Tag Archives: Jewelry

Inside the Artist’s Studio with Brittany Rea

My interest in art started before my memories truly do. I was raised in Branchburg, NJ, a small town in Northern Central New Jersey. Growing up I had incredibly supportive parents and a slew of amazing art teachers who showed me the importance and allure of art. I have since spent most of my post-high school life moving throughout New York State and had a short stay in California for an artist residency at the Sonoma Community Center.

Photo Credit: bridget Hagen, 2016

Photo Credit: bridget Hagen, 2016

Art has been one of the few constants in my life, though its meaning in my life has evolved over the years. Growing up I enjoyed drawing mostly in pastel, which led to painting, which led to going to art school. I took classes as a high school student at the Fashion Institute of Technology in New York City and attended a vocational school where I spent many hours of my day in a classroom specially focused on graphic design and fine art. I attended Pratt at Munson-Williams-Proctor Art Institute for Art Education which would lead me directly to my dream school, Pratt Art Institute. While at PrattMWP I took my first ceramics wheel class, which changed my entire path. The mesmerizing and meditative qualities of clay instantly captivated me. My professor, Bryan McGrath, encouraged me to apply to the New York State College of Ceramics at Alfred University, one of the top ceramics schools in the country. I started at Alfred the following semester. Here, I also found a love for sculpture, specifically creating room installations, and clay and sculpture were my concentrations for the remainder of my higher education, continuing all the while with a minor in Art Education.

Healing Memory 2013

Healing Memory 2013

As Above, So Below 2013

As Above, So Below 2013

Upon graduation, I began working at the Creative Studios of the Memorial Art Gallery in Rochester, NY and began working as the Production Assistant for my former professor and immense talent, Kala Stein. While her assistant, Kala was hired as the Ceramics Director at the Sonoma Community Center in Sonoma, California. She encouraged me to apply for the technician position, and  through this application I was offered a six month artist residency at Sonoma Ceramics, where my more recognizable jewelry design style and work was born.

Photo Credit Nicoletta Camerin

Photo Credit Nicoletta Camerin

I had been working with a jeweler, Marisa Krol of Interstellar Lovecraft, while in Rochester prior to my residency, working to learn the basics of jewelry making. I had always been interested in making jewelry, and grew up creating simple pieces for my family and myself. Ironically enough, I was enrolled in a Small Metals class while at PrattMWP but decided to continue on with another ceramics class instead- just shows how things can come full circle! While I was in Sonoma I decide to try my hand at making wearable clay jewelry.

Then v. Now

Then v. Now

This original work was based off of sketches I was doing from rocks and shells I had found while in Maine at Haystack Mountain School of Craft working as a Studio Assistant to David Eichelberger. These first pieces were not the strongest, but I felt I was onto something, so I persisted.

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Using Nichrome Wire to make small attachments and simple adornments on my jewelry designs, I continued to push this idea further by layering the thin wire and playing with the negative/positive space it created. I started using Cassius Clay, a cone 5 clay that fires black, to contrast the use of the chrome-colored wire.

Nicoletta Camerin

Nicoletta Camerin

Wanting to continue with this method of making but also having an urge to work larger, I began making hundreds of these small, pendant-like pieces to create an installation.

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intro|spectate 2016

intro|spectate 2016

intro|spectate, Self + Sonder, and 10 Suggestions are collections of work by Brittany Rea with a central focus on introspection and the inadvertent impact we have on those around us. The object-hood of this work is one facet of its existence while the awareness of self and the unidentified other are consequential.

Through the use of vitreous black clay embellished with delicately crafted metallic wire, Rea exemplifies the idea of inherent beauty. The use of open space invites the viewer to look beyond the materiality of the objects to further examine their abstract significance. The duality of intro|spectate creates two experiences: one of material, one of spectator.

