Another long day in the studio, with a lot on my mind. So bear with me…

I’ve been thinking a lot about the kind of business I would like to have, and I’m realizing that in order to get to this, I may have to do some slightly more formal things. Like writing a business plan. So, I’m going to attempt to begin to verbalize some of my goals.

When I daydream about the kind of business I’d like to have, it certainly isn’t a one woman show slugging away in my garage. Several years ago, I read an article about a handbag designer who moved to the Blue Ridge Mountains and set up a small workshop – employing local women in the creation of upscale handbags. This wasn’t labor exploitation, rather she was providing gainful employment and teaching a skill to women who may not have found a good job otherwise. This idea has really stuck with me – a business making positive contributions to a local economy by teaching hand skills and providing good employment. This is the kind of business I want.

I’ve also been thinking a lot about the idea of teaching, and I’ve come to the following conclusion – I don’t have to be in a classroom to teach. My experience having interns (hooray for my awesome interns!) has shown me that I can teach and mentor people in a work environment. I also feel like I can learn a lot from the people I surround myself and my business with. I’d like to keep this spirit of teaching and learning as an important component of my business.

One of my biggest design icons is Tord Boontje. I just love how his clear aesthetic pervades every product he designs. When people ask me what I want to be, I say Tord Boontje. While I have no intention of copying him directly, what I really want is a business where I’m creating both jewelry and home goods that have a strong and cohesive aesthetic.

That’s all for tonight, sorry it’s a little disjunctive. Thanks for listening!

A while back, I alluded to an opportunity that developed at New York Gift. Well, I’m finally ready to spill the beans. I was invited to participate in a jewelry trunk show at the San Francisco Museum of Modern Art!

I’m so psyched! I’ve never been to San Francisco before, and I’ve convinced Joe to come with me and spend a couple of days site-seeing. So in April, its off to San Francisco. I have a (long) list of things I can’t wait to see, but in the mean time, if anyone has any suggestions of things for us to do, I’d love to hear them!

Just a quick post to let everyone know that you can now find my silver on steel rings at Rare Device San Francisco.

(And yes, I’m jumping up and down at the fact that Rare Device is now carrying my work!)

After several days of teasers, I finally received the newest issue of American Craft Magazine in the mail yesterday. I’ve been totally impressed with the re-design, and particularly like this issue’s focus on craft and industry.

I’ve been thinking a lot lately about the type of business that I want to have, and this issue has really given me some things to think about… (more on that later, I’m sure.)

A big batch of my long leaf chain, in progress.

Its spring break this week, so I didn’t have to teach today. This is great because (a) I have a ton of orders I’m working on and (b) I’m sick. Ok, back to the studio, hopefully my sore throat goes away soon.

I seem to be blogging a lot recently about exhibitions I’ve seen and the work of other artists. Hopefully it makes up for the lack of interesting stuff being made in my studio. (What am I working on, you ask? Mostly order fulfillment. But I digress…)

Last night, I went to the opening for April Wood’s graduate thesis, A Consuming Desire. April was the only graduate student when I started teaching at Towson, and she made my transition so much easier. April’s thesis explores peoples’ relationships to food, eating, and sexuality. Her exhibition was a lovely installation incorporating metal, gut, beeswax, vintage furniture and linens, and food stuff. Congratulations, April!

To view more images of April’s work, visit her flickr site.

Just a quick little sketch to share before I run out the door for April‘s opening.

I just wanted to say hello and welcome to any new readers who arrived either through SNAG or Annie’s excellent discussion. Thanks for stopping by! (And feel free to introduce yourself in the comments section.)

I’m also happy to report that you can now view all my photos from Savannah here.

Annie’s post yesterday, and its subsequent comments, really got me thinking. So I thought I would post my response here.

I consider myself in a unique position. I come from an academic background and came up entering the traditional craft world – I have a BFA and an MFA both in metalsmithing, I participate in SNAG, co-wrote an article for Metalsmith, and I recently participated in the ACC Baltimore show. But I also participate in the indie craft world – I have a blog, an Etsy shop, and last year did 5 indie craft shows.

In thinking about why I seem to straddle the fence, perhaps it’s because neither community seems to fully meet my needs. I like the sense of history and tradition that I get from the “established” craft community, and admittedly, its nice to be in a group where my seven years of higher education mean something. (I’d like to think I didn’t waste my time during those seven years.) But I like the energy, enthusiasm, and creativity in the indie community that comes from both the makers and the consumers. My work is the same no matter which community I am in, and so I guess at some point last year I decided just to keep making my work, and fit it in anywhere, regardless of labels.

My experience at the SNAG conference was very positive, because the overall impression I got was “we are not alone.” I met a number of young makers who are not concerned about where they fit into these boundaries, but instead are forging a path that works best for their work and their desired lifestyle. (Amy Tavern is a great example of this.) But I met many others who are confused – they aren’t sure they fit into the established craft world, but feel they are over-trained and over-priced for the indie craft community. (A stereotype Bruce Metcalf reinforced in his presentation.)

I hope that is next generation of makers aren’t discouraged about what went on at SNAG, but rather feel empowered to take control of the organization and mold it into something that helps define our careers and our identities over the next several decades. SNAG is ripe for a changing of the guard, and we can be that group. And I hope that same group continues to participate in indie venues as we work to educate the consumer (and the outside community) about the high level of craft and innovative work that can be found in the indie community.

I just want to end by quoting one of my students. When I asked her what she thought about the Bruce Metcalf/Andrew Wagner lecture, she said, “I didn’t know there was a difference between traditional craft and alt-craft, I just thought it was all craft.”

Now, if only we all saw it this way.