I work without assistance producing each piece by hand one at a time. The technique that I practice is anticlastic raising. Employing hand tools and recycled 100 year old foot presses, I raise hollow sculpted forms from flat gold sheet. My work pushes the elastic limits of metal and represents a formidable challenge for a goldsmith. I have made many of the specialized tools that I use in producing my work.
Work begins by scribing the pattern of an individual design onto annealed sheet. The pattern is sheared by hand then hallmarked and trademarked. I then begin the process of gradually raising the edges of the sheet while simultaneously developing the line of that particular design. After repeated annealing and raising courses, the line of the design is developed then I begin to hammer the raised edges toward each other to close the form into a spiculum. Earwire sections are carefully hammered flat creating a seamless transition. I sometimes combine the raised forms and/or incorporate fabricated elements.
epletion gilding is utilized on matte finished forms. Tahitian pearls are
my favorite gem and compliment the sculptural nature of my work.
I use 100% certified recycled metal for my work as well as Tahitian pearls and ethically sourced diamonds. I studied goldsmithing at Revere Academy, GIA, Haystack Mountain School of Crafts as well as 18 months of training with German master goldsmith Werner Theobald.