Corey Ackelmire

Silver spoon by Corey Ackelmire

Artist Statement

My contemporary copper work is inspired by traditional American metalworking techniques and crafts activities, such as quilting and punched tin.  My work relies on elements of metalsmithing skills, like raising and metal-forming, in combination with more humble skills, like stamping, to create contemporary decorative objects that are at once reminiscent of the past, but with a modern design sensibility.

My hand-forged silver teaspoons begin as thick sheets of sterling silver that are laboriously hammered into shape, then filed and finished, also by hand.  The unique nature of the hand-forging process means that no two spoons will be identical.  This creates a liveliness that manufactured spoons cannot duplicate.  The idea of the silver spoon as a precious and personal object has a long history in Western culture, and I pay homage to that tradition by making contemporary spoons through the most traditional method that are intended for everyday use.

Corey Ackelmire earned her Bachelor’s of Fine Art degree in Jewelry and Metalsmithing from Missouri State University in 2003.  She earned her Master’s of Fine Art in Jewelry/Metals/Enameling from Kent State University in 2007.  Corey has been an educator since 2005, is a published author, and has exhibited her work in numerous national and international exhibitions.  Currently she is the full-time Art Metals Instructor at Houston Community College.


Erin S. Daily

Silver spatula by Erin S. DailyArtist Statement

I am obsessed with utensils and any object related to eating or the preparation of food. I am very interested in the history of and different cultural approaches to table wares and ideas on meal sharing. I also appreciate the design of hand tools, and often reference their formal language in my work. The placement of the hand is a wonderful thing to consider, especially in relation to the rituals of eating. Always in my work I find it important to have some sort of chaos, natural occurrence, or transformational feature exist where the work can live on its own outside of my force.

Erin S. Daily is a metalsmith who lives and works in Brooklyn, NY. Her artwork has been exhibited nationally and her jewelry can be found in galleries and boutiques throughout the country.   In addition to teaching at the 92nd St. Y she has taught Metals at the University of the Arts in Philadelphia and SUNY New Paltz.  Erin also has a great love for colored gemstones and worked with the Robert Bentley Company for several years.  Erin received her MFA in Metal from SUNY New Paltz, and her BFA in Metal from the University of Kansas.  Since 2012 Erin co-owns and operates Brooklyn Metal Works.


Sonja Fries

Silver feather spoon by Sonja Fries

Artist Statement

Enjoying the different elements, the materials and their haptic !

The transfer from one organic material into metal !

There is also a playful attempt …you will see …

Sonja Fries was born in possibly the smallest village in Bavaria/Germany! She studied Jewelry Design and Silversmithing in Pforzheim/Germany. After 2 years working at the international. renown gallery Hilde Leiss,1997 was her big move: First time in the United States  First time New York City 2001 was the year when Sonja Fries and Hal Ludacer opened a destination Gallery /FASSBINDER in the West Village with customers like Michel Stipe, Scissor Sisters,Julian Moore and more to be named … But somehow in 2008 Berlin kept calling her back to be part of the creative scene and she took part in it by opening yet another gallery/artspace  in Berlin-Mitte! After Berlin in 2010 she was looking for a new challenge that required her attention: She moved to Bangkok / Thailand. Besides working on a new jewelry line , she also graduated from GIA ( Gemological Institute of America) which has a location in Bangkok. It was in 2011 when she returned to NYC again  in a hopeful attempt to stay for good !


Lucy Perluck


I like to approach my work as a problem-solver. When designing jewelry objects, I begin by exploring the unique or unusual ways in which the piece could be worn, questioning what the piece could provide for the wearer apart from its aesthetic qualities. I challenge myself to look beyond the conventions of everyday jewelry by incorporating clever mechanisms in my designs that encourage the wearer to interact with the piece in more ways than one.

