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Jewelry Journey Podcast

Sharon Berman
Jewelry Journey Podcast
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  • Episode 225: In Memory of Sharon Berman: How Her Passion Fueled the Jewelry Journey Podcast
    What you’ll learn in this episode: How Sharon’s own jewelry journey began and how her family is preserving her exceptional collection. Who Sharon considers her most memorable guests and which insights stuck with her over the years. What prompted Sharon to travel the world to study jewelry, and what she learned during her decades of studying the art form. Sharon’s tips for new podcasters on how to create a show with longevity. How you can share your memories of Sharon and continue to connect with the Jewelry Journey community. About Sharon Berman Sharon Berman is managing principal of Berbay Marketing & Public Relations, specializing in working with professionals to create the visibility and credibility that fuel revenue growth. After 20 years of positioning lawyers and other trusted advisors as experts, Sharon launched Arts and Jewelry and expanded her scope to include professionals in the decorative arts and jewelry fields. A passionate jewelry collector, Sharon is studying for her GIA Graduate Gemology diploma. She is on the Board of Art Jewelry Forum, and is a member of the Association for the Study of Jewelry & Related Arts, American Society of Jewelry Historians, Society of Jewellery Historians and Society of North American Goldsmiths. Sharon writes and speaks frequently about business development and marketing for professionals. She has been a speaker at the Antique & Estate Jewelry Conference (“Jewelry Camp”). Sharon earned her undergraduate degree at UCLA and her MBA at USC. Additional Links to Articles About Sharon and Her Life: Berbay Art Jewelry Forum For donations in lieu of flowers, please follow the next link to Simms Mann program at UCLA, which was important to Sharon and Jonathan: Donations Photos available on TheJewelryJourney.com Transcript: Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Sharon: Hello, everyone! Welcome to the Jewelry Journey Podcast. Jonathan: In fact, it's not going to be Sharon today. I'm Jonathan Kramer, known to some as Mr. Sharon Berman, and I'll open this podcast with some news, not unexpected in some quarters. Sharon passed away in August 2024 from the long-term effects of cancer. Sharon lived a long and productive life. Even after her cancer diagnosis some nine years ago and her prognosis that she would only live for five years, she soldiered through, did an amazing job of prolonging her life, and in some important ways, did that through this Jewelry Journey Podcast. In the podcast you're about to hear, Sharon's jewelry journey is going to be the subject. My youngest daughter, Aleah Kramer, is interviewing Sharon. This interview took place a couple of months before Sharon's passing. It's going to be the same thing you've heard before about a person's jewelry journey, but it's going to be very personal to Sharon. Sharon's jewelry journey with me began 32 plus years ago when we were dating each other, and it was very clear that we were going to get married. Sharon made it very clear that I should not bother to buy her an engagement ring and that she would take care of that herself. That was very typical of the Sharon I would come to know and love and typical of her approach to jewelry. She didn't want to leave it to me to pick out her engagement ring and just said to me, “Don't worry about that.” She ended up ordering some diamonds to evaluate from Empire State Jewelers in the Empire State Building. I remember that. She picked out the stone she liked, and she picked out the setting that she wanted it to be and had it constructed. That should have told me three decades ago that I was with a very special woman who knew her taste in jewelry and wasn't going to be sidetracked in that. That was actually the beginning of my jewelry journey with Sharon. Her jewelry journey has been one of passion and pleasure, and she's become quite the well-known person, even before she began this series of podcasts. I'm amazingly proud of what she's accomplished in terms of her own jewelry journey, and I have to say she's had an exquisite palate in the selecting and enjoyment of jewelry. She didn't just buy jewelry to collect it. She wore her jewelry all the time. It was a source of pleasure, and it made her feel comfortable. Her jewelry was a source of comfort for her. She would find these incredible makers and go out and interview them and purchase their goods. She really supported emerging artists. That was one of the gateways to the Jewelry Journey Podcast. She wanted to share that enthusiasm for the up-and-coming makers with people that she talked with all the time. The more she talked to people, the more people said, “You know what? You should do a podcast and share this.” That's how the Jewelry Journey Podcast really started, some 225-ish episodes ago. We're going to leave the podcast up for people to listen to and hopefully enjoy and learn from. It will be a good and honorable tribute to Sharon's jewelry journey to do that. With that, I'm going to let Aleah do the magic of editing here. She's been the editor of these podcasts and has done an amazing job pulling all of this together. I am deeply grateful for her participation in the podcast and, more importantly, the fact that she and Sharon were really partners in this jewelry journey. I am indebted to Sharon for really opening Aleah's eyes to the jewelry journey. Aleah has become an exquisite collector and has gotten as much joy out of collecting as Sharon. With that, we’ll go to the podcast that Sharon talks about her jewelry journey, and then I'll come back at the end to close this out. Sharon: Welcome to the Jewelry Journey. I'm your host, Sharon Berman, and today we have a bit of a different episode. I have a few announcements to make, and then I'm going to share some of my jewelry journey. To help me with that, I'm going to introduce Aleah Kramer. First, thank you all for listening. If this is your first time, a big welcome. If you are familiar with this podcast, welcome back. I'm sorry to report that we suddenly lost several gems in the jewelry world. One of them is Cookie Lewis, who I can't say had a defined role, but she was my best friend. I've known her for 30 years and have been very friendly for the past 20 years, and she really got me into jewelry. Cookie was a very nice person, but I think anybody who knew her for any length of time would say she's a tough cookie. She had definite opinions that were difficult to change. I wouldn't always listen, but I knew she knew her stuff. I saw salespeople who would look at her when she contradicted them. They would look at her like, “Lady, you don't know what you're talking about,” but they'd go back and ask, and sure enough, she was right. Then they would take something out of one case and put it in another. She knew her stones and could always identify the flaws in stones much better than I could, despite all the study I've done. Cookie Lewis will be missed. The next gem that we lost is Robert Allen. Robert did our transcriptions. Robert did transcriptions for me for eight to 10 years, but for the Jewelry Journey since its inception. He had great analytical skills, as did Cookie, but they were both creative in their different ways. In my experience, I've found that people who are good at analysis aren't really the best people for creative endeavors. I thought they both could look outside of their analytical areas and look at the creative aspects of their profession. For instance, every year about Christmas time, Robert Allen would call me with a different idea. "Hey Sharon, I was thinking, what do you think of this?" Then he'd go into it. I can't tell you that I always accepted them or implemented them, but I thought it was really nice that he thought about it. I'll miss that. Our new co-host has been involved in the podcast for a long time but behind the scenes. Now she's coming out of the shadows. Her name is Aleah Kramer, and she's been a producer, an editor, a transcriber, and a pinch hitter. She's also my stepdaughter. She's also joined me on several voyages that I've gone on for the Jewelry Journey, and I would say that is really her métier. She knows it very well, art jewelry. Aleah: Thank you so much, Sharon. That was such a lovely introduction. Hi, everybody. My name is Aleah Kramer, and I am so excited that we're going to share some of your jewelry journey today. Sharon, you always ask your guests a few important questions, and I've always wondered what your answers to these questions are. I wanted to ask you, how did you first become interested in jewelry? Sharon: I think I first became interested in jewelry because I liked jewelry, but really it was Cookie Lewis who drew me into jewelry. She introduced me to estate jewelry, and from there I was off and running. Aleah: What are some of your favorite types of jewelry? Sharon: I like contemporary jewelry, some art jewelry. I used to like it a lot more. And estate jewelry of any kind. By estate jewelry, I mean used jewelry. That's how most people would define it. Aleah: I often hear you ask your guests about collecting and what defines a collector. What do you define as a collector? Sharon: That's a hard-to-answer question. I've been asked that before. I still don't have a good answer. What is a collector? A collector can be somebody who has three or more of the same kind of piece, three or more pieces by the same named jeweler or the same named maker. I really don't have a definition, and here I'm asking everybody who comes on what they define as a collector. Somebody told me they thought they were a really good shepherd of jewelry, and I thought that was interesting. I'm not sure that really fits the bill, but it was interesting to hear. What do you define as a collector, Aleah? Aleah: Oh, I'm too early in the biz to have any definitions. I'm interested in exploring all of the avenues and creating some definitions, but I am definitely not defining anything yet. Sharon: Okay, I think that's very smart. Aleah: Do you have a favorite piece of jewelry? I know you have a beautiful and extensive collection. Do you have a favorite piece of jewelry or a favorite artist? Sharon: Well, I have maybe one or two pieces by named artists, Cartier, that sort of thing. But I don't collect Cartier. The name people, I might have one piece, not because I was collecting or gathering them together. Not, “Oh, I have a piece by A, now I want a piece by B or C.” They just came to me, or I liked them. I don't have a favorite piece, except I would say there is a person in France who does beautiful, large rings. I happen to like statement jewelry. It has to be large, and it has to make a statement. It has to be a statement piece. Her name is Sylvie Corbelin, and she's represented here by Lionel Geneste. We just did a podcast with him. I'm probably butchering his name, but he represents her. She is a very talented and creative person. Aleah: She makes some really exquisite jewelry with high-end materials, such beautiful gold and such beautiful gemstones. They end up looking like paintings and works of art that you can wear on your finger or on your neck or as earrings. Sharon: It's a good way to describe it. Some of it is just very pretty! Pretty and unusual. Aleah: How long have you been a part of Art Jewelry Forum? Sharon: For about 10 years or more, but I was involved for maybe a couple of years. I'm not currently involved. I just look at what they have and the people they have on. Aleah: How did you get involved? How did you find them? Sharon: I found them because I was looking for ways to travel and learn about jewelry. When I found them, I didn't even know what art jewelry was, and I wasn't that interested. But when I saw that they were traveling, I was really interested. That's how I got involved. Aleah: What specifically about traveling to see jewelry interested you? Sharon: Because I like to travel and because there are very few places you can learn about jewelry