This exhibition is about reflection brought by looking and seeing, both within and without and is the culmination of Rea’s time spent as the Resident Artist at the Sonoma Community Center.“ (Artist Statement from exit show)

intro|spectate (detail)

intro|spectate (detail)

intro|spectate (detail)

intro|spectate (detail)


Upon returning to Rochester I was offered a residency at the Adorned Studios – joining the amazing forces of Interstellar Lovecraft and Inner Loop Design Co.

The Adorned Studio -I'm pictured with Amber Dutcher of Inner Loop Design Co (center) and Marisa Krol of Interstellar Lovecraft (right) photo credit Arielle Ferraro

The Adorned Studio -I’m pictured with Amber Dutcher of Inner Loop Design Co (center) and Marisa Krol of Interstellar Lovecraft (right) photo credit Arielle Ferraro

At this time I found that a lack of easy access to kilns would drastically alter my studio process, so I started to delve further into metal fabrication.

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This is when I started to push my ideas as a designer, and started using more quality materials such as sterling silver. Even with this new process, I wanted to maintain the aesthetic of the work I was making in California, so I began using polymer clay.

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This material was easily malleable meaning I could form it to be seamless within my designs, and I didn’t have to wait for a kiln to cool, so the turnover time was incredible!

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I could start and finish a piece in one day – never before was that a possibility with clay.

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Polymer was a great material to use for a time, but I wanted to continue to grow and use more sophisticated, quality materials.

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I started incorporating gemstones into my work, and am continuing to push this further. In the past few months I’ve enjoyed using my work for a greater good.

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(JBOS Series – Proceeds go to the Breast Cancer Research Foundation and a breast cancer survivor)

I started to make lines devoted to specific causes with proceeds being donated to different foundations and causes.

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One Collective Heart (Proceeds are divided and donated to the Americans Civil Liberties Union, National Endowment for the Arts, and the Natural Resource Defense Council).

I hope to continue pushing my abilities, and using my work for the betterment of those and that which surround me. I am currently moving into a new studio situation and am looking forward to the inspiration new beginnings can bring!

Photo credit Bridget Hagen 2016

Photo credit Bridget Hagen 2016

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Stop by Main Street Arts to see Brittany’s jewelry in our gallery shop. Visit Brittany’s website at www.brittanyrea.com and follow Brittany on Instagram @rea.designs to see her artwork, process, and even some travel photos! Find Brittany on Facebook at www.facebook.com/brittanyreajewelryandart.

Take a look at our previous Inside the Artist’s Studio blog post by local artist Andy Reddout.

Meet the Artist in Residence: Cathryn Leyland

Cathryn Leyland is an artist in residence at Main Street Arts! She’s working in one of our two studio spaces during the months of September–October 2016 (you can stop by the gallery to see her studio and work in progress). We asked Cathryn a few questions about her artwork, life, and more:

Artist in Residence Cathryn Leyland in her Main Street Arts studio

Artist in Residence Cathryn Leyland in her Main Street Arts studio

Q: Tell us about your background.

A: I grew up in the house of an artist and a paper engineer, so materials were always accessible and projects abundant.



After starting another career path, I headed back into art through an interest in scientific textbook authoring and illustration. Upon finishing an MFA, I found myself teaching computer graphics amid courses in professional and technical communications.

Photos (c)CRLeylandI owe my teaching pathway to  printmaker Eric Bellmann, who was art chair for the evening division at RIT. He entrusted me with teaching so early in my working years. And Tom Moran, my chair during the evolving years of computer graphics.

Teaching led me into writing and illustrating online course materials, and developing new courses. It took me  a while to realize that curriculum design was essentially book publishing, with a smaller audience and immediate feedback. I suppose one could conclude, “You can always do science for a hobby.”

This fall my courses are online, which frees me to settle into Clifton Springs for this great opportunity at Main Street Arts. It will be refreshing to produce art there, meet people,  and see what emerges from workshops.


CRLeyland Abstract

Q: How would you describe your work?