Lucia (Lucy) Perluck is a native of Providence, RI (at one time the costume jewelry capital of the world!) and currently resides in Brooklyn, NY. Lucy has always been a big fan of accessorizing (playing ‘dress up’ as a young girl always involved piling on lots of costume jewelry) but it wasn’t until she enrolled in a class at Rhode Island School of Design that she realized the possibilities of manipulating metal to create real jewelry pieces.

Lucy’s interest in metalwork was fostered when she apprenticed with jewelry artist LeeAnn Herreid, and learned about creating production pieces and running a small jewelry business. Following high school, Lucy moved to Philadelphia to attend Tyler School of Art where her curriculum included traditional bench practices and also encouraged the use of Computer Aided Design in making 3-D objects.

Since graduating with a BFA in Metals/Jewelry/CAD-CAM, Lucy has been employed in the fashion industry and with studio jewelers in NYC, while also creating her own work. In addition to metalwork, Lucy enjoys Salsa dancing, riding the subway and jogging in Prospect Park.


Katie Rearick

Silver and steel spoon by Katie RearickArtist Statement

Flatware creates an intimate connection between the user and utensil.  This relationship allows a positive and negative space to be formed.  The purpose of the utensil is to function as an extension of the hand, to deliver food from the plate to the mouth.   Using traditional Blacksmithing and Silversmithing techniques, I forge silver, steel and bronze to create functional, yet aesthetically pleasing flatware.

Katie Rearick graduated from The State University of New York at New Paltz in 2012, with a Master of Fine Arts degree in Metal. In 2008 she received her Bachelor of Fine Arts degree with an emphasis in Metal/Jewelry from Western Michigan University. As a supplement to her formal education, she has also studied at Haystack Mountain School of Crafts and Penland School of Crafts. 

Her work ranges from small-scale body adornment to large sculptural installations that utilize personal narrative as a starting point. Notable exhibitions include: Jewelry+Objects Exhibition at the Alden B. Dow Museum of Science and Art of the Midland Center for the Arts, the College Art Association NY Area MFA Exhibition at Hunter College, New York and Fresh: Metalsmith Exhibition in Print at the National Ornamental Metal Museum.


Shoji Miyazawa

Ladle spoon by Shoji Miyazawa

Artist Statement

With the advancement of technology people have become distanced from manual labor. Referents of labor begin to exist as relics of an age where hard work and skill were once praised. Transformation of these referents creates a new perspective of labor as recreation as opposed to a necessity.  The embodiment of labor then garnishes a respect for its ideal but lacks understanding. Without constitution, this ideal will ultimately collapse when faced with reality; the remnants of which become nothing more than souvenirs.

 Shoji Miyazawa is a craft based sculptor. He is currently a graduate student at SUNY New Paltz studying Metalsmithing. He received his BFA from Southern Illinois University Edwardsville.




Jaydan Moore

Object by Jaydan MooreJaydan Moore’s career began as an undergraduate student at California College of the Arts, Oakland, where he earned his BFA in jewelry and metal arts. During his time there, he focused on the production of oil cans and their representation of craft and the Industrial Revolution. While studying at CCA, Jaydan, worked as a machinist and bench jeweler for the high-end metal production company, Svartvik Metal Works.

At the University of Wisconsin, Madison, where he earned his MFA/MA in art, Jaydan began focusing his interest on the heirloom. Using the imagery of found silver-plated tableware, he fragments and reassembles these objects into new forms to challenge and commemorate the individual’s ability to designate value to/ his her own valuables and memories. By fabricating a new object from stylistically and historically related wares, he creates a new image that takes all memories of its use into consideration, maintaining some semblance and evidence of their past incarnations.

Jaydan is currently and artist in resident at the Houston Center for Contemporary Craft through August 2013.