by traveling. You know yourself there are only a few places. I could name them on one hand. I don't even need one hand. Aleah: How do you feel about the jewelry market in L.A.? Sharon: The jewelry market in L.A. is one-sided, and that's why I like to travel. Art jewelry really started out in Sweden, in Scandinavian countries, in the Netherlands. Here you don't see art jewelry. Here, I think it's very blingy, shiny. It has to catch your attention, and that makes sense. But it's not the kind I like. Aleah: Let's talk about the trips. About how many trips have you been on? Sharon: About seven or eight. Aleah: Do you remember the first trip that you took? Sharon: Well, you just reminded me. Abroad or with them? Aleah: Let’s start with abroad trips, and then even national trips that you’ve done in America with Art Jewelry Forum. Sharon: Well, I think some of the most memorable trips—we went to some places I never thought we would be, like Estonia. The Netherlands is de rigueur, but Estonia, I was really surprised I was ever there. Where else did we go? Aleah: Do you remember the trips to Germany for Schmuck? Sharon: That's right. We took several trips to Germany because Schmuck is there. That's the name of it. Schmuck means jewelry in German, and it's the largest market for jewelry. Art jewelry is displayed there. People go one year, they skip a year, then they go another year, so that's where we went. I came across a sweater. It was an art jeweler sweater, but it was a sweater I got there. I thought, “Gee, I forgot I had this.” That was a lot of fun. That's what I found with Art Jewelry Forum. If you travel a lot, you've seen things they’re showing. Aleah: What inspired you to start the Jewelry Journey Podcast in 2019? Sharon: I'd been thinking about it for a long time, and I thought, “What better time than the present?” I wasn't sure what I was going to do with it, but I thought, “Just start it and see where it takes you.” Aleah: What were some of the key goals or motivations when you launched the podcast? Sharon: I'm thinking about that. Just to study jewelry in more depth. That was one of my key goals. I like talking and thinking about jewelry. That was another key goal. It gave me an excuse to talk to a lot of the jewelers I knew who wouldn’t talk to me. They were friendly, but they wouldn't necessarily talk to me unless I was asking them questions. Aleah: That's a really interesting answer. I hadn't thought about that as well. Sometimes when you're just talking to them, they're not that open. But when you get them into a podcast setting, they really do open up. You have really asked some interesting questions of people. Thank you for that answer. I’m really interested in that. In the 220 plus episodes that you've done, what have been some of the most memorable or impactful stories that you've covered? Sharon: I don't know if I have any that are so impactful, except one came from a jeweler. He said that the most important thing you have to remember when you're selling jewelry online is what the return policy is. I thought, “Well, he's really right.” I've never forgotten that. That's probably the only thing I haven't forgotten. Aleah: That’s a very important thing not to forget! Sharon: Yeah, but I think he's right. It was a good point. Aleah: What are some of the most important trends or developments you've observed in the jewelry industry over the past four years? Sharon: I would say, and I think a lot of people would agree with me, is probably the use of lab-grown diamonds becoming more accepted. They are a lot more accepted. Today I would look at them a second time in my jewelry. If somebody showed me a lab-grown diamond several years ago, I wasn't interested, but they've become a lot more acceptable in the past few years. Aleah: Which episodes or topics have resonated the most with you and with your listeners? I think you've really been impacted by cataloging. Sharon: Aleah, I think that’s a very good point in that I've spent the past—what I thought was going to be three weeks—six months working with somebody to catalog my jewelry. Aleah and I tried various means. We tried Excel, and we tried all these different ways that were supposed to help you catalog your jewelry. I think we settled on one called Collector Systems. I resisted because that has a subscription of about $1,000 a year, but it's the best one. The best one I could find, at least. I do have to give credit to Mara, who helped me do it. She also helped Aleah do it. When she asked how long I thought it would take, I really thought it was going to take three weeks, but it took forever. I had more than I thought, and we try and keep it up to date. Aleah: It's absolutely been a fun challenge. Sharon: When I'm going to sleep at night, I think, “Oh, I have to tell Mara that I sold that, or I gave it away or I acquired this, so we keep it up to date.” I'm usually behind the ball when it comes to that. Aleah: What have been some of the biggest challenges that you've faced in producing a weekly podcast about jewelry? Sharon: I haven't been able to think that far ahead. We've talked about starting a newsletter. I've wanted to be a few weeks ahead so I could announce things in the newsletter, but I've never been able to get more than a couple weeks ahead of what's coming up to let the listener know and to let the person that I'm interviewing know. By the time I contact them and they get back to me, which sometimes could be several weeks and occasionally it's been several months, it takes a lot longer. The thing that takes the most time on any podcast is the amount of time it takes. It's always lovely to get answers right away, but it doesn't happen that often. Aleah: Which guests or interviews stand out as being particularly insightful and eye-opening for you? Sharon: I have to think about that. I partially answered that question. It was Jeff Russak at Lawrence Jeffrey Estate Jewelers who told me what I needed to know about selling jewelry online. Besides that, Robert Lee Morris was a very interesting episode. There are a lot of episodes where I was told the person didn't have a lot to say, so they said they would stay within the half hour or 20 minutes or whatever, and an hour in I'd have to stop them because they were still going, and I hadn't said anything. They were very interesting, nonetheless. Aleah: How do you go about finding and selecting the guests you feature on your show? Sharon: Sometimes they come directly to me, which in the beginning really surprised me. Now they regularly come to me. If I read a name in the jewelry trades or in the newspaper, I'll circle it and pursue them. It's as simple as that. I may not know anything about them except that they're in the jewelry business, and I'll work on finding out more about them. I would say those are the two main ways. I think it's two main ways, they come to me, or I go after them. Aleah: In your opinion, what are the most exciting or innovative areas of art and contemporary jewelry? Sharon: I've recently learned that the Art Deco period was followed on the heels of Retro jewelry, and I like both periods. I like some art jewelry, but not all. There was a time when I liked all art jewelry, but I found that I really don't. I'm very particular about art jewelry. Contemporary jewelry is contemporary jewelry. If it's not one of those categories, I think it's contemporary jewelry. Aleah: I think that answered part of my next question, because I was going to ask how has the podcast helped expand your knowledge and appreciation of jewelry? Obviously, there are so many things you learn by just talking to so many people. Sharon: There's a lot I've learned and a lot you do learn. There's so much to learn. Aleah: What advice would you give to someone looking to start their own specialty podcast? Sharon: This isn't the first specialty podcast I've been involved in, but on any specialty podcast, any podcast in general, you have to be prepared, and you have to know that it takes time. I would say the thing that takes the most time is finding people and following up with them, booking the interview or whatever it is. It takes a lot of time. People don't think about that, and they don't work that into their story. Aleah: What have been some of the most rewarding aspects of hosting a long-running jewelry podcast? Sharon: That it's been long running. Long running is very exciting and rewarding. When people come to me and say, “I would really like to be on the Jewelry Journey,” or “I found the Jewelry Journey online,” I'm excited and rewarded by that. Aleah: I always think it's fun when people recognize you, too. When we're out at shows, they're like, “Wait, you're Sharon. Don't you host that jewelry podcast?” And I'm always like, “Yes, she does.” Sharon: Yes, once in a while they recognize me. I don't show my face on anything, but somehow people have recognized me. You play a big part because you've taped some. We've done some live, and I hope to do more in the future. Aleah: Yeah, I think you're out there more than you think you are. Sharon: It's probably true. Other things I'm proud of are the three times I've been in the press. The first time was in the Financial Times. Then two or three weeks later, people called me and said, “I saw you in the New York Times.” I was very surprised because one thing led to another, as it usually does in public relations. It turned out I was in the Financial Times, and I was in the New York Times. In November of 2023, the New York Times had a section called "Jewelry Podcasts Pick Up Some Glitter,” and it mentioned me and other podcasts. I am so honored to be included among them. They list six, usually. The third time, the equivalent of GIA in the UK is called Gems&Jewellery, and I was in the autumn 2023 issue. It comes out four times a year, I think, or no more than six times a year. I was very impressed. They were doing a special on jewelry podcasts, and I was honored and excited to be included with them. I questioned, “Why are they asking me?” But they wrote their little blurb, and it was very nice. It was very exciting to have that memory, to cut it out, and to put it on my Instagram, which is @artsandjewelry, by the way. I would say those are the things that are exciting to me. Aleah: How do you maintain creativity and come up with new angles to explore in each episode? Sharon: Well, how do you maintain creativity is probably one of the key questions I have in my mind that I ask the jewelers. How does somebody who's been doing it for 20 years keep fresh and creative? I don't know, and I haven't found the formula for that. As I'm talking to somebody, a question usually comes up that I wouldn't have thought of beforehand, but as they're talking it prods something. Aleah: The best way is really to put yourself out there and listen to their story. You just hear it, and you want to know more. It’s very organic for you. Sharon: Exactly, exactly. Organic is a very good word for it. Aleah: What role has social media played in growing and engaging your podcast audience? Sharon: Social media plays a key role. I don't know how I would distribute it or how people would find me if it weren't for social media. I have to remember that most of the people I talk with are on the younger side and they know social media, but a lot of people I talk to are exactly like me. “Can you tell me how to find the email again?” I have to remember that I play to both audiences. Aleah: Have you encountered any unique challenges in covering the jewelry industry, which is a very visual industry, through an audio format? Sharon: I haven't encountered any issues because this is a visual medium. What I've encountered is when a jeweler doesn't want to talk about their process. I've encountered that several times. It feels like they're giving away their secret sauce. They're afraid of it. Aleah: They're almost afraid to say too much. They think someone's going to replicate it. Sometimes when I'm listening, I'm like, “No, you have your own perspective. It's okay, tell us!” Sharon: That's true. If there’s a unique challenge, that would be it, visual versus audio. I think the audio holds it up. I've broached