20 Year Anniversary Overview Exhibition

July 23 – August 28, 2022

Ornamentum Window, July 2022

Ornamentum Interior View ca. 2003

Ornamentum Interior View 2002

Ornamentum Storefront ca. 2004

Gerd Rothmann, Mit dem Künstler Daumen, 1999, necklace, gold

(Inv# 5043)

 

After studying in Germany, Laura and Stefan landed in Providence where they lived for two years while working in the jewelry industry and searching for the right place to call ‘Home’. In early 2001 an exhibition titled A View By Two came to the RISD Museum, featuring several of the world's leading jewelers, and among them was Gerd Rothmann. At an accompanying symposium, Laura and Stefan met Rothmann.

After several months had passed from the exhibition, Stefan reached out to Gerd and asked him to make their wedding bands. Fortuitously, this request also coincided with Stefan and Laura’s initial process of buying a building in Hudson, NY, where they planned to relocate and set up a studio/gallery. When the wedding bands were completed Stefan discussed his plan to open a contemporary jewelry gallery in Hudson with Gerd. Rothmann, looking back, described his initial thoughts on the matter, “I wasn’t very enthusiastic, but I gave a gold necklace to exhibit for a year. To my surprise the expensive piece was sold. Later they explained to me that this sales success was decisive for the move away from Ornamentum being a studio, to becoming a serious gallery.” This necklace was acquired by the Donna Schneier Collection and now finds itself in the permanent collection of the Metropolitan Museum.

 

view the story with photos

Gerd Rothmann, Mit dem Künstler Daumen, 1999, necklace, gold

(Inv# 5043)

 

After studying in Germany, Laura and Stefan landed in Providence where they lived for two years while working in the jewelry industry and searching for the right place to call ‘Home’. In early 2001 an exhibition titled A View By Two came to the RISD Museum, featuring several of the world's leading jewelers, and among them was Gerd Rothmann. At an accompanying symposium, Laura and Stefan met Rothmann.

After several months had passed from the exhibition, Stefan reached out to Gerd and asked him to make their wedding bands. Fortuitously, this request also coincided with Stefan and Laura’s initial process of buying a building in Hudson, NY, where they planned to relocate and set up a studio/gallery. When the wedding bands were completed Stefan discussed his plan to open a contemporary jewelry gallery in Hudson with Gerd. Rothmann, looking back, described his initial thoughts on the matter, “I wasn’t very enthusiastic, but I gave a gold necklace to exhibit for a year. To my surprise the expensive piece was sold. Later they explained to me that this sales success was decisive for the move away from Ornamentum being a studio, to becoming a serious gallery.” This necklace was acquired by the Donna Schneier Collection and now finds itself in the permanent collection of the Metropolitan Museum.

 

view the story with photos

Gerd Rothmann, Edition Ornamentum, 2022, bracelets, plexiglass, screen printing

various colors and sizes, edition of 5 each color

 

After studying in Germany, Laura and Stefan landed in Providence where they lived for two years while working in the jewelry industry and searching for the right place to call ‘Home’. In early 2001 an exhibition titled A View By Two came to the RISD Museum, featuring several of the world's leading jewelers, and among them was Gerd Rothmann. At an accompanying symposium, Laura and Stefan met Rothmann.

After several months had passed from the exhibition, Stefan reached out to Gerd and asked him to make their wedding bands. Fortuitously, this request also coincided with Stefan and Laura’s initial process of buying a building in Hudson, NY, where they planned to relocate and set up a studio/gallery. When the wedding bands were completed Stefan discussed his plan to open a contemporary jewelry gallery in Hudson with Gerd. Rothmann, looking back, described his initial thoughts on the matter, “I wasn’t very enthusiastic, but I gave a gold necklace to exhibit for a year. To my surprise the expensive piece was sold. Later they explained to me that this sales success was decisive for the move away from Ornamentum being a studio, to becoming a serious gallery.” This necklace was acquired by the Donna Schneier Collection and now finds itself in the permanent collection of the Metropolitan Museum.

 

view the story with photos

Gerd Rothmann, Edition Ornamentum, 2022, bracelets, plexiglass, screen printing

various colors and sizes, edition of 5 each color

 

After studying in Germany, Laura and Stefan landed in Providence where they lived for two years while working in the jewelry industry and searching for the right place to call ‘Home’. In early 2001 an exhibition titled ‘A View By Two’ came to the RISD Museum. The exhibition featured several of the world's leading jewelers, among them was Gerd Rothmann. At an accompanying symposium, Friedman met Rothmann.