A: Everyone sets their balance between order and chaos, dealing with what arrives. Life brings disarray, and we scramble to pack it into order. Often the interruption is order; we just haven’t recognized patterns yet. My artwork respects chaos, and the order that can be formed from it.


I pursue ideas that I’d like to teach others, or find adventures in trying new tools.

I can’t resist sandboxing fabric ideas at Spoonflower.com, and have hidden vices where print-on-demand services wrap my images on new products.

(c) CRLeyland on Spoonflower

For  short time, I designed surface pattern for fashion and fabric through an agent. Seamless pattern design could be an interesting topic for a gallery workshop.

I’ve sold ceramic sculpture to people carrying it through a crowded festival; painted public art while onlookers shouted from their cars; designed promotional materials, to find that different opinions make us such snowflakes.

In artistic expression we tell our individual stories, and should expect others’ to be different. Then we are delighted when  ideas connect, when visual communicators seem to understand how we were thinking.

Q: What is the most useful tool in your studio?

A: Scissors beat paper and rock. Vital tools are bitmap software, MS Notepad, small graphics tablet, phone camera– to jot down ideas or carry out a full vision.


Acrylic paint on board conveys what’s on my mind most effectively.


Q: What is your process for creating a work of art?

A: Projects often start with curiosity about materials, combining things in unexpected ways. I see what I already have to work with, and build on that. My pewter phase began with videos of survivalists melting cans and pouring molten metal on garage floors. Who can resist.

In approaching a project, I pick up peripheral information. Learn everything, then narrow to how I’d like to carry it out. Art-making is about choices, and is not necessarily an additive process. Try removing as fast as you add.


Q: What are your goals for this residency?

A: Work will emerge in both pewter jewelry, and acrylic abstracts.

In preparation, I cast pewter into organic and geologic forms, and will combine these with semi-precious stones, amber, freshwater pearls, a little sterling and other metals. Shapes were melted ahead of time, to keep the gallery off speed dial to Clifton Springs FD.


(c)2016 CRLeylandI have small paintings to finish, which will gradually appear outside my second floor studio.


During the residency, you will see the progression of a painted series, on Finger Lakes waterways. The depth of Seneca Lake, winding of Flint Creek, elevations, watersheds, and glacial structures… I would like to highlight fluidity, sprawl, and vulnerability in upstate waters.

And oh! I look forward to offering workshops, seeing what each person brings in experience and insight.

Q: What’s next for you?

A: Two upcoming juried exhibits here, I’d like to submit work to– Small Works 2016 and The Cup, The Mug.

I expect to carry the pewter idea further, into art jewelry exhibits. Pewter is malleable and melts at low temperatures, so it’s wonderful to work with, and opens up many possibilities. I had the opportunity to wax-cast silver when I was young, and am building that experience into the way I cast pewter.


I continue to teach, freelance, write, take on other work… and am always eager to explore new opportunities.

Q: Where else can we find you?

A: Saatchi ArtFine Art AmericaLinkedIn, and Spoonflower — A great place for trying new ideas for seamless repeats–and connecting with thoughtful, creative people.

(c) 2014-16 CRLeyland fabric

Q: Do you collect artwork?

A: I have stoneware and abstracts that harmonize with life. Art might arrive through connection with an artist, friend or relative, or a discovery I can’t pass up.

(c) CRLeyland

Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts! Artists in residence will have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Submissions are reviewed and awarded on an ongoing basis.

Inside the Artist’s Studio with Kelly Nye: Utilizing the Hand and the Machine

My current work is a unique hybrid of traditional handcrafted metalwork and laser cut modest materials such as cardboard and acrylic. As an educator, I have access to a range of technological devices and machinery. I have chosen the laser cutter as a tool to obtain precise repetition that I would not be able to duplicate by hand.