that subject when I've asked people, “Do you think I should make the podcast visual also?” Usually I get a nay, that people like to listen to the podcast. They're like me. You listen to a podcast when you run or when you're doing something else. Aleah: You've expanded by adding photos on your website and adding photos on social media. Even though it's an audio-only format for your podcast, if you want to find more, it's always beautiful that you bring the photos to the website so that listeners can see more. Sharon: Aleah, you have said it better than I could have. Aleah: Which guests have provided you the most surprising or unexpected insights? Sharon: I don't know why, but there’s a name that sticks in my mind a lot, probably because he's unique. I was thinking about it this morning. His name is Isaac Levy. It was Yvel jewelry, and Yvel is Levy backwards. I was surprised that he even said he would be on a podcast, because he really is an important guy. I remember him was saying, “Sure, why not?” and the way he said it was like, gosh, I wish everybody was that easy to ask if they can be on my podcast. He was such a nice guy but such an important guy, and he didn't start that way. His wife started it, and then he entered and worked with her. Aleah: I remember that too. She was the one who knew how to string pearls, and she taught him. They grew the brand together, the both of them. Looking back, is there anything you would have done differently in the early days of launching the podcast? Sharon: Now I'm a lot more comfortable. I do more prep than I used to, but I'm a lot more comfortable doing the podcast. When I listen and remember how it was in the beginning, I was very measured in the way I delivered. I read from a script. I don't have to do that anymore. I would just tell people to start by being themselves. Aleah: That's great advice. Do you have anything you'd like to ask of the jewelry world and of your listeners? Sharon: Of the jewelry world, I'd like to ask if they have something they'd particularly like to listen to or a subject they're interested in. I’d like them to let me know so I can look at how I can do that. Aleah: Is there anything I haven't asked that you've been thinking about, or that you want me to ask? Sharon: No, I think you've covered everything in a lot more depth than I expected it to be covered. Aleah: Thank you so much, Sharon. Sharon: Thank you, Aleah. Aleah: Before my dad, Jonathan, comes back to say a few final words, I wanted to take a moment to acknowledge that this is not the way we wanted to end this podcast, but since this was the end of Sharon's jewelry journey, and because she left an exquisite mark on the jewelry industry, we feel like this is the right way to leave a tribute to her. Her life was as beautiful as any piece of art or jewelry, and I'm going to continue to bring you stories, memories, photos and more from her jewelry journey. I would love to hear stories from you as well. In a moment, my father is going to tell you how you can share those. Before I finish, I just want to take a moment to thank Olivia Consol. She has also been an editor on this podcast since the beginning and has done tremendous work. Olivia, thank you so much. It's always a joy to work with you. Finally, thank you, Jewelry Journey listeners, friends and family. And now back to my dad, Jonathan. Jonathan: That was Sharon's jewelry journey, and I'm really glad that you listened all the way to the end of it. I hope that you gained a better insight into my bride of 32 years, who was on her jewelry journey even before I met her, and how much pleasure she got sharing the stories of up-and-coming makers, the interesting people she met along the way, the wonderful trips she took with the organizations she belonged to, and just how much this jewelry journey fed her inner being. We’ll be linking to various articles about Sharon and items of interest that will help to round out her experience, her jewelry journey, the organizations that she enjoyed, some articles about Sharon's collecting, and things we think would be interesting to you, including photographs that show you a portion of her jewelry journey collection. I hope you find them interesting. I certainly have. I'd be very grateful if you would take a couple of minutes to leave your reviews of this podcast and your thoughts about Sharon, including anything you think would be interesting to share with us, her family, and with the larger community. I'll thank you for that in advance. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
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  • Episode 224 Part 2: How Jennifer Merchant Continues the Tradition of Op Art in her Jewelry
    What you’ll learn in this episode: Jennifer’s unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer’s work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant’s jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Welcome back. When you left college, did you know you were going to have your own business? Jennifer: Not right away. I think it took me about five years to really get the confidence together to start my own business. I definitely spent that first five years after graduation very lost and not really sure what in the heck I was going to do with my jewelry degree, especially because I went to school in Savannah, Georgia. That's where I made all my art connections and jewelry connections. Moving back to Minneapolis, I was off on my own. I didn't have a community at that point. It definitely was a number of years of wondering, “How am I going to end up using this degree that cost me so much money?” I had been waiting tables and was increasingly unhappy because I knew I had something different to offer the world. I ended up getting fired from a job. I had been speaking with a friend at work who had another friend that was putting on an art show. She had told me about it because she knew I was an artist. I remember getting fired from the job and calling her up right away, like, “I think I want to do that art show because I need to try to make some money.” It went okay, and it inspired me to say, “Jewelry is something you can do and make a living with. Let's give this a shot.” I had to move back home with my mom for a couple of years and cut my expenses way down, because I wasn't going to take out another loan to start a business. I built it very small, very scrappy. I had a second bedroom in my mom's house where I had my workshop, and I started from there doing little local events. That's where it all started. Sharon: Wow. What's the biggest piece of advice you can give to somebody who's just starting out? Jennifer: I would say when you're just starting out, really try to find your voice. Sharon: What do you do? What does one do when they find their voice? For instance, some people have found the voice, but they're homemakers or they work in an office. What do you do when you find your voice? Jennifer: I think once you know what you want to say, the next step is finding out who wants to hear it. And that is a very hard step, finding your niche and finding your people that resonate with your voice. I think the only way to really do that is to get yourself out there, get your work out there. I think with the Internet now and how accessible online stuff is, it might be a little easier to get yourself out there through social media, through the Internet, than maybe it was years ago when you had to have a physical presence out in the world. People can start by getting their work out there online and hopefully seeing who is interested, who connects with it, and then finding places in the real, outside world to continue that process and eventually find your market. Sharon: Do you have people who come to you with the image they want to include already? Jennifer: Not very often. I've had people ask me about that, but I think ultimately, I have to be drawn to the image specifically in order to be able to incorporate it in a piece. I did have a client that had a specific art piece she wanted in a bracelet for her daughter. That I was able to do because I resonated with the work and it was something that worked well within the form of jewelry. I've also had requests where someone wants family mementos or something encased in the acrylic. That's a very cool, sentimental thing, but visually, it doesn't really work with my aesthetic as well. I'm not going to do something just because I get asked for it. I also have to be drawn to it enough in order to go through with it, because it is a labor-intensive process and it is an art of passion. If I'm not super excited about the thing I'm making, it's probably not going to turn out that great either. I have tried to do things early on in my career specifically for a client that just didn't quite work out. We weren't on the same page. I think as you get more into it, you figure out the types of things you can push the boundaries on and the types of things that you can't. When someone's request is something that you can do and make them happy with, and when it's just not something that'll work out, you know. Sharon: That's interesting. So if somebody brought you their wedding photo, it depends on whether you like the wedding dress or something like that. Jennifer: Or if it has enough visual interest. I think the thing that makes my work successful is the images that I do use are interesting within a small scale of jewelry, and not all images can do that. I work with a lot of op art and pop art, and there's a lot of visual interest going on in a small space. With a photograph or something more sentimental, that's not always the case. It just wouldn't look as cool as they think it's going to. Sharon: I've seen comic books used in your work. How did you come to that? Jennifer: All of the things in my work that look like comic books are actually Roy Lichtenstein pieces. His pop art was inspired by comics, and he reimagined them into huge canvases and paintings. My jewelry does something similar, where I take Roy Lichtenstein's work and images and collect tons of books and rip out those pages and put that in my jewelry. It feels kind of meta. I've actually met some of his descendants and collectors and friends over the years, and a lot of them assure me that he would really appreciate what I'm doing with his work. It's a very similar idea as to how he repurposed art and things that he saw into something new and different. Sharon: That’s interesting. I didn't know that. Did you study art history in college as you were studying jewelry and metal and all that? Jennifer: Yeah, art history is definitely part of your Bachelor of Fine Arts degree. It wasn't always my favorite class because the art history classes were about art that was ancient and a lot of religious art and that sort of thing. I think I had one class where it was modern art in the 20th century, which, of course, is the most interesting to me. But that art history background definitely sparked some interest in different art movements and art periods. Art Deco is a very favorite design motif of mine. As I was talking about earlier, I'm very inspired by pop art and op art. I think art history plays a huge role. I never thought at the time when I was in school that I would end up studying more about art history and specific artists and doing that kind of research, but it is really important to my work now. Sharon: Can you explain what the difference between pop art and op art is? Jennifer: Sure. With pop art, everyone knows Roy Lichtenstein and Warhol. They took popular things or everyday objects like a soup can and made them stylized and put them in the context of fine art as this kind of ridiculous thing. Op art deals with optical properties. A lot of op art is very linear. It kind of tricks your eye. It looks like it's moving, but it's a static image. Funny enough, when I started working with op art, I was actually collecting those optical illusions books for kids. There'd be very few usable images in there, but there'd be a few black and white, scintillating-looking, squiggly-lined spirals or something like that. That sparked my interest in optical art and looking