Barbara’s ongoing commitment to conveying her knowledge of technical, traditional and experimental enameling techniques in combination with appropriate and necessary metalworking for jewelry is evident in her innovative and researched teaching. “I believe that in depth visual and technical investigation along with experimentation provides increased expertise, continual discovery and aesthetic development.”
Read MoreThe motifs that I most often use in my artwork are derived from natural plant forms through stylized drawing of the bird’s eye view of a flower. I believe, when plainness and symmetry of the motif combines with textured and colored metal, it creates objects that connect history to modern day.
Read MoreWhile still referencing my interest in industrial remnants, these works, created in 2020 are a fresh view and exploration with an emphasis on color. I am always seeking a way to invoke a sense of industrial history through form and material but have chosen to soften the edges with a whispery palette of pastels and sensual surfaces. I use liquid enamels over copper and various mark making techniques to achieve the graphic surface designs. My work references African Mali beadwork and Aboriginal repetitive mark making as a way to place emphasis and pay homage to the enslaved, marginalized and indigenous peoples who have contributed to the rich and vibrant African American craft culture of today.
Read MoreProvoked by an interest in material fiction, Melis’ work examines loss, desire, and the notion of burden that individuals carry from their relationships. Her sculptures and jewelry objects explore the unseen tether of the physical and emotional weights that affect individuals in how they perceive their connection to others, their bodies, and space.
Read MoreMy work is greatly informed by my surroundings. I seek out texture and pattern in the natural and man made environments in which I find myself, and these elements inform my work. Finding their way into pieces directly or abstracted. I intend for the viewer to glimpse just enough to trigger their own memory and enact a sense of nostalgia or familiarity. I continuously flow between jewelry, vessels, sculpture and drawing with each process informing the others.
Read MoreHarlan W. Butt is Professor Emeritus at the University of North Texas. His work is represented in the collections of the Boston Museum of Fine Arts, the Museum of Fine Arts Houston, the Smithsonian Institute, the Museum of Art & Design, the National Gallery of Australia and the Victoria and Albert Museum.
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