My work often flows in series format, one, in which I hand pierce organic, lacy floral adornment drawings with a jeweler’s saw in thin gauge metal. In opposition to what I can achieve with this traditional metalsmithing method, I also use the laser cutter to reproduce linear gemkutz  in a light mass produced fashion. The laser cutter affords me the ability to use the acrylic pieces, both the positive silhouettes and the negative shapes, in a multitude of compositions.

from a room with some lace and paper flowers series

from a room with some lace and paper flowers series                                                                                   hand pierced 24 gauge base metals, Montana Gold spray paint

I do not make jewelry in the traditional sense of the word. I make objects that pertain to the concept of jewelry or adornment but span beyond the wearable to pieces that can be viewed as drawings or sculptures that hang on the wall rather than the body as site.

another ****ing birthday, year 34                                                                                                                          laser cut cardboard, Montana Gold spray paint giant necklace

another ****ing birthday, year 34                                                                                                                          laser cut cardboard, Montana Gold spray paint giant necklace

I currently teach Jewelry and Metals and Foundations at Columbus College of Art & Design (Columbus, Ohio) where I received my BFA in 2006. I moved to California right away seeking a greater expansion of knowledge base in the metalsmithing field where I received my MFA in 2010 from California State University Long Beach. I focus on teaching the basic building blocks of smithing and fabrication, but incorporate digital technology into my curriculum. This allows the students to understand the use of alternative materials, connections and production as it relates to the jewelry field.

The two necklaces above were from a collaboration with my students based on a previous project that I made for myself titled another ****ing birthday, year (34). This was my piece gifted to the participating students for my 34th birthday and in turn, they created an amazing assortment of brooches, crowns, and bibs for me using the laser cutter as the primary tool for production.

brooches for 2015 SNAG Conference in Boston this week

in process brooch production for 2015 SNAG Conference using laser cut acrylic and molded plastic gems and frames

I am in the process of preparing a trip to Boston to attend the Society of North American Goldsmith’s Conference. Here I will be exchanging the above brooches with fellow metalsmiths. Our field is so vast and we all share unique skill sets. The subject matter of the gemkutz series actually is derived from the area of Fine Jewelry  & Goldsmithing which I am interested in but have no formal training. So I have taken the aspects of this field and translated it into a more accessible, abstracted visual translation using opposing materials. I have recently collaborated with Christine Cooper-Hill, a veteran goldsmith on our piece big gems. The diverse skills of stone setting that I learned from Christine, will progress and expand in future works as I am experimenting with setting in the acrylic rather than the more common choice of metal.

just fantastic, that is what I really think

just fantastic, that is what I really think                                                                                                           acrylic, nu gold, flocking, steel wire

My work has always been exaggerated, both in size and concept. Working in small series allows me to express the visual ideas necessary by completing several designs using similar repetitive elements that unite to compose lace-like decorative structures based on jewelry forms. The exhausting of a single shape or silhouette has become a major part of my process, especially in the gemkutz series.

seafoam marquis

seafoam marquis earrings                                                                                                                                            laser cut acrylic, Montana Gold spray paint, gold leaf, sterling silver post

The linear designs are based on diamond and precious gem facet  diagrams as they would be translated three dimensionally into a stone, such as Asscher, Emerald, Marquis and Trillion cuts. The fluidity between drawing and project begins at the early stages of the process as the images are created in the vector rendering program Adobe Illustrator. The laser cutter reads the files and cuts, etches, and scores accordingly into an assortment of material including paper, fabric, leather, etc. The conversion from a two-dimensional drawing/layout to a flat three-dimensional form is most interesting to me as an artist, and why I began referring to these pieces as drawings, because I believe they can exist as both drawing and sculpture.

sky earrings

sky earrings                                                                                                                                                                         laser cut acrylic, Montana Gold spray paint, gold leaf, sterling silver post