 

After several months had passed from the exhibition, Stefan reached out to Gerd and asked him to make his wedding bands. Fortuitously, this request also coincided with Stefan and Laura’s initial process of buying a building in Hudson, NY, where they planned to relocate and set up a studio/gallery. When the wedding bands were completed Stefan discussed his plan to open a contemporary jewelry gallery in Hudson with Rothman. Rothmnann, looking back, described his initial thoughts on the matter, “I wasn’t very enthusiastic, but I gave a gold necklace to exhibit for a year.  To my surprise the expensive piece was sold.  Later they explained to me that this sales success was decisive for the move away from Ornamentum being a studio, to becoming a serious gallery.”  This necklace was acquired by the Donna Schneier Collection and now finds itself in the collection of the Metropolitan Museum

Gerd Rothmann, Edition Ornamentum, 2022, bracelets, plexiglass, screen printing

various colors and sizes, edition of 5 each color

 

After studying in Germany, Laura and Stefan landed in Providence where they lived for two years while working in the jewelry industry and searching for the right place to call ‘Home’. In early 2001 an exhibition titled ‘A View By Two’ came to the RISD Museum. The exhibition featured several of the world's leading jewelers, among them was Gerd Rothmann. At an accompanying symposium, Friedman met Rothmann.

 

After several months had passed from the exhibition, Stefan reached out to Gerd and asked him to make his wedding bands. Fortuitously, this request also coincided with Stefan and Laura’s initial process of buying a building in Hudson, NY, where they planned to relocate and set up a studio/gallery. When the wedding bands were completed Stefan discussed his plan to open a contemporary jewelry gallery in Hudson with Rothman. Rothmnann, looking back, described his initial thoughts on the matter, “I wasn’t very enthusiastic, but I gave a gold necklace to exhibit for a year.  To my surprise the expensive piece was sold.  Later they explained to me that this sales success was decisive for the move away from Ornamentum being a studio, to becoming a serious gallery.”  This necklace was acquired by the Donna Schneier Collection and now finds itself in the collection of the Metropolitan Museum

Gerd Rothmann, Edition Ornamentum, 2022, bracelets, plexiglass, screen printing

various colors and sizes, edition of 5 each color

 

After studying in Germany, Laura and Stefan landed in Providence where they lived for two years while working in the jewelry industry and searching for the right place to call ‘Home’. In early 2001 an exhibition titled ‘A View By Two’ came to the RISD Museum. The exhibition featured several of the world's leading jewelers, among them was Gerd Rothmann. At an accompanying symposium, Friedman met Rothmann.

 

After several months had passed from the exhibition, Stefan reached out to Gerd and asked him to make his wedding bands. Fortuitously, this request also coincided with Stefan and Laura’s initial process of buying a building in Hudson, NY, where they planned to relocate and set up a studio/gallery. When the wedding bands were completed Stefan discussed his plan to open a contemporary jewelry gallery in Hudson with Rothman. Rothmnann, looking back, described his initial thoughts on the matter, “I wasn’t very enthusiastic, but I gave a gold necklace to exhibit for a year.  To my surprise the expensive piece was sold.  Later they explained to me that this sales success was decisive for the move away from Ornamentum being a studio, to becoming a serious gallery.”  This necklace was acquired by the Donna Schneier Collection and now finds itself in the collection of the Metropolitan Museum

Jaydan Moore Platter, Carnegie, MFA Boston, Honolulu Museum of Art, Sculpture,

Jaydan Moore, Reticulate, 2022, found silver-plated platters, 42 x 40 x 2.5 "

(Inv# 7605)

 

 Jaydan Moore has created a composition-language that references the decorative arts and historical silver, and found silver-plated platters are his medium- sometimes immediately recognizable with handles and edges visible, other times less evident.  His sculptures are created by hand using all the skilled methods of traditional metal crafts yet the work is undeniably finding its place in the realm of Fine Art.

Jaydan Moore joined with Ornamentum in 2015 and was first presented at the Collective Design Fair in NYC.  Subsequently his work has been featured at Design Miami/ Basel and Design/ Miami, where he has become a crowd favorite, with his works being acquired by important private and public collections, including the Carnegie Museum of Art and Honolu Museum of Art and MFA Houston.  Later this year, Moore's first platter wall piece will be exhibited at the MFA Boston.

"Ornamentum Gallery is an institution. They have been a catalyst in how contemporary jewelry is envisioned through their exhibitions and stellar collection of artists. For twenty years, they have succeeded in presenting ever-evolving contemporary metalwork to the public to grow the cultural understanding of what jewelry means to our society. 

