PLUMDINGER STUDIO

Many times in a craft artist’s life, explorable paths

branch out from the main drag and demand attention. 

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My first branch: In 1976, having been a full-time parent for many years,

a folksinger, a maker of ethnic bead necklaces, a crocheter/knitter, and more,

when a dear friend, who was a superb goldsmith, reminded me that she had

seen me perform, and now was teaching a class in jewelry making,

and insisted, since I loved jewelry, that I take her class.

I have never looked back. 

 

My second branch: in 1996, after years of working with traditional jewelry

making techniques, metal clay was introduced in the United States. There were

several avenues I had been thinking about wandering into, and metal clay propelled

me into them. I was invited to one of the first Master Classes and took off from there,

using the material for my pieces and teaching the use of metal clay for twenty years.

 

As the Curator/Juror for the seminal 2001 Precious Metal Clay exhibition,

“Millenial Metal”, at the Lynn Tendler Bignell Gallery (Brookfield Craft Center, CT),

I created the first formal exhibition of work in the United States, whose selected

work was made using metal clay. I continued to work for many years to become

proficient in this new way of working with precious metal, combining it with the

techniques I had previously used. 

 

My third branch: I am a colorist in many ways in my life (gemstones in

my work, my wardrobe, knitting/crocheting, gardening in my personal life).

The unique properties of metal clay provided me with a new way to bring color

to my work with vitreous enamels. The most recent iteration of my work

is rich with the use of vitreous enamels with metal clay.

 

This is an all-consuming collaboration between me

and those techniques and materials.

 

In addition to working as a full-time studio jeweler since 1978, and teaching,

I have exhibited nationally in galleries and juried craft shows, including the

Smithsonian Craft Show, ACC Craft Fairs and The Paradise City Arts Festivals.

 

I use a multitude of techniques (metal clay, engraving, stamping, embossing,

dieforming, fold-forming, patination, roll-printing, cold connections,

blockprinting, assemblage and collage), combined with various

media (sterling silver, fine silver, gemstones, 14k gold details,

found objects, organic materials and occasional alternative metals).

 

Many of my jewels are paired with ‘nesting cases’ that serve

as homes for them when they are not being worn. These cases

and their elements, often including poetry and drawings,

thematically frame and re-emphasize the jewels themselves.

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