Statement

Copper is a material with memory. It holds the imprint of time, weather, and place in a way that few other metals can. For me, working with recycled copper—often salvaged from roofing and architectural flashing—offers more than just a surface on which to create. It offers a history, a resonance, a dialogue with the past that I am invited to continue. Every dent, scratch, and subtle change in patina tells a story of function and endurance. By transforming this humble, utilitarian material into wearable art, I honor its origins while reshaping its future.

My practice is rooted in recycling, reinvention, and the tension between tradition and innovation. The copper I use has already lived a life protecting homes and buildings from the elements. When I cut, clean, and prepare these sheets of discarded roofing, I am participating in a process of renewal. What might otherwise be scrap becomes the foundation of something vibrant, colorful, and contemporary. This duality—the rough beginnings of the metal and the refined, luminous finished pieces—mirrors the way I approach my role as an artist: a transformer of the overlooked into the unforgettable.

Material and Meaning

Copper is elemental. It is both ancient and modern, prized in jewelry for thousands of years yet still essential in today’s technology and architecture. The recycled flashing I use often bears traces of oxidation and weathering, qualities that influence how I choose to work with each piece. I do not see flaws in the surface; I see opportunities. In some cases, I allow the irregularities to shine through, creating texture and depth beneath the enamel. In others, I sand and smooth the copper until it is ready to hold color as brilliantly as a canvas holds paint.

The act of reclaiming discarded material is not just practical—it is philosophical. Using recycled copper reflects my commitment to sustainability and resourcefulness. It also adds an authenticity to my work: every finished necklace, earring, or belt buckle carries within it the life of the material itself. My collectors often tell me they are drawn not only to the vibrancy of my pieces, but also to the story of transformation embedded in them.

Technique and Process

I employ centuries-old enameling methods alongside contemporary technologies, layering history and innovation. Enameling is the art of fusing powdered glass to metal through the heat of a torch. At temperatures approaching 1600 degrees Fahrenheit, the enamel melts and bonds with the copper, creating a surface that is at once delicate in appearance and resilient in structure. The result is color—bold, saturated, luminous color—that feels almost alive when it catches the light.

For me, color is not decorative but expressive. I often build it in layers, using multiple firings to achieve depth, translucency, or opacity as needed. Bright enamels allow me to explore contrasts: the raw, earthy warmth of copper against the crisp clarity of glass; the unpredictability of heat against the precision of my own design.

To further push the boundaries of surface and line, I incorporate laser engraving into my practice. By etching intricate designs directly into the enameled surface, I create sharp, modern patterns that contrast with the fluidity of glass. These engraved details introduce a crisp geometry that feels contemporary and unexpected, offering a counterpoint to the organic nature of molten enamel.

My work often explores this dialogue between hard and soft, rough and refined, ancient and modern. The kiln has its own will—colors shift, glass flows, reactions occur. The laser, on the other hand, is exact and obedient to the digital designs I feed it. Bringing these forces together requires both technical mastery and a willingness to let go, to allow chance and control to coexist.

Aesthetic Vision

The jewelry I create is unapologetically bold. It is designed for women who want to be seen, who understand that adornment is a form of expression and empowerment. My pieces are not quiet; they radiate with saturated hues, sharp lines, and confident scale. I think of them as small sculptures for the body—objects that transform not only the wearer’s appearance but also her presence.

At the same time, I strive for balance. Color must work in harmony with form, and form must serve the body. Earrings must move with lightness despite their strength; necklaces must rest comfortably even as they command attention. Every piece is engineered with wearability in mind, because jewelry is not just art to be observed, but art to be lived in.

Tradition and Innovation

Enameling is an ancient craft, practiced for over two thousand years across cultures and continents. I am deeply inspired by this lineage, yet I refuse to be bound by it. By combining traditional enameling with recycled copper and digital engraving, I am reinventing what the medium can be. The copper roof flashing, in particular, feels symbolic: it once belonged to architecture, a realm of permanence and shelter, and now finds new life as adornment—intimate, mobile, personal.

I see myself as both a steward of tradition and a challenger of convention. I respect the discipline of enamel’s history, but I also embrace experimentation—testing new powders, layering unexpected colors, or pairing industrial technology with ancient fire. Innovation, for me, is not about rejecting the past but expanding it, proving that even the oldest techniques can remain vital when seen through a contemporary lens.

The Role of Storytelling

Every piece I make tells a layered story: of material, of process, of the person who will eventually wear it. The recycled copper speaks of its past life; the enamel tells the tale of fire and transformation; the engraved details mark it as undeniably mine. When a collector wears one of my creations, they carry these stories into the world, adding their own chapter. Jewelry becomes not just adornment, but connection—between maker, material, and wearer.

Conclusion

My art begins with copper that others might overlook and ends with jewelry that cannot be ignored. Through enameling, engraving, and an embrace of both tradition and technology, I transform recycled materials into bold, radiant statements of color and form. Each piece is a reminder that beauty can emerge from the discarded, that innovation can honor history, and that jewelry is one of the most intimate ways to carry art into daily life.