it up outside of the context of those silly books for kids. I found out this is a whole art movement, and there are artists like Richard Anuszkiewicz and Victor Vasarely and Bridget Riley that pioneered this in the 60s, when it really became a thing. I just find it so fascinating. But it's kind of funny that my two art movements that I use a lot in my work are pop and op. Like, who knew? Sharon: Do you ever use any other kind besides those? You say you like Art Deco. I don't know what you’d use for an image, but I guess you could use an Art Deco image. Jennifer: I think with Art Deco I am more inspired by the overall forms of pieces or the shapes. I like the ideas. I like the repetitive nature of Art Deco. They went from Art Nouveau, where it was all crazy and ornate, and then Art Deco kind of simplified things. It was a little more streamlined. I really like that. I think I carry those design principles through my work, not as much the direct visuals. Although if I could find great books with Art Deco prints of patterns or wallpapers or whatever, I’d love to use those. I just haven't quite found the right image sources yet for that. Finding pop art and op art books has been pretty easy for me, and the images are just so striking, so that's why I’ve gravitated towards those. I'm open to other types of art and other artists. I just haven't moved on yet from the things I am working on. I can only focus on so many things at a time, but I could see myself doing some collections using Rothko paintings or Gerhard Richter with those interesting images, Jackson Pollock with the splashes. Those kinds of things I could see being very interesting within the context of layered acrylic. It just depends on where my book collection takes me. Sharon: So, if we're looking at used books at a used bookstore, we should keep our eyes open for interesting things that could be used as interesting prints. Jennifer: Yeah. I actually buy so many of my books online because physical shops only have so many things, and what I'm looking for is so specific. The art sections are usually kind of small, so I've ended up finding a lot of online retailers. I've gotten pretty good at being able to figure out whether a book is going to be visually interesting based on the online listing. I will even look at the size of the book, if they list dimensions, to give me ideas. If it seems like a good coffee table art book with lots of pictures, that's what I'm trying to find. Something with lots of great images. Sharon: It sounds like people would be very interested in your leftovers. Jennifer: I have a whole shelf of these books that are like little skeletons. You can see the sections where I've really gone to town ripping pages out, and then other sections that are left. There's plenty of things I leave in the book that I think are amazing, but they just aren't going to work for jewelry. Yeah, I've got a lot of skeleton books on my shelf. I keep them. I can't get rid of them. Sharon: I like that, skeleton books. Once again, it’s a Herculean task, the whole thing of starting your own business. Would you say that there is somebody that inspired you and keeps inspiring you? Jennifer: I wouldn't say it's a specific person. I think after that initial, tiny show that I did trying to sell my work, I think the most inspiring thing was seeing the other artists and seeing people that were making a living doing their work. I think that's what's really inspiring to me, finally meeting other people that were already doing what I wanted to do and realizing, “Wow, this is a viable career path.” There's not a lot of artists in my family, so no one really had any advice to give me back in the day. They weren't necessarily unsupportive, but they didn't really know how to encourage my art, either. It's been very helpful getting out there and seeing people that are doing things and just being inspired. Different artists and different people inspire me for very different reasons. Some artists, their work is the thing that inspires you, and other artists have such a great work ethic or a really creative way of marketing. I try to keep my eyes and ears open all the time, and I let inspirations muddle around in my brain. And then one day some other thing will trigger an idea. You just never know. I try to always be open. Sharon: I'm surprised; I usually see you at shows where there are a lot of other art jewelers, which is what I categorize you as. I see art jewelers, makers a lot. I'm thinking of New York City Jewelry Week, which is where I saw you once or twice. The last time I saw you, I wasn't able to say hello. I would think you'd be more—well, maybe it's the way I am, but I'd be more envious or competitive seeing all the other art jewelers, as opposed to finding inspiration. Jennifer: I don't know. I don't think of it as a competition in any way. I think it helps me a lot because my work is so different from everyone else's, so there isn't a super direct comparison. I think maybe for some other types of jewelers it might be a little different because there is more of a direct comparison with their aesthetic or their materials. In that respect, there isn't really competition. I used to be a lot more of a competitive person, but as I've gotten older and been in the business long enough and met all different artists, you just see that it's so much more about passion and drive. You can be successful doing just about anything if you're willing to put the work in. I’ve met so many different people with so many different types of jewelry and art, and they're successful in radically different ways. Even if some other artist is successful in a way that will never work for me, I still love learning about what they're doing. Even if it doesn't directly apply to me, there's something in that lesson, in listening to them and their story that might click something for me in an indirect manner. So, I really do try to be open and inspired by everyone, and I definitely don't see it as competition. I think it's great seeing more and more art jewelers getting work out there, making things that are big and bold and wild and weird materials. The more of it that's out there, the better for all of us, because then the consumer or the client is seeing more of it out in the world. Then when they come across my work, it might not seem as weird or as off putting. They might get it a little bit faster and a little bit easier because of all the other people that came before me and all the people that are alongside me. I think working together as a community, being inspired by each other, helping each other be successful, that can only help all of us. Sharon: Do you think when people first see your art, they don't think of it as jewelry because it doesn't have diamonds or emeralds? Do they think of it as a throw away, in a way? Jennifer: Oh, yeah. I've had the gamut of reactions to my work, and it really depends on the setting it’s in as well as how people respond to it. There are definitely people out there that, to them, jewelry is diamonds and gold, and that's fine. I might not be able to change their mind. Other people see the work and, right away, think it looks cool. Maybe they didn't even know it was a bracelet, but they were drawn to it. Then when they find out it's an actual wearable piece, they're even more blown away. You never know what kind of reaction you're going to get from people. I've definitely had to do a lot of educating on my process and the materials because when someone sees a plastic necklace that costs $2,000, they kind of scratch their heads, like, “What is going on here?” And then I tell them all about the process and all the different steps and all the different things that went into it. Sometimes you win people over, and sometimes they're like, “Why bother?” I just try to pay more attention to the people that are won over and interested. If they're not, that's fine. I know my work is not for everyone, and I'm okay with that. Sharon: That’s an interesting philosophy. You’ve given me a different perspective as well on your jewelry. Thank you for being here today, Jennifer. Jennifer: Yes. Thank you so much for having me. It's been a pleasure. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
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  • Episode 224 Part 1: How Jennifer Merchant Continues the Tradition of Op Art in her Jewelry
    What you’ll learn in this episode: Jennifer’s unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer’s work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant’s jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Jennifer exhibits all over the country. She's been an active member of SNAG, the Society of North American Goldsmiths. She is also a member of other major jewelry organizations. Jennifer is going to tell us all about why she has chosen this route and her process in general. Jennifer, welcome to the program. Jennifer: Thank you so much for having me, Sharon. Sharon: I'm glad to have you. Why did you start working with acrylics? Jennifer: I actually started working with acrylic while I was still in college at the Savannah College of Art and Design studying metalsmithing and jewelry. Our professor gave us little chunks of acrylic one day, probably with the thought of using it for die forms. But I decided, “Hey, you can cut and sculpt this very similarly to working with waxes for lost wax casting.” I liked the immediacy of the acrylic, that once you carved it and sculpted it and polished it, it was a finished piece. It had a lot of really cool optical properties. So, I always kept it on the back burner as an interesting material. Then when I graduated from college and I moved back to my hometown of Minneapolis, I didn't have the tools and equipment to keep working with metal. So, I kind of fell into, “Hey, there was that acrylic I worked with a couple of times in school. It was very interesting. Let's see what we can do with that,” because it was cheap, and I could cut it with simple tools. I started experimenting with it from there. Sharon: And you make all sorts of jewelry with it. Do you know when you start out that you'll be making a necklace or a bracelet with the pieces you have, or do they talk to you as you put them together? Jennifer: I make pieces both ways. Sometimes I'll design a piece very specifically and have an idea and a picture in my mind of what I'm making. But then there's other times, especially when I'm working with the scraps that are left over from pieces that I've made in the past. A lot of those scraps are still very interesting, and they'll be in weird shapes. Those will speak to me, and I'll create something new and different with some of those. I kind of work both ways. Sharon: I know you're in a lot of stores and galleries. Do stores tell you what to do, or do you just say, “Here it is, do you like it”? Jennifer: I'm more of a, “Here's what I've been making. Let me know which ones you like.” I think sometimes it's important to follow your own inspirations. People tend to be drawn to the things that I'm most excited to make. That being said, some galleries have different clientele bases with different price points, so they’ll tell me, “Hey, these pieces were working really well.” I'll take some feedback. But ultimately, I focus on making the things that I'm drawn to. Sharon: Do you have a studio inside your home or do you have a place that you go? Jennifer: For years I did have a studio outside of my home that I really loved, but a few years ago my husband and I bought a home, and I decided to move my jewelry practice into my home. So, now I work from home. But who knows, maybe in the future I'll expand a little bit and have another space in addition outside the home. It can be kind of a challenge working at home sometimes, but I've done both. I like working both ways, so we'll see what the future has for me. Sharon: Do you have assistants who work with you? Jennifer: I've had assistants in the past. I don't anymore. I scaled my business way back during COVID and took a breather to reevaluate what I'm doing and where my motivations are. I'm only just beginning to build it back. At this point, I don't work with anyone, but hopefully in the future I can find someone to help out with some of the production. It's a little challenging to find an assistant because my process is very unique. It's not something that people know how to do, so there's a lot of training involved. When I do work with people, it takes quite a while to get somebody that can help finish pieces to the quality standards that my galleries and clients expect. Sharon: When you were reevaluating things, what did you decide? Did your method change during COVID? Jennifer: I think things just slowed way down during COVID. 