and yet all contribute to the being we become. Each one has gifted me with an understanding of myself and the world around me. I am also fortunate to have a family that has taught me a great deal. This body of work focuses on these relationships and experiences in my life, and the influences they have had on me as a person. In my piece Links, I focus on the overarching experiences and situations which shape us into the people we are. Each ring is unique. They are arranged in a way that loosely map my own meaningful experiences. This work is also intended to allow the viewer to find their own story within the chain. Through the process of examining different qualities and patterns of the links, they may contemplate their own life experiences and reflect on the moments that have significant, either great or small. Siblings, is a series of work representing the relationship with my three siblings, as well as myself. Each piece uses topographical lines drawn from our birthplaces. The brooch format provides a platform from which each relationship can be displayed. When worn, the front is facing out, a projection into the public space. The back, however, rests against the wearers body, close to the chest, hidden from sight. The color seen on the front of each piece represents the perception each sibling has of themselves. The colors found on the back side are interpretations of the emotions I feel when thinking about the relationship we share with each other. The piece Disperse, is specific to my challenges of being a twin. Forming an individual identity alongside my twin was an ongoing struggle throughout childhood. Each fetal form can be detached from the piece and be worn as a brooch. This separation, not only from the body of the piece, but from each other, emphasizes the severance of children from the safety of home. The realization that we have our own obstacles to overcome and our distinct talents to help us do so, aids in the construction of our own separate identities. The exploration and creation of these pieces gives me a greater appreciation for the interactions which shape our lives.
Open Access
Gabrielle Andreozzi: capstone
(Colorado State University. Libraries, 2021) Andreozzi, Gabrielle, artist
The artist's statement: Reclamation, Reconnection, & Rebirth of The Sacred. Shields depict imagery that bring power and take on the symbolism of what they are meant to protect. For centuries, these objects have carried weight of meaning within battle as well as through their visual displays of honor and adoration towards one's name and historical achievements. Traditionally rooted in patriarchal ideals of family heraldry and war, I am reclaiming this object to honor my identity that has come to be so sacred to me. My most recent work is an exploration of my path to becoming a woman, through a visual manifestation of my own personal narrative. There have been pivotal traumatic moments in my life in which respect for my womanhood and my feminine identity have been compromised, causing me to close myself off to my own empowerment and validity - disconnecting from the divine feminine and my perceptions of the goddess that had been deeply instilled upon me by my own mother when I was young. I have held on to many memories that have caused me to react to the present moment out of fear and anger - feeling vulnerable and unprotected. These shields are realizations of my feminine strength and how I am repositioning what I saw as threats into allied mentors, helping me to gain wisdom and move forward on my personal journey towards my own enlightenment, while letting go and forgiving - and most importantly, forgiving myself.
Open Access
Haiyin Liang: capstone
(Colorado State University. Libraries, 2016) Liang, Haiyin, artist
The artist's statement: As an artist, I grew up in China and traditional Chinese culture inspires my artwork. In this rapidly-developing society, Chinese people pay less attention to our traditional cultures and history. However, I believe it is important to carry forward our culture heritage, because it embodies the spirit of our nation. Particularly, traditional Chinese arts have a long history and hold the intelligence and ideals of the Chinese people. My artwork is associated with these traditional Chinese arts, and is informed by the styles and subjects of Chinese landscape painting and fine brushwork painting. I express the literary pursuits that ancient Chinese scholars always practiced, and place the viewer in a moment that has poetic and pictorial splendor. I aspire to bring elements of traditional Chinese art into contemporary metal and jewelry artworks to emphasize that Chinese art does not only speak to the past, but is culturally relevant in the present. Moreover, I enjoy the idea of fusing beauty with meaning to attract viewers' attention and move their hearts. I have taken forms from some objects that existed in China since the ancient period, such as a room screen, a fan, the Pipa (a traditional musical instrument); and using imagery that has special meanings in China, such as the crane, the phoenix and the plum. For example, the crane is a significant symbol in Chinese history that represents high loyalty, nobility and faithfulness. These symbols also embody personal cultivation. I emphasize the importance of personal cultivation because it not only relates to personal development but also connects and contributes to the thriving of a country and nation.