The work is about transformation—of materials, of techniques, of perception. But it is also about empowerment, about giving wearers objects that let them step into the world with confidence and visibility. The recycled copper roof flashing may have once hidden away on rooftops, unseen, but in my hands it finds its place in the spotlight. That is the essence of my practice: to take what is hidden and make it shine.

 

Education:

2006 - Tin City, Introductory lampwork class
2007 - Cynthia Saari, 2-day shapes and color exploration (Brookfield Craft Center)
2008 - Nancy Tobey, 2-day borosilicate basics (Brookfield Craft Center)
2008 - Lauri Copeland, 2-day off mandrel shapes (Bead & Button Show)
2010 - Starleen Colon, 2-day advanced techniques (Starleen's Studio)
2011 - Joanne Conant, Cloisonné Enameling (home studio)
2013 - Cynthia Battista, PMC (Brookfield Craft Center)
2014 - Joy Raskin, Metalsmithing (Silvermine Art Center)
2016 - Kristina Logan, Lampwork Beads (Urban Glass)
2017 - Jennifer Jordan Parks, Cloisonné Enameling (Sussex, NJ)
2019 - Lynn Batchelder - Fabricating with Steel (Peters Valley School of Craft)
2024 - Lorena Lazard - Homemade Patina (Metalwerx Virtual)

Invitational Exhibitions:
2007 - Easton Artist Council '10th Annual Members' Art Show' (Easton, CT)
2008 - Milford Fine Art Council 'Artists in the Station' demonstration (Milford, CT)
2009 - 2011 - Art Center Killingworth 'Autumn Art Trail' demonstration (Killingworth, CT)
2009 - Washington Art Association 'Focus: Art and Design' (Washington Depot, CT)
2009 & 2011 - Barn Hill Studio - demonstration and exhibit (Monroe, CT)
2010 - 2011 - Meet the Artists & Artisans (Milford, CT)
2010 - Demonstration ‘A Bead of Roses’ (Monroe, CT)
2010 - ‘Who’s Who in Glass 2010’ Chester F. Sidell Gallery (Lawrence, MA)
2010 - Present - Brookfield Craft Center Holiday Show (Brookfield, CT)
2013 - Creative Art’s Workshop ‘Celebration of American Crafts’ (New Haven, CT)
2015 - Present - Brookfield Craft Center’s Faculty Show (Brookfield, CT)
2015 - 2016 - Silvermine Art Center - Faculty Show (Norwalk, CT)
2015 - Present - Wesleyan Potters - Annual Holiday Show (Middletown, CT)
2020 - Under Fire 3 - Enamel Guild Northeast (Westchester, NY)
2024 - ReFash Exposition: Fashion Through Sustainability - Crayola Gallery at the Banana Factory

Publications:

2008 - ‘1,000 Jewelry Inspirations Beads, Baubles, Dangles, and Chains' (Quarry Press)
2009 - Featured Online Artist - ‘The Annealer Magazine’
2009 - Marjorie Oxman '2010 Bead Calendar'
2010 - (Jan & Mar) - ‘Making Jewellry’ magazine, Lampwork tutorials (UK magazine)
2010 - Featured Online Artist - ‘Beading Times’ magazine
2010 - ‘Making Jewellry’ (GMC Publications - UK)
2011 - ‘Creating Glass Beads’ (Lark Publications)
2013 - The Flow magazine (Dec edition)
2014 - '1000 Glass Beads' (Lark Publications)
2020 - The Magazine of Contemporary Craft (Los Angeles, CA)
2024 - Sanctuary Magazine (online)

Teaching:
2012 - Present - Brookfield Craft Center (Brookfield, CT)
2012 - 2016 - Glass Studio Manager Brookfield Craft Center (Brookfield, CT)
2014 - 2016 Silvermine Arts Center (New Caanan, CT)
2022 - Hudson Valley Silverworks (Kingston, NY)
2023 - Innovative Bead Expo (Oaks, PA)
2023 - Peter's Valley School of Craft (Layton, NJ)
2024 - Snow Farm (Williamsburg, MA)

Awards:

2009 - Delphi 'Art Glass Festival' - 3rd place 'Desert Oasis' bracelet
2011 - Delphi 'Art Glass Festival' - 1st place ‘Sublime’ necklace
2011 - Manchester Art Association - ‘Best in Show’
2015 - Glastonbury Art Association - ‘2nd place show’
2016 - Delphi 'Art Glass Festival' – 2nd place 'Sublime' necklace
2018 - Delphi 'Art Glass Festival' - 2nd place 'Turquoise Surprise'
2018 - Delphi 'Art Glass Festival' - 1st place People's Choice 'Turquoise Surprise'
2019 - Glastonbury Arts - Honorable Mention
2023 - First place metalwork - Fire Mountain Gems

Jurying:
2016 - Brookfield Craft Center’s Student Art Show
2016 - 2017 Art at Ives, Juried Fine Art & Crafts Show

Community Service/Artwork Donation:
2009 - Fairfield County Chapter of the American Red Cross & Cardinal Sheehan Center's 'Red Ribbon Ball'
2010 - Stratford Animal Shelter - Canine Couture
2010 - Janet Daniels Foundation – Signature beads