2020, honestly, it was going to be my year. I had a couple of really big events planned, one of which I got to do because it was in February, but the rest all moved online. There was such a lull in events and things to participate in. I had started questioning what my motivations are, because you really have to love what you're doing in order to be an artist as a profession. We had bought a house and were settling in. I've just been taking the last few years to figure out life so I can bring my A-game to my business again. Sharon: Did you stop production because you were doing it yourself during COVID? Jennifer: I did slow way down on production. If I had a client that was interested in something, or if I had an online event or that kind of thing, that would motivate me to produce some new pieces. But there were just fewer things going on to spark that creation. I have a harder time making things just because. I like to have an outside influence, like a show that's coming up or events that are going to happen and people are going to see my pieces. When I don't know when those things are going on, I have a little bit of a harder time. I think that is why during COVID, everything slowed down for me especially. But it also gave me a lot of time to think about what I want out of my business and where I want to go. And in May, I'll be launching my first web shop where you can actually buy my pieces directly from me. Sharon: Wow. I know that's a Herculean task. Jennifer: For me personally, the web shop is an extra big step because all of my pieces, even my production work, is one of a kind because of the images I'm using within my jewelry. They're all found images from art books and other sources. So, even if it's the same shape, like the marquee hoop earring, no two are going to be the exact same. So, every time I list a piece online for sale, I have to photograph each and every single one of them. It's taken a long time to get some of those things down where I could do it quickly enough and efficiently enough to be able to post all of these pieces with the right listings. It's a lot more work than having a design where you can put a picture of it and sell 25 of them. It's been a daunting thing to tackle. Sharon: Did you have to wait until you were efficient at photographing and making them so you could just churn them out? Jennifer: My work is very difficult to photograph because it is clear and transparent from some angles, and then it's bright and colorful from others. It's also very reflective. So, trying to photograph it cleanly and communicate the piece in a single image is very difficult. My work tends to resonate more from multiple angles. It has taken years to figure out the best way to represent these pieces in an image or two. Sharon: The online shop, do you think it's your most valuable social media outlet? Is there one? What do you think that is? Jennifer: For me, I'm not huge on social media. Instagram, I think, is the most fun. It's very image forward, which is something I really enjoy. Definitely, as I launch my website, I will be on social media a lot more to market. I think up until now I've mostly worked with galleries and shops or done specific events, so I haven't cultivated my online audience as much. I'm excited to explore that new chapter and get more into it and see what I can do from my home. That way in the future, when something happens where in-person events may not be happening as much, I can still have a connection to my audience. I've been getting asked for years, “Where can I find your pieces?” Because everything is one of a kind, if it's at a gallery in California, someone in Georgia is going to have a hard time getting their hands on it. I think it'll be really nice having my own shop so that people can have one destination to go, as well as all of the others, to be able to have that access. Sharon: How did you start getting galleries and stores interested in you? Jennifer: I have been contacted by most of the places that I work with. Earlier in my career, I did a lot more events and shows and I was able to meet gallery owners. Also, early on in my career, I met some of the people that work for the American Craft Council, which is based in Minneapolis. When they saw a local Minneapolis artist at a show in Chicago and met me and thought my work was cool, they were like, “You're in our city. Let's invite her to some events.” They really took me under their wing and wrote about my work and got me out there. I got a lot of contacts just from people seeing the articles that they had posted. For me, it's been a lot of just doing what I do, and because my work is so unique and different, people that it resonates with will remember and contact me, like, “Hey, we've never seen anything like this. Let's try it out at our gallery.” I've been very fortunate in that way, where I haven't really had to go out on my own, cold calling and trying to get appointments and that sort of thing. I just try to make really interesting work, get it out there as much as I can, and then hope that it snowballs from there. So far, that's been working for me. Sharon: Wow. I think it's great that you didn't have to cold call and that people were interested in your stuff, which is very unusual. I don't know anybody who does anything like that. So, you’re very lucky. Jennifer: I'm very lucky that it worked out for me because I can be a little socially awkward with the cold calling and things like that. That was never my favorite part of the business. I am fortunate that my work speaks for itself. It's kind of a love it or hate it thing, which can be its own challenge, but it's definitely unique enough where when people see it, if they're interested, they will hunt me down and ask me about it. That's been very nice. Sharon: If an outlet wants more than one, maybe they want five bracelets, do you tell them right away that you can make the five bracelets, but they’ll all have different graphics? Jennifer: Yeah. I did a couple wholesale shows a while ago where it was that challenge of, “Well, here's a design, but they're all going to be different, and you're not really going to know until you get them.” I think most people that are interested in my work like that one-of-a-kind nature of it. That's part of the interest, so they trust me. If they get pieces that maybe that imagery doesn't speak to them or their clientele, we'll talk about it and I can swap it out, get them some prints and patterns that they like better. It's kind of a back-and-forth process. And the longer I work with a gallery or a person, the more I get to know what works there. Then I can tailor my offerings to them for what works. Sharon: Where do you find your images and the pictures that you put in your jewelry? Jennifer: When I first started, I was using magazines because they were readily available, fairly inexpensive, and that's how I started this whole process of layered acrylic. But the paper in those is not very good quality and the pictures fade. It's also a challenge to find enough usable content. So, then I started purchasing art books. I would become interested in a specific artist and start collecting books about their work, and those books always had a lot of really amazing images. They're printed on really nice paper with good quality inks, and they're much more successful layering than magazines. Now I exclusively use books. I've become somewhat of a rare and vintage book collector. It's a really fun part of my job, hunting down these different books, figuring out artists that inspire me to start collecting things about their work and then finding really cool images. If there's a particular book that has a lot of really great images that I like, I will start looking for other copies of it. There are certain books about Roy Lichtenstein's work. There’s one about posters that has a catalog in the back with all these smaller thumbnail images, and they're so great for making earrings, things like that. I must've bought that book like 10 times. So, that's where I get my images. It's all purchased materials like books that I then rip up and cut up and put in between the acrylic. Sharon: Well, you answered the question. I was going to ask you if you cut the books up or what you do. You also mentioned that magazines got you going with layered acrylic. Can you tell us about that? Jennifer: When I was younger, I subscribed to all kinds of fashion magazines and fun things, and I would keep them after reading them. I had shelves and shelves of magazines. When I first started working with acrylic, I had this idea that acrylic has pretty cool visual properties, optical properties, and when you put images underneath it, it looks so interesting. That's when I started going through my fashion magazines, lots of issues of Vogue. I would see cool prints on dresses and things like that, and I would rip those pages out and try to fit the prints and things that were in there within my jewelry designs. That's how I got started with the whole thing. It was just cheap materials I already had. Sharon: What are your sales policies? Do you accept returns? If I'm a client and you give me something and I say, “No, that's not what I want,” do you accept returns? What do you do? Jennifer: Yeah, I do accept returns. I think it depends. If it's a piece that already existed and they buy it and it just didn't work out, or it doesn't fit quite right or it wasn't what they were expecting, absolutely. It becomes a little more of a gray area when it's a custom piece, when someone wants specific imagery and this and that. That tends to be a little more delicate. That being said, I want people to keep my jewelry because they love it, not because they're trapped. So, even a custom order, if it doesn't come out quite as they were expecting, I try to work with people to either make it right or try something new. Some of the events that I do, it's a museum show where they're handling the sales and they're getting a commission, I'm getting a commission from the sale. Even though I'm selling to the customer directly, because it goes through the museum, usually it's an all-sales-are-final type situation, just because of the nature of the commissions and if they've already paid me and then the person changes their mind. It depends on the venue through which I'm selling the work. I would say most times, yes, returns are acceptable within a certain time frame, but there are certain instances where they are final sale. But even in that situation—I had a client come a couple of years later to a show, and she had this ring. I decided, “You know what? It's a really cool ring. Let's swap it out.” She wanted a pendant. I like to be a little flexible. Like I said, I want people to have my jewelry because they love it, not because they're forced to keep it. Sharon: I'm curious; in your studio, do you have pets that keep you company? Jennifer: I do. I've got a dog and a cat. My cat, Shackleton, likes to work with me. I have two workspaces in my home. Downstairs is the shop, the studio, and then upstairs I have an office where I do the bonding and the image gathering and looking through layouts. The cat, Shackleton, likes to hang out upstairs in the office and sit on all my papers and be in the way, but be very cute. Then my dog, her name's Sophia. She tends to stay out of the studio because it's loud and dusty. She'll come in the office and hang out, too, sometimes. But I don't know. She kind of does her own thing. She lets me work. Sharon: Well, it sounds like nice company. Do you make more than one piece at a time? All the pieces and extras, let's say, do you put them in a closet and then pull them out if somebody wants them? What do you do? Jennifer: I definitely always have some inventory on hand. I think as far as when I'm making pieces, as I was saying earlier, I tend to make when I have an event or I'm preparing for something coming up. Then I'll usually go above and beyond and make extra just to have. Also, because my pieces are one of a kind and the imagery is different on each earring, each ring, each bracelet, I will make more than I know I'm going to need or sell at a specific time, mostly to have options for my clients, because all the pieces are different and have different images. You never know what someone's going to be drawn to. It's especially difficult with things that have a size, like a ring or a bracelet. Then I make tons of them because you have to have lots of options. With those kinds of things, I'll take a lot more custom orders because someone will see something in person that they love, but it's not their size. I do my best to recreate things for people. I don't generally remake things with the exact same images because usually it's impossible, but I will do my best to get something with a similar aesthetic or feeling for people. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
