"Art completes what nature cannot bring to a finish." ~Aristotle

Carol Oshinsky spends much of the year in Massachusetts, providing her with the inspiration that drives the work she creates in her basement studio upon her return.

“Texture and the shapes created by edges that don’t quite meet fascinate me.  Most of my work reflects this interest. My textures are created by hammering metal into rocks or pitted chunks of iron, through fusion of bits and pieces of silver and gold, by surface embellishment using hammers, gravers and burs.

Berkshires in the Fall

The landscape of the Northern Berkshires is the inspiration for most of my pieces.  Although I do not translate literally what I see in the mountains and fields, with a little imagination my brooches become framed paintings in metal and gems that speak of the ever-changing hills of a most beautiful part of New England.”

1.  When did you join Pleiades?

Can't remember how long I've been with Pleiades.  I met the members through Washington Guild of Goldsmiths.  I was asked a number of times to be a guest artist - had lots of fun and sold some things.  Sometime after 2000 I was asked to become a permanent member, and I accepted.

2. What led you to designing and creating jewelry?

How did I get started making jewelry?  In the 70's Treasure of the Pirates (long gone) offered silversmithing classes.  I wanted to learn how to repair some of the broken silver pieces I had.  Once I learned to solder, I was hooked.  The variety of techniques to learn and things to make were endless.  WGG offered workshops with wonderful teachers and I took as many as I could.

3.  Describe your creative process.

Landscape 1

I play with the metal and see where it leads me.  I love textures and patinas.  I get my inspiration from things around me, mostly when I'm in New England.

4.  Where do you get your inspiration?

My inspiration comes from rural New England, nature, fine art - I make pins of abstract landscapes, insect pins, and I have made earrings that were inspired by Rothko paintings.

5. Tell me about the technical process you employ in your work.

I hammer into rusty steel to create textures and I fuse copper, steel, and gold  - fuse bits and pieces, roll out, fuse more, roll out, fuse more until I like the texture I have.  Patinas & polished high points accentuate the textures.

6. How would you describe your artistic style and how has it changed over the years?

My artistic style? - I don't have a name for it.  I play and lose myself in the process.  Sometimes I make a piece that is worth saving, sometimes it is a failure and ends up fused in pieces into something else.  Fortunately my livelihood does not depend on what I create.  I don't have to think about the saleability, marketability, or profit margin of what I make.  That's a huge plus.  I am lucky to have Pleiades because the sales I make allow me to thin my inventory and give me the push to make more.

7.  Any big plans?

Urban Renewal

No.  I have raised my family, retired from the money making job, and now I want to do just what moves me.  In the warm months I spend much of my time gardening.  I get a charge out of going into the garden to decide what's for supper.  Back in Maryland in the winter I do spend time at the bench unless the basement is too cold (last winter). 

8.  If someone wants to purchase a piece from you (away from the show) what is the best way for them to contact you?

The best way to buy a piece of mine is to come to the Pleiades show.  Goldsborough Glynn Antiques on Howard Ave. in Kensington sells some of my pieces, too. 

It's easy to be enamored of the color but there is more to it than that!

I found I could say things with color and shapes that

I couldn't say any other way - things I had no words for.

 ~ Georgia O'Keeffe

Susana Garten sometimes can’t get her pieces to do what she wants. She was working on a wall piece with 2” squares of 22/24 gauge copper, she was hammering away, but it just wouldn’t cooperate, so she took it out to her driveway and ran over it a few times. Perfect!

While Sue was at MC working on her degree in Art, she took Jan Maddox’s 2-D/3-D Survey of Crafts class. At first she couldn’t decide between weaving and enamel, but the way color and texture could be worked in the enamel “sealed the deal” and “so much for the degree!” In 1997 Sue was invited to be a guest artist in the Pleiades Art Jewelry show, shortly thereafter she joined as a member.

Initially she created cloisonné jewelry, but soon moved onto smaller vessels, hammering out bowl forms (now she uses spun forms and shaping) in copper and switched to “basse-taille[1], firescale[2]  and precious foil enamel techniques as a means of expression.”[3] Sue also does a fair amount of etching (resist, asphalt, contact paper – ferric acid – sometimes adding cloisonné wire – sometimes stencils – cleaning, washing – lay on enamel – fire over and over again). Still you never really know exactly what the end result will be or even exactly when the end will be. Occasionally a piece she thinks will be marvelous turns out horrible, so she puts it away and returns to it later. One piece she came back to, she stepped on a bit and it turned out to be terrific.

Sue used to sketch out ideas, but now finds she only does that when an idea gets stuck in her head and needs a push to realize. Typically, she prefers to play with the materials or works with 3D models to see what will spark. With her studio housed in the Sandy Spring Museum she finds herself taking inspiration from the pieces surrounding her. A 19th Century scissors case or lace collar present a host of possibilities in color, texture or flow. Then the experimentation begins. It’s not so simple that you just apply the enamel to the surface, fire and you’re done, but takes sample after sample, firing after firing to get the effect that is the vision in Sue’s head.

Sue finds that she constantly learns something from teaching enamel workshops and classes. "Someone always asks a question I had never thought of!" Since she doesn't like making frames, her wall pieces tend to be more abstract. "Some idea, some inspiration that leads to the design. My style is all over the place. I like to experiment. Having started doing cloisonne my work has gotten freer, more playing around and the more playing around the more I want to do." Sue takes her inspiration from nature, fiber, everyday occurrences, random internal thoughts and texture, color and pattern play important roles in every piece.

While she loves making the larger vessels and wall pieces, reality may cause a return to jewelry, holding the weight of an 18 gauge bowl while putting the enamel on is taking its toll. For now, however, she’s busy creating a collection of new work to present both at the Pleiades Show, but also for an exhibit of her work at Glenview Mansion opening October 5 of 16-24 pieces, a "Teacher's Pet" show with former students at the Pearson Legacy Gallery in Deer Isle Maine October 8-26 and for the Washington Guild of Goldsmiths show in November.

If you would like to see more or to contact Sue to purchase a piece please check her website.

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[1]A low-relief pattern in metal, usually silver or gold, by engraving or chasing. The entire pattern is created in such a way that its highest point is lower than the surrounding metal. A translucent enamel is then applied to the metal, allowing light to reflect from the relief and creating an artistic effect. It was used in the late Middle Ages, and then again in the 17th century. The Art of Fine Enameling

[2] The use of the oxide buildup on a metal. Some pieces are completely done through firescale manipulation (by painting with a holding agent, sifting transparent enamels, and building up the resulting firescale lines), and some pieces are enhanced by the additive use of firescale (could be from a flaked-off piece that is reattached). The Art of Fine Enameling

[3] http://susanagarten.com/home.html