A showing of artist selected pieces from more than 30 years' enameling. Many are new, some are
not, all are pieces that are favorites or that represented a particular challenge.
A Sampling of Jean’s Enamel work
The Four Seasons, comprised of four painted 18 gauge copper panels and one
of 36 gauge, depicts a thicket of birch in Michigan with a back panel of the
shadows of the trees on a embossed surface, mounted in a 14” x 17” x 1½”
shadow box.
The Work started with a hydraulicpressed copper sheet design that is
reminiscent of birch forests of my childhood in Ohio. The center element is the
premier pressing from the custom mold.
Like Topsy, it “just growed” into this multilevel impression of the four seasons,
with bleak winter snow followed by the spring awakening, melding into the full
maturity of summer, and then to the beautiful colors of autumn. Four Seasons
gives us a glimpse of all the flavors of this magical part of a forest dream.
Winner of the
People's Choice Award at the Radiance exhibit of the San Diego
Enamel Guild in 2009.
The Four Seasons
Extra dimension is created through the use of rolled and
corrugated, repousséd and chased copper. Not all surfaces
are enameled to produce this interesting interplay between
the various textures.
9½-inch x 5½-inch x 1½-inch enamel on copper.
Magic Lantern
Following a theme found frequently in my work,
cloisonné is used to continue the pattern in the malachite
stone, creating a piece that is more than its parts.
Sardonyx and enamel on copper, fine silver wire and
sterling bezel and bail. Approx. 1” x 2”.
Here the stone’s colors are less precisely defined, so the
enamel was done with wet packing to reflect the stone’s
characteristics. Carnelia and enamel on copper, with a
sterling bezel and bail.
Approx. 1 1/4” x 2”.
The Marriage of Semiprecious Stones and Enamel Pendants
Raku enamel is created by plunging the piece hot from the
kiln into a chamber filled with organic material that ignites
from the heat of the enamel. It is immediately starved for
oxygen, which produces the metallic luster. This is one of
few enamel techniques that produces work not suitable for
display in direct sunlight.
5½-inch x 3-inch raku enamel on copper.
Mystic Forest #4
I am always very conscious of the texture of my
surroundings, and here the texture of palm bark plays
against the reflective surface of the enamel. This
enriches the copper in the background and is reflected
by the medallion in the foreground.
Multimedia: 10½-inch x 8½-inch frame with palm bark,
enamel, and copper.
Palm Bark
Spring was inspired by the open country near Erfurt, Germany.
It utilizes Limoges and Scrafitto techniques to create the
surfaces of the landscape and demonstrates another dimension
in the art of enameling.
33¼ inches x 19¼ inches x 1 inch - Industrial enamel on steel
Spring
This work utilizes Limoges for the informal feel
of water on a rocky cliff face.
Shown in:
•
Transformation by Fire, Northern
California Enamel Guild Ninth Annual
Juried Enamel Exhibition, 2008.
•
Radiance, San Diego Enamel Guild
Annual Show, 2009.
6 inch copper plate with enamel.
Waterfall
Enamel Acrylics were prepared, dried, fired,
broken apart and assembled on the
background. Refiring raises and curls the
edges of the individual pieces while adhering
them to the background.
Acrylic and conventional enamels on 5” copper
square.
Acrylic Abstract #1
The curve of a palm tree echoes the roll of ocean
waves and the ever changing Australian landscape in
this 3D cloisonné goblet.
Transparent enamel, Flat and Twisted Fine Silver
Cloisonné Wire and Sterling Silver base.
1 13/16 inches tall x 1 7/16 diameter.
Australian Impressions #1
Grey St. Bridge over the Brisbane River at night. An
interpretation of the city at night. The image is raised over a
solid black enamel background.
Enamel on Copper. 9 inches x 4 5/8 inches.
Australian Impressions #1
A Sampling of Jean’s Enamel work
