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My assemblages are painted, drawn and constructed using paper, wax and found objects. I like to use images from architecture, science and archaeology in my work. My formal education in landscape architecture and classical archaeology provides structure to artistic flights of fancy that always seem to revolve around some form of revelation or mystery.
Roberta & David Williamson
The artists have worked together in their metals studio for almost 45 years creating works that reflect their appreciation and love of the natural world. Working in collaboration across a large studio table, they fabricate pieces from sterling silver, found objects, and images from antique prints and postcards. The work often transcends the individual object as they incorporate the pieces in vignettes that continue the theme of nature, garden and home. Their works are in the collections of The Smithsonian Museum of American Art, The Racine Art Museum, The Philadelphia Museum of Art, The Tacoma Art Museum, The Ohio Crafts Museum and others as well as numerous private collections. In 2009 they were featured in the PBS documentary, Craft In America. Recipients of over 11 Fellowships and Grants, Roberta was awarded the 2011 Cleveland Creative Workforce Fellowship.
Mary Ennes Davis
The Guardians rose out of the ashes of September 11th. I had been on a trip to the Soviet Union and saw a country lacking in so many essentials for living. I returned home and began creating jewelry out of found objects..things we throw away. When the Twin Towers were attacked I was at a show outside of New York and wanted to make something to give to loved ones. I began making angels out of old tools, household objects, recycled bits of paper and maps. Quickly, they began to grow and became known as "Guardians". I never imagined I would still be making them. The world needs guardians and they have ranged in size from 6" to 8 '. They hang in hospitals, museums, public buildings, courthouses and private collections. I construct using cold fusion; rivets, hinges, pegs, wire, screws. All the pieces are cast off and reclaimed. I alter them with paint, patinas, tooling and collage. My most recent installation was a 60' long history wall designed from reclaimed materials in a new school.
As a self-taught artist, I create work that is concept-driven, stemming from a formal education in Philosophy/Eastern Religious Studies and extensive world travel. My ever-evolving technique and aesthetic is evidence of my passion for life-long learning and spiritual growth. I begin my creative process by constructing a deeply-cradled wooden box. I then apply multiple layers of beeswax, resin and pigment followed by a unique process and thoughtful combination of heating, fusing, scraping, carving and the incorporation of oil, a variety of other mediums and recycled materials. It is by using these methods and materials that I create the richness, depth and texture that is so characteristic of my work. To maintain the highest standards, I personally execute all the creative aspects involved in my artwork without the use of apprentices or assistants, in my studio, surrounded by nature in the beautiful Rocky Mountains of Colorado.
I make bespoke knives and edged objects with outstanding aesthetic and functional qualities. I employ the finest materials available and perform all aspects of the work by hand, including the formation of complex patterns in the blade itself through layering and manipulation of the steel at temperatures exceeding two thousand degrees. I am inspired by the evolution and ubiquity of the blade throughout time, and compelled by the elemental demands of fire, dust, smoke, and the alchemy of steel.
My work is propelled by my twin fascination with metal and glass, and the way they combine to create something altogether new. Through the contrast between these materials I try to capture a tension and balance: the transparent fragility of glass, the strength and subtlety of the matt surface of the metal. Plique a Jour, one of the enameling techniques I use, is rich in history and possesses an intrinsic grace. First, a sterling silver framework is constructed, and then enamel (glass) is suspended in the openings, allowing the light to pass through the glass and causing the vessels to glow. The very first time I experimented with the technique I became mesmerized by it. This body of work exists at the intersection of color, form and light, and rejoices in beauty. Materials: Sterling, 18k & 24k gold, enamel, diamonds, boulder opals, lapis. Enameling Techniques: Plique a jour, cloisonne, basse taille, foils. Metalsmithing Techniques: Fabrication, forming, CAD, piercing, fusing.
Some people say that I have a unique vision. My technique is simple. I use familiar objects and meticulously apply row after row of tiny seed beads to cover every surface of the work. I let the work direct my choice of color and design, nothing is drawn out or planned ahead of time. I use color, rhinestone chain and vintage glass to suggest new designs as the work progresses and add to the whimsy to my work. The results are beaded objects alive with color and imagination.
Marianne & William Hunter
Marianne Hunter’s narrative enamel jewelry can also be displayed as sculpture. She incorporates a wide variety of materials including gems, antique pieces, meteor, found objects, fossils, feathers and beads into hand-fabricated, textured and engraved 24k and 14k gold and silver settings to complete the story. Each piece requires up to 100 successive firings of her unique process of dry-sifted, enamel layers. Each piece is signed, dated, numbered and engraved with a title poem. William Hunter, a Renwick Master of the Medium and ACC Fellow, creates a very limited number of turned and carved vessels in exotic woods as collaborative sculptural objects for Marianne’s jewelry. Each of their works are one-off. Marianne and William’s works have been published worldwide and are in the permanent collections of numerous museums.