Open Access
Jack Tschida: capstone
(Colorado State University. Libraries, 2015) Tschida, Jack, artist
The artist's statement: I believe that anyone can be an artist. To me, art isn't about fancy paintings or grandiose sculpture, art is about how you approach a process. An artist is someone who is passionate, who gives their whole self to something, mind body and soul. An artist can be anyone from an athlete to a chef to a scientist. Without initially intending to, my own work speaks volumes about my personality and experiences as an artist. Most of these pieces are objects that I would stock my kitchen with: a knife, a towel, a container for oil. I designed each one to suit my own needs, keeping in mind their function and their overall design. Most of my work focuses on functionality while remaining aesthetically pleasing. However, as I've developed my body of work I've realized that sometimes a cigar is not just a cigar. What I mean by that is this: whenever you assemble a series of art objects together in a gallery space people will inevitably draw their own conclusions about what it all means. Regardless of my original intentions when conceptualizing these now finished pieces, I must be conscious of what messages I am sending to the world. Art does not exist in a vacuum, and any artist will tell you that they find beauty and inspiration in all kinds of places yet we rarely define something as art if it isn't intended for a museum or a gallery. It is because of this subtle exclusivity of the art world that I like to make my art accessible by the public. I keep in mind what the average person would think of my art if a friend showed it to them. I think it's extremely important that art be universal, as it has so much power over how we perceive the world. If everyone thought of themselves as an artist in their own respective fields, the world would be full of passionate people giving life their all.
Open Access
Jasara Simon: capstone
(Colorado State University. Libraries, 2013) Simon, Jasara, artist
The artist's statement: Much of my inspiration comes from the world that surrounds me. I explore physical wonder of natural forms, as well as my own immersion into spirituality and spiritual art forms. Through my art I aim to connect these two concepts, incorporating natural imagery in both my jewelry and photographic work in conjunction with the human form. By doing so I convey my own belief in our physical and spiritual connection with our earth. In my metal work I do this through incorporating stones and crystals, which I believe to have healing and metaphysical properties, into the natural flow of my designs. In my "Moon-Phase" piece for example, I use the phases of the moon as well as a moonstone to illustrate phases of change and growth; just as our moon goes through phases of change, so do we. The metaphysical properties of moonstone are said to be extremely powerful, especially for women, aiding in intuitive sensitivity as well as helping to increase one's ability to be flexible and flow with life. By connecting both material and imagery I express my desire to flow with the changes and phases of my life, experiencing more balance and harmony with myself and the world. This same idea can be found in my photographic work, in which I have merged the female form with close up nature scenes. By blending these images together I want to directly express my feelings of unity with our earth and the spiritual bond that all humans have with our universe. Throughout all my work I remind the viewer of this deep connection which often tends to get lost in the bustle of everyday life. In doing so I create an understanding that we are not separate from our earth; thus we must develop a greater sense of responsibility in taking care of our home and preserving its natural beauty.
Open Access
John Sullivan: capstone
(Colorado State University. Libraries, 2015) Sullivan, John, artist
The artist's statement: My most recent work questions the role of technology in our lives and its effects on human civilization. We are living in an era that will dramatically affect all future generations. Technology in general is advancing at such an exponential rate that maybe we, as living and constantly evolving creatures, aren't growing at an equal one. Through my work, I question and evaluate the overabundance of technology within our daily lives. It's hard to find a time when we aren't being exposed to some form of technology, even at a young age. We have no way to predict how this is going to affect childhood development because no generation before has experienced this level of technological impact. Even as adults, technology has become so oversaturated in so many aspects of our daily lives that it becomes suffocating. Odds are technology will soon be incorporated into our physical selves. It has occurred to me that our generation, and ever generation to come, will never encounter the problem of being lost to time. We currently live with so many ways to document our lives that future generations will know who we were and what we did. At the end of our lives we will live on through a digital afterlife. This is an experiment on a global scale in which the human race is the constant and technology is the variable. We have become lab rats and all we can do is document and study ourselves as technology continues to affect our lives. We can hypothesize and try to guide our future, but we can never truly know where this will lead us.