Material choice has always been a major role in my work as I have consistently united the semi-precious with the mundane and mediocre. I use sterling and fine silver, brass, copper, bronze, and nickel silver married with felt, textiles, silicone, and plastics. The combination of the two speak in terms of contemporary jewelry as a method of tradition and technology. Mold-making also plays a role in my work and I view the laser cutter as a form of this process; it is a tool or extension of the hand to reproduce effectively and with exactness.

big gems

big gems collaboration with Christine Cooper-Hill                                                                                          laser cut acrylic, brass, cubic zirconia

The gemkutzs series, rethinks aspects of traditional fine jewelry. Based on gemstones, settings, and linear gem cuts, these pieces made of modest materials present wearable statements opposing the standards of the fine jewelry trade. Influenced by nostalgia of the 80’s and 90’s, asymmetry, vibrant colors, and spray paint are ubiquitous through this series. Artistic statements are my fashion intention.

For more information on Kelly Nye you can visit her website at www.thekellynye.com and follow her on Instagram @kellnye. Feel free to contact the artist via the email on her site. Or stop by the gallery to see her work in our current exhibition, Structurally Speaking.

Take a look at our previous Inside the Artist’s Studio blog post by textile artist Doerte Weber.

Inside the Artist’s Studio with Heather Bivens: Weathered Heather

Throughout the years, creating has been something that I must do. The medium and process has changed and evolved, but my desire to create remains the driving force. Whether they are tests, collections, samples, mock-ups or finished works, they are simultaneously bridges and destinations.

When I was in high school, I studied illustration and copy preparation. In 2007, I obtained my BFA from SUNY Oswego with an emphasis in sculpture and drawing. During that time, I created a range of work that explored performance art, digital imagery, video and installation. In 2010, I obtained my MFA in Sculpture from Syracuse University. My graduate work investigated the art of adornment through wearable sculpture. During that time, my connection with nature became more profound and could be seen as a common thread between all of my works.

Wearable Art: Butterfly Neck-piece, Latex Party Dress, Latex Garden Dress

Wearable Art: Butterfly Neck-piece, Latex Party Dress, Latex Garden Dress

Soon after graduate school, I taught a range of studio art courses as a part time instructor at Cazenovia College. There, I had the opportunity to work in a glass studio, where I learned to work with kiln formed art glass. Based on my interest in adornment, it felt natural for me to make jewelry from this new medium.

Art Glass Jewelry: Underwater Rocks Necklace, Pebble Design Earrings, Amber Stripe Earrings.

Art Glass Jewelry: Underwater Rocks Necklace, Pebble Design Earrings, Amber Stripe Earrings.

My glass work has opened new doors for me as an artist and maker while connecting all of my prior experience into one art form. Today, I consider myself fortunate to be self-employed and make work full time in my home studio. My business is Weathered Heather, named after myself and my inspiration.

Weathered Heather

My jewelry making process begins by assembling compatible glass. The glass can be cut, crushed into small pieces or made into strands with the use of a torch.

Crushed glass (frit) and stands of glass (stringer).

Crushed glass (frit) and stands of glass (stringer).

I layer the glass using a temporary adhesive to ensure that they stay in place during the firing process. Earrings are designed at the same time to ensure that they are similar in nature. It is important to make sure that the same amount of glass is being used on each piece. If it is uneven, the design can become distorted or they can end up unequal in size.

Prepared glass designs on a kiln shelf before entering the kiln.

Prepared glass designs on a kiln shelf before entering the kiln.

After each design is assembled, they are properly fired in a kiln up to 1500 degrees. In some cases, multiple firings are necessary to achieve the desired result. After the firing process, they are shaped and cold worked with diamond abrasives.

A small groove is ground along the edge of each piece of glass using a diamond disk. This grove provides a space for my wire setting.

Side view: Wire setting.

Side view: Wire setting.

Some of my newest work is created by hand painting the image with glass enamel. The enamel begins as a powder that is made into a paintable form using a liquid medium.

Dry enamel pigments and prepared pigments with a liquid medium.

