My process begins with parts, stones, thoughts in my head and butcher paper 'maps' that allow me to plot out my concepts into physical pieces. The image to the right shows my 'map' or guide which may change within the evolution of the process. The parts with sharpie marks will be hollow forms that I first fold-form--a process of folding and unfolding the metal (silver in this case) in order to create creases which you see in the finished pieces. You'll see in future posts, how this necklace has changed completely. This will be a necklace called Glittering Sunshine...something we see far off in the Horizon just before sunset.
This is the "Phoenix" necklace. The map helped me keep all of the stones in order, I used it as a layout and guide for when the necklace was completed.
Another purpose of using the maps is if I want to recreate or use part of something previously made, I'll know what size forms and how many were used. They give me a history to draw from.
Here is the finished Phoenix. This necklace was a challenge due to the thin wire, I wanted to make sure that the piece didn't' flop over and sat on the neck with out moving around too much. The key clasp in the back pivots so it is contoured to the neck.
This is the Jardin Necklace. After creating this piece I used a smaller scale for similar earrings. The idea is to keep everything in balance aesthetically and with the body. In this piece the large stone and the metal forms become unified.
The Finished Jardin Necklace is set with Vesuviante in 18 and 22k gold along with a faceted teal tourmaline that pops against the darkness of the oxidized silver. The wire dropping down is 18k and has some flexibility. The neck wire is stainless steel. Due to the curve of the tubing that holds the neckwire, the piece sits on the body without too much movement, but enough to be flexible for a "live" person.