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  • Episode 223 Part 2: How Gabriela Sierra Made the Jump from Packaging Design to Jewelry Design
    What you’ll learn in this episode: How Gabriela produces jewelry in Mexico, manages her business from Montreal, and sells her jewelry worldwide. Gabriela’s favorite stone to work with, and how she chooses and sources gems for her colorful jewelry. How moving from Mexico to Canada (and experiencing seasons for the first time) influenced Gabriela’s work. What it means for jewelry to be slow made. Why COVID prompted Gabriela to transition from packaging design to jewelry design, and how she overcame her hesitation to call herself a jewelry maker. About Gabriela Sierra Gaby, designer and creator of Gabriela Sierra jewelry, is anything but a minimalist. Unafraid of color, she plays with bold shapes, textures and asymmetry. Her meticulously crafted pieces are meant to be conversation starters. With a background in Industrial Design followed by a variety of courses at Alchimia Contemporary Jewellery School, Gabriela Sierra merges design and fashion to create unique sculptural jewelry. The brand seeks to reflect the spirit of the slowmade process (quality over quantity). Founded in 2021, Gabriela Sierra is committed to good design by focusing on quality materials and the revaluation of craftsmanship. Her work has been shown at different worldwide exhibitions: "Todo es Diseño" Queretaro, Mexico 2021 "The Fab" Milano Jewelry Week 2022 "Cluster Contemporary Jewelry", London 2022 "The Earring Show", Vancouver, Canada 2023 "Earrings Galore 2023 - 2024", United States   Additional Resources: Website Instagram Facebook Photos available on TheJewelryJourney.com Transcript: Expertly combining bold colors and shapes in her jewelry, it’s clear that Gabriela Sierra has an eye for design. Beginning her career in furniture and packaging design, Gabriela made her lifelong dream of becoming a jewelry maker come true in 2021, when she opened Gabriela Sierra Jewelry. She joined the Jewelry Journey Podcast to talk about how her upbringing in Mexico and her current home in Montreal influence her work; why her business follows “slow made” principles; and how she became more confident about calling herself a jewelry designer. Read the episode transcript here.   Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, I'm talking with Gabriela Sierra of Gabriela Sierra Jewelry. Welcome back. So, everything might not be handcrafted, but you have chosen those individual stones to go together or the kind of stone to work with. For instance, will you choose a faceted stone to work with? Could you have a combination of a faceted stone with a cabochon with a smooth curve? Gabriela: Yes. I already have some designs before combining these different types of cuts. Yes, for sure. I'm not like, “I'm just going to work with cabochon and that's it.” No. I think t I'm open to work with different kinds of cuts. I like to work with cuts that are not the traditional ones. I just create new cuts and new cuts, and then as I mentioned, I make an order with my suppliers to have a sample to see if it really works, because in my mind everything works perfectly. I need to see the real thing physically, here with me in my hands, to see if everything is okay. Sharon: Do you go to the Tucson Show in Arizona to choose stones? Gabriela: No, I haven’t had a chance to go. I see the videos and I see that all the jewelers I follow go there. I do wish to go there, but I just recently received my American visa. That was one of the reasons why I didn't go to the Tucson Show. But I would love to have the opportunity to go. Maybe next year. For sure, I want to go. Next year it's easier. Here in Montreal there's also a gem show, a smaller version. It was last year. I think it's here every year. I went there last year, and it was very good. Of course, to a new person it's just huge. There are a lot of suppliers from everywhere, from every part of the world, so I really wanted to go. Sharon: How do you decide if it's a good quality stone versus one that's not as good? Is it just by eye, or do you look through a loupe? Gabriela: I don't have a lot of knowledge. I’m not trained to really recognize if a stone is a very good quality stone. I think I just need to love the stone and see that it’s without any breakage, it's not with a hole or some kind of damage. I need to love the stone, and it needs to be a good cut in my opinion. I'm not an expert gemologist, so I cannot tell if it's perfectly cut. I just need to see the stone and if it's love at first sight. If I love the stone, it's perfect. Sharon: Does it have to fit a certain bezel or do you make the bezel to fit the stone? Most of your gems seem to be bezel set. Gabriela: At the beginning, when I first chose the stones and then designed, yes, I based my design on the gemstone. I created the bezel around it. But after that, when I had a clear concept, I designed first and then chose the stone. When I order the stones, they need to be the size that I need because I cannot change the design. But yes, basically all my gemstones are with a bezel. Sharon: Do you have a studio outside your home, or a place inside your apartment or home where you design your jewelry? Gabriela: In Mexico, my studio is in my house in Querétaro. Querétaro is the city where I live. It's in my house. The first floor is all my studio. Now Samantha is working there. But now here in Montréal, last year, last October, I found a place that rents a space for jewelers. I'm a resident there and I work from there. I have all the necessary things because it's an atelier. The atelier is called Artéfact. A lot of jewelers from Montreal rent their space and work there to create their pieces. Sharon: Can you go any time, or do you have to sign up for certain times? Gabriela: No, because I'm a resident, I can go if I want to go. During the night I can go. Any time I want. They give classes there also, but it doesn't matter if they are giving classes. I can go whenever I want. In Montreal it’s a little bit different. It's difficult to have a studio in your house or apartment. You need a permit because you’re working with gas, with fire, with chemicals. It’s different. In Mexico we don't need permits to have a gas tank in our house. Here it’s a little bit different. Sharon: Do you ever get nervous working with fire and chemicals? Does that make you nervous? Gabriela: At the beginning, yes. Yes, of course. Because you’re working with gas, if you're not careful enough, there could be an accident. Also, because my studio is in my house, I was worried at the beginning that I needed to be very careful because this is my house. My husband lives here. My stuff is here. So, yeah, I need to be careful. I was nervous at the beginning because I was working with fire. But you just need to follow the steps. That's it. If you work carefully and follow the precautions, you are good. Sharon: And you have a pet. Do they keep you company in the studio? Where do they keep you company? Gabriela: Yes, I have a dog. Her name is Jude Right now, she is in Mexico, but I will bring her here very soon because I miss her so much. She was the one reminding me every day, “Hey, Gabi, it's time to go home. I'm hungry. Let's go home.” Home for her was the second floor of our house. I miss her so much. It's more than love for me and for my husband. Sharon: Does she comfort you? If you're having a bad day with the stones, do you get comfort from her? Gabriela: Yes. I don't know what dogs have, but they know if you are feeling bad or you are sad or you are happy. They just know. She approaches every time I feel bad or sad, or I break a bezel or I break a gemstone. She knows. Also because I scream a lot and I'm saying bad words. Sharon: I want to talk to you a little bit about starting the business, deciding to start the business and keeping it going. You're newer in your making journey than some of the people I've talked to on the podcast. What made you decide that it was time to leave? Gabriela: Well, COVID hit, and I think for many people, it was a time to reflect, and I reflected and reevaluated my path. That was the moment that I decided to quit my job as a packaging specialist. It was hard. A lot of people called me crazy because it was a very difficult time, but I was so sure. I don't know what COVID had at that particular time but it gave me a signal or something that I wasn't in the right place. That particular time was hard, but it gave me the strength to start my jewelry business and start to set up my studio. During COVID, I took some classes to refresh the techniques that I had learned years before at Alchimia to start making jewelry. I learned a lot of techniques, but the years passed, and I needed a refresh. But it was hard. I’m not going to lie; it was really hard. Because I was new, I was scared. I was afraid of failure. In my mind, I was thinking, “Who is going to buy my jewelry? Who is going to like my jewelry? How will I pay all my bills.?” All those questions started to appear in my mind. You asked me a question about how I introduce myself, and I told you that I felt comfortable to say I was a jewelry maker a year ago. I had a lot of insecurity. I wasn't sure that I was a jewelry maker because I wasn't prepared in a jewelry school. I didn't have the proper school, I didn't have a proper education for being a jeweler. It was tough at the beginning, but then my work started to get noticed, to get exposed, and I had the opportunity to be in different exhibitions. I think the trust grew from there, and I feel more and more comfortable calling myself a jewelry maker now. Sharon: What is your distribution? How do people hear about you? Do people place orders at shows, or do you exhibit all over the world? Gabriela: Mainly my clients buy the pieces from my webpage. I also have my pieces in some stores in Mexico City. Right now, I have some of my pieces in Vancouver in a gallery. For exhibitions, they could have been bought during the exhibitions, but the exhibition is just for a couple of days, and those exhibitions were one or two years ago. The other one was two years ago. The last one is actually right now. It's Earrings Galore. The last place this exhibition was in was Mexico City, actually. Before that, Earrings Galore was in New York City at New York City Jewelry Week. Sharon: You exhibited there. Do you have to go into galleries? Are you a salesperson? Are you the salesperson, or do you put the jewelry out and people can decide what they're doing? Gabriela: Well, I'm the one who gets all the customers’ messages and everything, but in the exhibitions, I cannot go to every single one of them, so I just send the pieces and there’s a person there in charge of showing the pieces and selling the pieces. Sharon: Do