Dry enamel pigments and prepared pigments with a liquid medium.

I then cut a piece of glass slightly larger than the pendant or earrings that I would like to create. I paint the image directly on the surface. The image can be painted all in one sitting or it can be completed in layers if the design is complex. Each layer is fired to solidify the bottom layer before more enamel is added.

First layer of painted enamel before firing them in the kiln.

First layer of painted enamel before firing them in the kiln.

Painting enamel in layers. Various stages of completion.

Painting enamel in layers. Various stages of completion.

After painting the image, I often place a clear sheet of glass on top of the image before firing it. This step embeds the image in the center of the glass, encapsulating it like a preserved treasure.
The excess material needs to be ground away with a diamond abrasive, giving the piece its final shape and size.

Final stages: removing excess and giving the work it's final shape.

Final stages: removing excess and giving the work it’s final shape.

The bubbles you see within the design are often described as “champagne” bubbles and are a characteristic of kiln formed glass.

“Phoebus Butterfly”, Hand painted glass enamel on clear art glass, kiln formed, with a 2.8mm, 20” Argentium sterling silver chain, soldiered links and toggle clasp. Glass Size: 1 15/16" x 1 1/16".

“Phoebus Butterfly”, Hand painted glass enamel on clear art glass, kiln formed, with a 2.8mm, 20” Argentium sterling silver chain, soldiered links and toggle clasp. Glass Size: 1 15/16″ x 1 1/16″.

For more information on Weathered Heather, visit Heather’s website at www.weatheredheather.com. You can also follow Weathered Heather on Facebook and Instagram (@weatheredheather).

Take a look at our previous Inside the Artist’s Studio blog post, by painter Melissa Huang.

Inside The Artist’s Studio: Introducing Vanessa Rivera

My name is Vanessa Rivera and I have been obsessed with jewelry since the fourth grade. It all started when my fourth grade classmates and I started making friendship bracelets, and people would buy mine for $5. At that time I never thought it would be a lifelong obsession, but here I am, still making jewelry and loving it.


I did not decide to turn my hobby into a business until I started graduate school at the Maryland Institute College of Art (MICA), where I recently graduated with an entrepreneurial business degree for creatives. Alongside my jewelry business I am also a graphic designer with a degree from the University of Maryland Baltimore County, and I teach art part-time at a private school in Bethesda, MD. I live with the love of my life, my husband, our three kids, and the many pets they bring into our home. We are expecting our fourth child any day now.

My studio/domain is messy. I find inspiration in the chaos and thrive on the beautiful mess that is my one-room art studio at home. I always have multiple projects going on at once. My studio has a small dresser where my creations are filed away once they are finished. There is an order to the disorder – I like to have all my materials visible so I can visually play with color schemes and sizing. I work best at night when everyone is asleep and I have the house to myself. Sometimes I get so sucked into a project I stay up to finish it, even if it means going to bed at 4 am and suffering the next day.


I was born in Lima, Peru but have lived in the Washington DC area for most of my life (minus a short stint in the Middle East to accompany my husband’s job). Before we had kids we invested heavily in travel, which is something that has definitely influenced my work.

I designed and created the custom bridal jewelry set below for a wedding in Colorado, matching the cuff with the circular shape of the earrings. I was obsessed with gold and white when I made those earrings.


Materials: Swarovski crystals, Mayuki seed beads, 14 carat gold filled chain


Photo by: Jeff Ambrose

I designed the red set for a good friend of mine who needed the perfect jewelry for a speaking engagement. She wanted something bold to go with a simple black dress.  She looks fabulous in gold. I pictured twirling flamenco skirts and the result was this:


Materials: Swarovski crystals, Toho seed beads, 14 carat gold and glass seed beads, 14 carat gold filled chain

Much of my creativity and motivation comes from the giggles, happiness, and craziness that my children bring into my life. They are my biggest source of inspiration and motivation. Sometimes they pick out the color schemes for my jewelry, for example, an upcoming peacock collection based on square shapes with greens, blues and golds.