Open Access
Julia Mancarella: capstone
(Colorado State University. Libraries, 2016) Mancarella, Julia, artist
The artist's statement: Creating with metal is a tangible reminder that everything is in a state of perpetual transformation. I feel called to respond to this state of flux in my artwork and jewelry. The plasticity of metal is reminiscent of the transformations that occur within me and around me every moment. From the macro to the micro-everything is always changing from one moment to the next. Exploring these changes through cultural and emotional connections to materials both inspires and drives my process. By infusing my own experiences, memories, pleasure and pain within my work, I create pieces that convey a universal message of personal emotional response. Emotions transcend time, geographic barriers and communication. Life is inseparable from emotion. Using materials that speak to my emotions-gemstones and precious metals-I am able to elicit a completely unique response in my audience. This can be seen in my work-especially in "Morphosis". The symbolism of my imagery and materials is deeply intertwined. Labradorite is often used to facilitate transformation and protect the wearer during times of turbulence. The Luna Moth is a symbol seen in cultures around the world as a good omen, and as a symbol that represents spiritual transformation. The Labradorite stones are specifically placed to come into direct contact with the body. The stones aren't in plain sight, so the wearer shares a special and private connection with the piece. This hidden secret is intended to empower and assist the wearer in whatever personal transformation they are currently experiencing. The cathartic process of making helps me process the current moment and release negative attachments, and my jewelry is designed to encourage such positive transformations in others. Making this work allows me to live in a way that creates positive ripples in the world around me and within myself. Each piece leaves me a changed person-I learn as much about myself as I do about material, process, and form. The ability of metal to embody both transformation and change is truly unlike any other medium, and the more I continue to explore its limits and my own, the more I want to push them both.
Open Access
Kayla Schwartz: capstone
(Colorado State University. Libraries, 2015) Schwartz, Kayla, artist
The artist's statement: I have always loved jewelry and learned about metalsmithing when I took my first metals class in high school. I continue my metal education throughout college and my work has been through many phases. Recently, I have become intrigued with the idea of incorporating precious materials like sterling and fine silver with cheap materials such as plastic. I am also intrigued by the material contradiction of using silver and plastic together. The transitions from mass produced toys to melted puddle to "stone" elevate the pieces. The silver, in turn, elevates the cheap plastic by making it look like a rare stone. My pieces are organic looking and focused around the organic shapes the melted plastic has formed. The melted ends of the fused links are organic in their own ways as well because they go against uniformity by being individual from one another. These pieces of jewelry that you see are organic, resistant to uniformity in every way, and show the clear contradiction between cheap and precious materials.
Open Access
Lynnsey Jaensen: capstone
(Colorado State University. Libraries, 2016) Jaensen, Lynnsey, artist
The artist's statement: The work I do as an artist always has some deeper or hidden meaning. Whether it is obvious or not really depends on the piece. Some rely directly on text to hint at the meaning behind the piece. In others, the meaning may be represented by a stone, a shape or a number. I find that I become more invested in my work when it represents someone or something special to me. For example, "Love Your Sunshine" is a ring that I made for my mom. The ruby is being held by the silver -- it is being hugged by it, just like my mom hugs me and holds me close. The ruby is also symbolic. Rubies represent love, passion, courage and emotion, all qualities that I see in my mom. Personal investment is a huge part of why I make art. This is why I find myself attracted to the field of jewelry. Jewelry is so personal, not only is it worn on one's body, but it can also say so much about the wearer to whoever takes the time to notice it. My rings "A Sea Apart" are representative of me and my best friend, who is in the Navy. There are abstracted silhouettes of an anchor and an arrow. The anchor represents my best friend not only because she is in the Navy, but also is a symbol of the sorority she is in just like the arrow is representative of my sorority. These details no one would know unless they took time to notice the small silver rings and ask about them. Only then would they find the deeper meaning behind my work.