you ever have to go to galleries and sell your stuff? You mentioned these stores in Mexico City that have your things. Did you have to show it yourself? Did they see your pieces and like them beforehand without knowing you? How did it work? Gabriela: For example, that one in Mexico City, I couldn't be there because I was here in Montreal. So, they could go to the exhibition and see my pieces there and try them on, see if they like them or not, but I couldn't be there. I wish I could have, but I couldn't. I want to go and attend different expositions or craft fairs. I want to start doing those, probably next year or at the end of this year. Sharon: Who buys your jewelry? Who buys your earrings? Do men buy them for women? Do women buy them for themselves? Gabriela: My main customers are from the U.S., actually. And most of my customers, the majority are women. A few of them are men. Actually, they are the ones who message me first through my Instagram account and ask me, “My wife really likes these earrings. She's showing me these earrings, but I don't know if she is going to wear them. Can you tell me if they are too big or too heavy? Can you show me pictures or a video wearing them?” Sometimes I can do that because if you message me through my Instagram account, I'm the one who answers every single message. Maybe I can take a little bit long to answer back, but for sure you will get an answer. Sharon: You mentioned COVID. Did that affect taking classes? Were you doing it through Zoom? Did it affect your business? How did you do it? Gabriela: During COVID, yeah. Mexico had a lot of restrictions, but during COVID, I went to my friend's studio. She is an amazing jeweler also. She was giving classes to a small group of people. We were three people per class, with distance between each other. So, yes, we had the classes in person. I basically didn't sell during the first year of COVID because in that year I was still working in packaging. The second year of COVID, I was almost ready. My studio was almost ready. I just started to show my work on my Instagram account, but I had just 20 followers or something. It was just the beginning. I really can’t tell you if COVID affected me as a brand because I was just beginning. Sharon: What kind of brand were you after? Give us some buzzwords about your brand. Are you high end? Are you for everyone? Tell us a little bit about your jewelry. Gabriela: Yes, of course. As I mentioned, I really like bold colors and shapes. I love to work with asymmetry and statement pieces. I love when my clients tell me that someone stopped and asked her, “I love your earrings! Where did you buy them?” I love them to be conversation starters. The main focus or the reason that I wake up every morning to make these pieces is to make people smile just looking at my pieces. I love to play with color. Bold colors, bold shapes, big earrings. Sharon: You consider your jewelry a conversation starter. Is the way that people hear about your earrings, let’s say, by word of mouth? Tell us a little bit about that. Gabriela: At the beginning when I started, my first customers were people from my city in Querétaro because I started to pay for some announcements, just in my city or in Mexico City. I started first with friends and family, as a normal startup or business that just starts. Then the word spread a little bit. Then it was like, “My friend Blanca told me about you and I love her earrings. Can you show me your earrings?” At that particular time, I didn't have a web page. I just had my Instagram account. So, with WhatsApp, I would send them some pictures of the pieces that I had at that particular moment, some videos of me wearing them. Also, if they wanted, because it was COVID still, I’d invite them to my studio to see the earrings in person. Right now, because my journey started on Instagram, boutiques got in touch with me to ask for my pieces. Then the clients grew because I had pieces in Mexico City or in Guadalajara. Then I started to learn about a little bit of marketing, making advertisements on Instagram or Facebook to show my pieces to markets out there in the United States and Europe and Japan. It was amazing for me to see how Instagram helped me grow my business, to show my pieces in Japan or New Zealand or Europe. For me, it was amazing because I didn't think my pieces would go there and people from there were going to like my pieces. Sharon: I could see how that would be exciting. Well, we wish you the best and that your business keeps going. Thank you very much. Gabriela: Thank you so much, Sharon. Thank you so much for this opportunity and for your invitation. I really appreciate it. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
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  • Episode 223 Part 1: How Gabriela Sierra Made the Jump from Packaging Design to Jewelry Design
    What you’ll learn in this episode: How Gabriela produces jewelry in Mexico, manages her business from Montreal, and sells her jewelry worldwide. Gabriela’s favorite stone to work with, and how she chooses and sources gems for her colorful jewelry. How moving from Mexico to Canada (and experiencing seasons for the first time) influenced Gabriela’s work. What it means for jewelry to be slow made. Why COVID prompted Gabriela to transition from packaging design to jewelry design, and how she overcame her hesitation to call herself a jewelry maker. About Gabriela Sierra Gaby, designer and creator of Gabriela Sierra jewelry, is anything but a minimalist. Unafraid of color, she plays with bold shapes, textures and asymmetry. Her meticulously crafted pieces are meant to be conversation starters. With a background in Industrial Design followed by a variety of courses at Alchimia Contemporary Jewellery School, Gabriela Sierra merges design and fashion to create unique sculptural jewelry. The brand seeks to reflect the spirit of the slowmade process (quality over quantity). Founded in 2021, Gabriela Sierra is committed to good design by focusing on quality materials and the revaluation of craftsmanship. Her work has been shown at different worldwide exhibitions: "Todo es Diseño" Queretaro, Mexico 2021 "The Fab" Milano Jewelry Week 2022 "Cluster Contemporary Jewelry", London 2022 "The Earring Show", Vancouver, Canada 2023 "Earrings Galore 2023 - 2024", United States   Additional Resources: Website Instagram Facebook Photos available on TheJewelryJourney.com Transcript: Expertly combining bold colors and shapes in her jewelry, it’s clear that Gabriela Sierra has an eye for design. Beginning her career in furniture and packaging design, Gabriela made her lifelong dream of becoming a jewelry maker come true in 2021, when she opened Gabriela Sierra Jewelry. She joined the Jewelry Journey Podcast to talk about how her upbringing in Mexico and her current home in Montreal influence her work; why her business follows “slow made” principles; and how she became more confident about calling herself a jewelry designer. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, I'm talking with Gabriela Sierra of Gabriela Sierra Jewelry. Her Mexican heritage shines through because of the bold colors in her jewelry. You will immediately see that when you look at her jewelry. I'm talking to her today, and she's in Canada, where she travels. She specializes in earrings. She uses recycled silver, and the stones she uses come from small, independent mines or mines that are located in Mexico. She believes in slow made. Her jewelry is meticulously crafted, and she does not have any inventory on hand. Almost everything is made to order at somebody’s request. Today, Gabriela will tell us about her business and how it works. Gabriela, welcome to the program. Gabriela: I'm so excited to be here, Sharon. Thank you so much for inviting me. Sharon: Can you tell us how you decided on jewelry as a profession? Gabriela: Yes, sure. Well, I have always been drawn to jewelry since I was a kid. I was influenced by my mom and my grandmother. I remember her presence was always announced by the clicking of her bangles and her bold earrings. I studied industrial design, and during university I took a jewelry class. That experience started everything, just initiated my passion. Basically, it started from that. I knew at that particular moment that I needed to find further training, so after I finished university, I took a four-month course at Alchimia Contemporary Jewelry School. I had an amazing time there, and also the teachers were absolutely wonderful. However, it took me some time to find the courage to start my own brand, which I did eventually, after eight years. Now I'm here. Sharon: So, you studied industrial design before? Gabriela: Yeah. Sharon: Your passion for jewelry must have been underlying, and the industrial design really brought it out. So, after eight years, you decided to start your own brand. During most of that time, were you making different kinds of jewelry? Gabriela: No, actually, when I came back to Mexico after taking the course at Alchimia, I was so afraid of failure. That's why I didn't start my own brand at that particular time. In my mind, it was better to find a normal job. So, during those eight years, I worked as a designer for furniture. I also specialized as a packaging engineer or packaging specialist. Basically, I wasn't working in jewelry those eight years. Sharon: But you were working in design, right? Gabriela: Yeah. Sharon: Did your background help you in all of this? Does industrial design help? Gabriela: Yes, of course. I think yeah, absolutely. Since the first job that I had, designing furniture, I actually like all the stripped elements. I take a lot of influence and ideas from what I see outside. You can actually see a few of my designs being an idea of a light bulb, for example. I think it helped a lot. Also talking about packaging, especially the job that I had, it helped me a lot to understand a little bit of marketing and, of course, packaging. It gave me a big picture to understand a little bit more, not just the design part, but everything else, all the different areas involving the launch of a product. Sharon: I'm sure you do a whole range of jewelry, but right now you seem to focus more on earrings. Is that true? And, if so, why? Gabriela: Right now, yes, my main focus is on earrings. A month ago I started creating rings, a series of rings. But yes, I love earrings and my main focus is earrings. Why? The earrings are easier—not to create, but rings need to be sized. For me and in my experience, it’s easier to make earrings for everyone. Rings need to be sized, so it's not for everyone. Sharon: Do you think you'll stick with earrings? Do you think you'll branch out from earrings to other things or stick with earrings? Gabriela: No, I think I will start creating other things later on. Right now, I will create the series of rings. After that, I will probably start with some necklaces. But for sure, I will start doing things differently. I’m from Mexico, but right now, I've been living in Montreal since last August. I came from another country and I’m learning about the culture here. Also, because I’m an atelier, I’m opening a new studio here in Montreal. I’m getting to know new artists and learning about them and their techniques. I think that travel helps a lot to create new things, just absorbing everything. So, I'm sure I'm going to create different things in the future, not just the earrings. Sharon: Do you have ideas that you think about when you travel or see when you’re in Montreal? Does it give you ideas for different kinds of jewelry? Gabriela: Yes, actually, my rings. I have made just three of them. I want to make 10. The concept behind the rings is winter. This is the first winter that I spent here in Montreal. What's beautiful is that it was the first time I saw snow. For me, it was beautiful. It was a big change. And it wasn’t just beautiful, it was also very hard. I wanted to encapsulate this snow in these rings. They are quartz. They're carbon quartz, but the inside is similar to snow. What I wanted to create there was the idea of encapsulating snow, encapsulating that particular moment