You can see a necklace and earring set by Vanessa in our Small Works exhibition. You can also see more of her beautifully intricate jewelry on her website, or follow @VanessaRockwood on Instagram.

Keep an eye out for Vanessa’s second Inside the Artist’s Studio blog post, where she walks us through her jewelry making process.

Check out our previous Inside the Artist’s Studio blog post by painter, Kevin Stuart.

Inside The Artist’s Studio with Alicia McGloon: Finding Myself

My name is Alicia McGloon, and I am a watercolor artist/jewelry maker. I currently live on campus at the New York Chiropractic College in Seneca Falls, where my husband Ryan is a full-time student. I have my degree in Fine Art and a DBA  as Simply Divine Details, the brand I have created for my watercolor jewelry. I also work full-time as a bank teller (I know, working both sides of the brain).

my humble little studio -  we have a 2 bedroom dorm suite, the 2nd bedroom serves as my studio space.

My humble little studio – we have a 2 bedroom dorm suite, the 2nd bedroom serves as my studio space.

After graduating, I was unsure of what I wanted to do with my art. The one thing I knew for sure was that I wanted my work to be a part of other people’s lives in a practical and affordable way.

I stumbled upon the idea of putting my watercolors into jewelry settings. Through research, I taught myself how to adhere glass to small paintings, work with the metal and jewelry findings, and where to buy good quality components and supplies.

A large drafter's filing cabinet houses all my glass pieces and pendant settings as well as sheets of watercolor paper.

A large drafter’s filing cabinet houses all my glass pieces and pendant settings as well as sheets of watercolor paper.

Some artists creating similar jewelry use prints of their larger works, shrunk down to fit the jewelry. I paint each small painting individually to make every piece unique and one-of-a-kind. Of course, in going this route, I have ruined quite a few little paintings when something goes wrong during the post-painting process. Sometimes the resin doesn’t want to cooperate, or a piece of glass is chipped after adhering it to the painting.

Still, every successful piece is worth the risk, because in the end it’s more than just a painting. People wear my art knowing that each one is irreplaceable because it is not mass produced.


these little flower paintings are about the size of a quarter.

These flower paintings are about the size of a quarter.

this little frog is half an inch in size and is one of my all-time favorite paintings.

This little frog is half an inch in size and is one of my all-time favorite paintings.

I use a one-part resin to adhere the glass to the little paintings. After the resin has dried, I use a heavy-duty pair of scissors to carefully cut around the glass and then clean up the edges.

I use a one-part resin to adhere the glass to the little paintings. After the resin has dried, I use a heavy-duty pair of scissors to carefully cut around the glass and then clean up the edges.

After cutting out and cleaning up the glass, I use the resin to glue the piece into the setting.  When that is dry, I finish by adding the additional findings, such as a chain for a necklace, or the wires for earrings.

"Red Flower" original watercolor 1"x1",  set in antiqued brass and glass.

“Red Flower” original watercolor 1″x1″, set in antiqued brass and glass.

One of the greatest highlights of my work is how personal it can be. I have many customers who see my work and immediately have ideas of how they would make it their own.  People get excited as they tell me their thoughts. I have had such fun creating custom orders, from favorite animals to tiny portraits of loved ones. Painting such small portraits has really pushed my limits artistically.

I really feel that I have finally found who I am as artist and look forward to growing in my art and seeing where my passion takes me.

Thanks so much for taking the time to read a little about me. You can stop by the Main Street Arts Gallery Shop to check out a selection of my jewelry. I am also on many social media sites where you can keep up to date with my jewelry, including the Simply Devine Details website!

simplydivinedetails.com | Facebook | instagram | twitter | pinterest

Check out our last Inside the Artist’s Studio post, by abstract painter Bradley Butler.