Open Access
McKayla Thomas: capstone
(Colorado State University. Libraries, 2016) Thomas, McKayla, artist
The artist's statement: My recent artwork revolves around benchmarks within my own life that have greatly influenced me and that have changed me into the person I am today. The individual pieces in this body of work represent moments in my life that carry immense emotional weight and represent lost or hidden parts of both my past and current selves. By investing in these projects, I am able to look at these situations in a new light, and I am able to relinquish childhood anxieties that I've held onto for some time. Through this transition, I have been struck with the realization that my past is multidimensional, and exists both within and outside of my own awareness. Memory and time are both relative terms; two people will most likely have very different accounts of the same happening. Thinking about this phenomena, I am pushed to the realization that my memory is not particularly a true iteration of a circumstance, but it is true to me. In my work, I search for ways to display those memories, dreams and other phenomena. My piece titled Safe Zone explores these ideas by displaying the street corner that was "safe" during games of tag with my childhood friends. By altering the elements slightly, the piece begins to feel both familiar and anonymous. Although I've designated it as my personal memory, the intention is that anyone can connect with this piece on some level. I have learned to think deeply about symbolism and how elements within a piece interact through studying the paintings of Stephanie Pui Mun Law. The dialogue that she creates within her paintings serves to create deeper context within each piece. I strive to do the same within my own work; creating links from one thing to the next. Some symbolism is overt, yet others are known only to those privy to their historical meanings. In my piece entitled Distance From the Self a root ball is using a pair of scissors to cut off one of its own roots while new growth is forming. This is symbolic of one letting go of pieces of their past in order to move on, into the future. This body of work is the result of delving into my personal history and identifying moments that made an impact that would directly alter the course of my life. The past few years have taught me how to create art with meaning and intent, as well as how to inspire a conversation through art. I am finally grasping what it means to be an artist, and to create work that is visually engaging and personally significant.
Open Access
Nelligan Brown: capstone
(Colorado State University. Libraries, 2015) Brown, Nelligan, artist
The artist's statement: I believe that there is a strong correlation between balance within both nature and humanity. In this series of crowns I explore power divisions based on nature's elemental forces. The tranquility of water, the growth of flora, the regeneration from fire, the solidity of the earth, and the movement of wind all work together to keep the equilibrium of life steady. They also represent different necessities in human life in order for humanity to function peacefully. In water we find peace and serenity, in flora there is growth of the mind, earth gives us steadfastness and strength, wind shows us mobility, and fire gives us needed destruction and regeneration. My crowns embody these traits, and bring elemental forces to life through the unique designs of each piece. Crowns are an indicator of power and strength, but such power must be tempered by sensitivity, knowledge, and patience, traits that are seen as more delicate within a leader. Metal is a very diverse medium that can show both great power and great delicacy. Through different techniques, I am able to convey both the strength that is inherent within the material, but also the fragility and ephemeral qualities that it can embody as well. Within each piece I seek an ideal equilibrium that is inherent in nature but sought after in humanity.
