Because jewelry of jewelry's performative nature, I am very interested in the messages and stories it can tell. I want to make work that inspires, through visual storytelling, a broad human experience via a series of sequential images. Affixing myths and morals to such a valued object like jewelry, gives narrative a different weight. Through illustration on jewelry I aim to represent images that have identity beyond literal, rooted in visual metaphor and cultural context.
Jewelry is a vehicle of communication that lends its preciousness well to the conveyance of legends and myths. I am so interested in narrative and time-based visuals because of the deep human connection that such media can cultivate. My roots in illustration educate a use of figurative form and draftsmanship within all I create. Through this representation, I find myself experimenting with format- working the fronts and backs of pieces, and drawing influence from panels in comics, illuminated texts, and ukiyo-e prints. There is also a drive to figure out how, exactly, I can render illustrations on metal and other wearable materials. This manifests mainly in repousse, scrimshaw, and carved plastic.
When crafting my jewelry's myths, my most basic goal is to create narrative that is inherently understood in its visual format, but alongside this search for understanding, I consider what is more nebulous to visual storytelling. What message does an image hold culturally? How can I craft visual metaphor? My fascination with symbology is guided by influences like Medieval manuscripts, alchemy texts, tarot, as well as more modern sources like current graphic design, animation and storybook illustration. With these narratives and influences, I guide the mood of my work to something mystical or other-worldly, recognizable in form and subject, but from a reality of its own.