Sara Pfau

Sara Pfau bridge utensilsArtist Statement

Bridges, like maps, are metaphors for travel and passage and we find ourselves confronted with an infinite chain of metaphors that Roland Barthes claims, “whose signified is always recessive or itself becoming signifier”. My work reflects ideas about bridge architecture within the rules and tradition of jewelry. I intend for my work to draw attention to seemingly unimportant infrastructure repairs in our landscape, instigating alternate relations while making such relations such visible. Bridges weave places together, their intertwined paths, which gives shape to spaces.

Sara was born on the 20th anniversary of John F. Kennedy’s assassination. She received a MFA from SUNY New Paltz in Metals and a BFA from Pratt Institute in Jewelry & Metals. Pfau’s jewelry visually catalogs historical information, explores the post-industrial remnants of urban cities, and maps topographical landscapes.
When she is not working in her studio, she spends her free time swimming, shoveling snow, digging in dirt, and playing with Nola the cat. Pfau lives in Brooklyn, NY and spends her summers on Lake George in Bolton Landing, NY


The Smith Shop

Spatula by The Smith ShopArtist Statement

In practice it is rare for non-ferrous metals – metals without iron content – to be combined with steel or iron in a single piece of serving ware.  This is largely because different types of work were segregated within the metalworking trade between blacksmiths – who made iron implements – and silversmiths who worked in silver and copper. In the works for this exhibition, Smith Shop developed forms that draw from both traditions, celebrating classic forms in each material, while synthesizing new solutions for their combination. Handles, blades, bowls, hanging mechanisms, connections, and decoration are all considered within a continuum of historical kitchenware production. The ultimate goal in producing these works is to create strikingly familiar and immaculately executed implements that straddle the divide between utilitarian ironware and silverware.

Founded in 2012, Smith Shop is a dynamic craft-centric metalworking company based in Detroit, Michigan. Smith Shop produces quality metalwork of all descriptions specializing in the custom fabrication of gold, silver, copper, brass and steel. They also produce limited-production wholesale runs ranging from jewelry and housewares to architectural hardware. In addition to its manufacturing business, Smith Shop offers access to its metalworking facilities at Ponyride (a noted Detroit creative entrepreneurial space) through classes, workshops and studio rental. Smith Shop’s founders have exhibited their metalwork nationally and internationally in such prominent venues as the Renwick Gallery of Smithsonian American Art Museum in Washington, D.C., the Bellevue Arts Museum in Bellevue, Washington, The Houston Center for Contemporary Craft in Houston, Texas and Galerie Marzee in Nijmegen, The Netherlands. Smith Shop is Kate Bordine, Gabriel Craig, Amy Weiks and Rachel Kedinger.


Brian Weissman

Cleaved Server by Brian WeissmanArtist Statement

In my work I play with the intersection of social, political and consumerist thinking in objects and craft. These two bodies of work capture a swing in my explorations, where I move from rendered abstractions to the easily identifiable.  Both use the strategy of cleaving or cutting objects, but to different ends.

In “Cleaved” I construct architectural forms in metal that reference current trends in architecture.  By cutting the forms into sections, I expose the internal space to the external form.  The aim is to consider what these new architectural forms offer when destroyed and how such spaces are reinterpreted in a handmade object.

In “Dead Languages” I also cut forms apart. By dissecting and flattening existing tea services in a map-like fashion, I explore the implications of transforming a functional object steeped in historical values and silversmithing techniques into a decorative wall piece. This work turns a time and place, a way of thinking and behaving into to mere ornament.

Brian Weissman received his MFA in Metal from SUNY New Paltz and his BA in Technical Theater and Art studio from SUNY Geneseo. He currently works as the full time technician for the Jewelry Design department at the Fashion Institute of Technology in New York City. In the past Brian has taught at the University of the Arts, the 92nd St. Y, SUNY New Paltz, The New England Craft Center and at The Fashion Institute of Technology. Brian’s artwork has been exhibited both nationally and internationally and his work can be seen in Silver Magazine, Metalsmith magazine, 500 Judaica and most recently the 16th Silver Triennial catalog.