Open Access
Nicolette Tiongson: capstone
(Colorado State University. Libraries, 2016) Tiongson, Nicolette, artist
The artist's statement: My artwork is defined by both elegance and strength. I come from a mixed background of European and Asian descent, and I take inspiration from traditional narratives, architecture, and the royal families of each continent. In my metalwork, I trace my maternal heritage through various countries in Europe. Each piece embodies the spirit of a specific city, and through each piece I take the viewer on a journey through time to places beyond the sea. This interest in my personal genealogy coincides with my research in fibers, in which I explore my paternal heritage through studying traditional costumes and techniques from various Asian cultures. The narratives I choose for my pieces in both metals and fibers revolve around fleeting moments, the gift or curse of beauty, and inspiring characters who wish to create beauty for others. For me, it is important to bridge both sides of my heritage and create a balance through the use of similar motifs and color palettes. I take delicate techniques such as filigree wirework and enameling, and design pieces that are aesthetically grand and structurally sound. I like to give people the impression that my works are fragile when in fact that they can withstand wear. For my works in fibers I hand dye cotton and silk yarn into cool colors that mirror the color scheme I use in my metal work. In my metalwork, I primarily use sterling and fine silver, along with gemstones and enamel. These precious materials reflect the importance of family and cultural heritage within my artwork, and gives tangible value to my roots.
Open Access
Theresa Pucci: capstone
(Colorado State University. Libraries, 2015) Pucci, Theresa, artist
The artist's statement: Growing up in an environment where I was taught that family is to be cherished, I am not surprised to find that much of my artwork revolves around them. I hold my relationships and interactions with my family with the highest regard and I am influenced by them frequently. I make artwork that celebrates and memorializes these shared family bonds. As my family and I grow older, so do my pieces. Bodies degrade. Metal tarnishes. This natural aging process also affects memories, which become less clear over time. My pieces age, as do my memories of them, and both are then tarnished. Recently I have been influenced by what is passed down genetically through my family. These "genetic heirlooms," both positive and negative, are something that each owner must face, recognize, and deal with in their own manner. For example, in "From Them, to Us, to Our Own," this series of lockets originates with my maternal grandmother and follows her genetic line through to new generations. I use hair from specific family members to bind and connect not only our genetic makeup, but to strengthen the bond we share as four generations of women. In "A Gift from Mom," I explore a family history of migraines through medical imagery and pattern disruption. "Gentle Reminders" expresses that even though mental states, such as depression, show less brain function in scans, medical documentation alone does not define a person. These pieces have allowed me to better understand myself as an individual, but also to help identify my place within a strong family of women. Personal identity and family relationships drive my work. At one point I will be the beginning of a chain of shared memories, just as I am a link in an ongoing genetic chain. I will pass my work down as heirlooms, along with the stories that belong to them, just as my genes will be passed down as well. This is biologically what creates family, but personal history and shared loving bonds bring those relationships to life. By honoring those bonds, not only does my work come alive, but the stories connecting each piece persevere.
Open Access
Zain Sunstone: capstone
(Colorado State University. Libraries, 2018) Sunstone, Zain, artist
The artist's statement: Where does art take over from purely functional objects? Are they mutually exclusive or do they fall along a spectrum of design and manufacturing decisions? What makes an object beautiful? Is it the smoothness of its lines and curves, its material choices and surface treatments? Where is the disconnect that took us from taking pride in what we make to the production of the cheapest, and often ugliest, functional items? When crafting a tool I try to find a balance between functionality and beauty. I design them to be pleasing to hold and look upon, and instill minor regret at the damage and discoloration they will gain with use as working objects of art. These tools are meant to be used and reshaped as needed by artists, to be living objects. But are they tools simply because that is what I've named them? Are they tools because they look like tools? Are they art objects that only hold the form of tools, or are they only art objects? Sometimes the design of a functioning object overtakes its functionality, and sometimes the work only appears to be functional. Mixed into my displays are nonsensical, whimsical, and some downright awkward tools. Despite not knowing the use of all that I have created, everything here has had the same attention to craft and detail that I would put into an elaborate piece of jewelry. I have tried to re-infuse delight and wonderment into the items I will use to craft even more elaborate items. Everything here is a tool. Everything here is a work of art.

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