that I saw the snow on the street. They are big, they are bold. Yeah, they're big. Sharon: Do you like the snow? Can you find it in Mexico, like in the mountains or somewhere? Gabriela: Yes, you can find snow in Mexico, probably in the mountains or in the north of Mexico, like very close to the United States. But it’s not like here. The winter in Montreal is very tough. I think once we were -16 Celsius, so it’s very hard. Sharon: Why do you manufacture in Mexico? I assume it's less expensive to manufacture there. Gabriela: Well, my studio remains in Querétaro. My partner, Samantha, is in charge of making the pieces that can be replicated there. I'm the one in charge of overseas, making sure everything runs smoothly in Querétaro. Here, I work and make the one-of-a-kind pieces. Basically, most of the pieces are shipped from Querétaro. The silver is from Mexico. Most of the stones are from Mexico also. The pieces that I make here, most of the stones are from here or the United States. These particular pieces are shipped from here because I made them here. Sharon: How do you decide which stones in which colors? You seem to flip, using the same color but a different combination, and some are totally different. Gabriela: I think at the beginning when I didn't have a clear concept, I let the stones guide me through the combinations of the pieces. But after that, now that I have a clearer concept, I design first and then I pick the gemstones. Mexico is a country with a lot of gemstones, so I have a wide variety to choose from. I didn't have any problem finding beautiful gemstones there. But yeah, at the beginning, the stones basically guided me. I designed pieces based on the stone and the shape of the stone, then I created the pieces. Now, I’ve had more time designing and creating jewelry, so I first create the design and then decide which stone will be better with the design and the concept. Sharon: When you say the stones guided you, do the stones ever talk to you and tell you what they should be or what they should be combined with? Gabriela: Yes, absolutely. It's funny, but yes. It is something that I used to say. “The earnings are like this this because they told me they needed to be combined with this stone in this particular shape in this particular order.” Yeah, the stones talk to me a lot. It was more at the beginning, but now they just say, “Okay, I like your design, so yes, we can go together.” Sharon: Do they ever say, “No, that's not right,” or “I don't like this”? Gabriela: Yes, they do. For example, I first design a piece. Then I send the drawing to my supplier or different suppliers. I receive a sample, and then I see it with the silver, and I try them and finish that prototype. I need to see if they are good together, and sometimes it’s just not right. It feels not right. Maybe those stones don’t want to be next to the silver or this particular stone. I don't know. But yeah, totally. Sharon: So you use different suppliers for stones? Gabriela: Yes. In Mexico, as I previously said, we have a lot of options, and I have great connections with local suppliers here. The first one, the main one was Don Guille he was the first lapidary that I worked with. Sharon: I'm sorry; is that a company name or a person's name? Gabriela: I'm sorry. I called him by his nickname. His name is Guillermo. Sharon: Okay. That's where you got your first stones from? Gabriela: Yeah. He passed away, and now his son and grandsons continue his craft. I also have other suppliers in San Miguel. I also have one from India, Naseem. I also get some gemstones from India. Those three are my main suppliers. Now I'm here in Montreal and I am finding new ones because I prefer to work with the stones that are close to me in Canada. I also have a lot of gemstones in the United States. Sharon: Do you have a favorite stone? Gabriela: Yes, I have one. I don't know if you know this gemstone. The name of this gemstone is cotton candy agate. This particular gemstone is from Mexico. I love the color of this gemstone because it reminds me of a cherry blossom. It's a very soft pastel pink. That is my favorite gemstone, but I love all types of jaspers. I love gemstones with a lot of personality and different patterns and different colors. Actually, the first one that I mentioned, the cotton candy agate, most of my first designs and pieces were with this gemstone. I created a collection with this one. Sharon: You use a lot of silver. Have you ever used a different metal? Gabriela: No. All my pieces are made with silver until last week, because I finished a ring and I incorporated copper. But that's the only piece that I incorporated copper. I'm just experimenting to see how it looks, how I work with this new material, because I hadn’t worked with copper before. Mainly all the pieces that you see on my webpage are with silver, 10.50 silver. Sharon: Going back to the cotton candy stone, the pale pink stone, tell us about working with something like that. Is it easier to work with? Gabriela: That particular gemstone is easy to work with. The only difficult thing is that it's not easy to find. It’s from Mexico, but it's not easy to find that particular gemstone. That's why I have a few gemstones and that particular agate, but I'm saving them for the future because I haven’t found more of this gemstone. Sharon: Do you get other stones or other pink stones? Is Mexico the only place that you can find them? Can you find them in the United States or in Canada also?   Gabriela: Yes, you can find it in the United States, but they are from Mexico. There are suppliers that bought this particular item from Mexico. But yes, you can find it in the United States on Etsy or Facebook, Instagram, different suppliers. But this particular gemstone is from Mexico and that's it. You're not going to find it anywhere else. Sharon: Wow. So, they sell it to people in the States here. You're in Canada right now. Do you have any idea where you'll settle with your jewelry? Will you continue to work in Canada or move again? Gabriela: Right now, I’m in Canada because my husband is studying a master’s here. Our idea or the main objective is to stay here in Canada. We love this city, Montreal. We have been here every year since four years ago. We love the culture, we love the weather, we love all the activities that are here. The main thing that we love here is that we can see the difference between seasons. In Mexico, it's not that easy to see the difference between seasons. Mexico has very good weather. I'm not saying that. It’s just that you can’t differentiate between seasons, because mainly the entire year is the same temperature. It doesn't change a lot. But yeah, we want to stay here. We'll see. I hope we can stay here. Sharon: As the seasons change the way you mentioned it, do they influence the stones? Do you make different kinds of jewelry in winter than in summer? Gabriela: Yes, for sure. Right now, I haven't created new collections here because I just recently found a studio to work. I found it last October. I started to create collections a year ago when I was in Mexico, and I created three because of the change of seasons. Depending on the seasons, I try to look for particular colors of the gemstones. Maybe because it's summer, I'm looking for more vibrant colors. In autumn it’s more earth colors. Also, when it's winter in Mexico, I try to make smaller earrings instead of bigger because during winter you are wearing scarves. In my mind it’s easier to wear smaller ones than big ones during winter. Sharon: How do you introduce yourself? Do you introduce yourself as a jewelry designer? How do you describe yourself? Gabriela: I always introduce myself as a jewelry maker, even though I also think I'm a jewelry designer. I think they go hand in hand. I think recently, in the last year and a half, I felt comfortable introducing myself as a jewelry designer. Sharon: Jewelry designer, okay. What do you consider a collection? Is it the colors? Is it a number of pieces? What is a collection made of? Gabriela: The collection that I created last year was my first one. So, for me, collection was a seasonal collection. I try to focus on the seasonal relevance at that particular time. I was inspired by the things during that particular season. For example, the one I created during summer was the candy collection. I created a collection of earrings resembling candies because they had vibrant colors, big statement earrings. Sharon: When do you make those? It must be hard in winter to be thinking about summer jewelry, or in summer to be thinking about winter jewelry. That's when you're making the collection, right? Not in the season, but before the season. Gabriela: Yeah, a little bit before. Just a little bit. I will admit that I’m not super organized. Sometimes I start making the rings or the collections just a couple of weeks before, so I’m seeing them in the middle of the season. Sharon: So, it's right before. What are you designing now? What colors are you thinking about now as spring is going into summer? I don't know how it is in Montreal, but here it's really spring. If it started snowing, would you think of different colors? If you're already working on the spring collection and suddenly it starts snowing, for instance. Gabriela: I'm a little bit behind, actually. I haven't finished the series of rings that I mentioned before, and for those rings the concept is winter. Right now I’m working with those. But at the same time in Mexico, Samantha is working on a collection for the web page with pieces that can be replicated. She's working with bold colors because spring is coming. We're working on new designs. Actually, this week, she is making some prototypes that I just made. I need to see them and approve them in order to continue with the real production for these pieces. But they're going to be with bold colors. We are both working with glass and some jaspers, and also with carbon quartz. Sharon: This is for production, but what were you describing by saying that you don't have a lot of inventory? That it’s one of a kind? Gabriela: Well, we don't have a lot of inventory. The pieces that you see on our website are the pieces that we have in stock, and that's it. But those pieces that are not part of the one of a kind section, we can replicate them. The ones you are seeing on our web page are the ones we have available at the moment. If a client buys this piece right now, I need to make a new one in order to sell this new piece. Sharon: Do you ever reject a prototype and say, “I decided I don't want green. I want red in it”? You reject the prototype, you’re saying yes. Gabriela: Yeah. If I don't like it, yes, of course. I just reject it and try again. I iterate a lot until I find the right combination, the right size, the right color, everything. Sharon: What do you mean by slow made? I've heard the term, but how do you define it? Gabriela: For me, slow made is quality over quantity. It's attention to detail. Pieces are made to order, as I mentioned before. We don’t carry excessive inventory. We take our time to create each piece and to see that every piece is made at the right quality. Everything needs to be on point.   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  
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Every day, people surround us wearing art, history, and culture, but we usually don’t pay attention. Most people think about jewelry as an afterthought or accessory. But jewelry can tell a larger story, one reflecting the connection between contemporary culture and that of yesteryear. Is jewelry clothing, art, status symbol, or something more? The jewelry world seems to be hidden in plain sight and little understood. The Jewelry Journey podcast explores the many aspects of jewelry and its status as art. We talk with those who live and breathe this form of adornment: makers, dealers, gallerists, academics collectors and more. The goal is to elevate the conversation beyond Etsy or big diamonds and see jewelry in a new light, so that we can appreciate the little pieces of wonder that float by each day.
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