Alongside their pedigree, Laura and Stefan have been family. Their kindness and generosity make being a part of their network a pleasure. They have helped me grow as an artist over the years we have worked together. I am honored to work with Ornamentum Gallery and look forward to growing together over the years to come."  JM

Jaydan Moore platter art wallMoore Platter, Carnegie, MFA Boston, Honolulu Museum of Art, Sculpture,

Jaydan Moore, Reticulate, (detail) 2022, found silver-plated platters, 42 x 40 x 2.5 "

(Inv# 7605)

 

 Jaydan Moore has created a composition-language that references the decorative arts and historical silver, and found silver-plated platters are his medium- sometimes immediately recognizable with handles and edges visible, other times less evident.  His sculptures are created by hand using all the skilled methods of traditional metal crafts yet the work is undeniably finding its place in the realm of Fine Art.

Jaydan Moore joined with Ornamentum in 2015 and was first presented at the Collective Design Fair in NYC.  Subsequently his work has been featured at Design Miami/ Basel and Design/ Miami, where he has become a crowd favorite, with his works being acquired by important private and public collections, including the Carnegie Museum of Art and Honolu Museum of Art and MFA Houston.  Later this year, Moore's first platter wall piece will be exhibited at the MFA Boston.

"Ornamentum Gallery is an institution. They have been a catalyst in how contemporary jewelry is envisioned through their exhibitions and stellar collection of artists. For twenty years, they have succeeded in presenting ever-evolving contemporary metalwork to the public to grow the cultural understanding of what jewelry means to our society. 

Alongside their pedigree, Laura and Stefan have been family. Their kindness and generosity make being a part of their network a pleasure. They have helped me grow as an artist over the years we have worked together. I am honored to work with Ornamentum Gallery and look forward to growing together over the years to come."  JM

TAP by Todd Pownell, diamonds, gold ring

Todd Pownell, Ring, 2022, 18k gold, uniquely cut fancy cognac diamond surrounded by 20 inverted fancy cognac colored round diamonds

(Inv# 7532)

silver, chess set, king, queen, enamel, handmade

Aaron Decker, King and Queen, 2022, silver, enamel

Q: 1.75 x 5/8 x 1"

K: 1 5/16 x 7/8 x 7/8"

Aaron Decker, an American jeweler, attended Cranbrook Academy of Art under Iris Eichenberg and was the recipient of the MARZEE graduate prize, The Mercedes Benz Emerging Artist Award, and the Talente Prize. Decker's work is found in both national and international collections. Aside from making, Decker is a commended writer and poet within the field. Aaron Decker’s writing can be found in  CURRENT-OBSESSION and ART JEWELRY FORUM. Notably, Decker was one of the two writers for the Ruudt Peters Retrospective Catalog, BRON. 

 

Decker’s work is a poetic yet playful, using symbols reminiscent of childhood juxtaposed with refined technical finishes- the themes throughout his work allude to his queer youth growing up in a military family. Decker uses idyllic, bright color palettes to disguise violence and weapons. His skill and bold approach to enameling make his work hard to miss.  

 

Aaron Decker’s relationship with Ornamentum began with an internship in the summer of 2014 where he stayed at the family home where he had the opportunity to get to know Laura, Stefan, and their sons Kai and Lukas. His inspiration for the chess piece for Ornamentum’s 20 Year Exhibition comes from a fond memory from that time. 

One morning I awoke to Lukas, who was not yet ten, challenging me to a game of chess.

We sat down to play. Lukas took his time looking across the board at every move, refusing to lift his finger from a piece until he was absolutely sure it was the correct one to make. He played slowly, thoughtfully, and exceptionally well. Every time I moved he would ask 'Are you sure that's the best move to make?'

That memory stuck with me for several years, long enough for me to learn to play chess, come back to Hudson, and kick Lukas's butt in one...single...revelatory...retribution match. Did I hold a grudge against a kid? Yes. Did it feel great to win? Absolutely. 

When I was asked to make work for the 20th anniversary show, I couldn't get that memory out of my head. I love that story and the Ornamentum family. I dedicate this chess set to my time with them, and to the future to come <3.”

In Reflecting on the making of a chess set which will premiere at Salon 2022, Decker states 

"Why the hell are we all protecting the most useless player, and why does he have so much power? The game of chess is a great metaphor. The sides mirror one another, they are literally the same, pieces. The pawns are many, the powerful are few. And the overarching idea, protect the weakest guy, but also, he is a king.... I wanted to reimagine the game of chess more honestly. A short, stout king with no visible weapon other than an idea, religion. A queen who we all know is the most powerful, her weapons pointy and stilted. The knight, bishop, and rook, all quite large, with only singular purposes. And the pawns, usually the youngest soldiers put to the frontlines, are literal babies. Each piece hinges at its waist. When taken by another side, the piece dies, is cracked open, and splat, lays flat with its legs and head up, as though broken in two. Games hide violent seduction. We all want to be powerful and win, don't we?”

 

silver, chess set, king, queen, enamel, handmade

Aaron Decker, King and Queen, 2022, silver, enamel

Q: 1.75 x 5/8 x 1"

K: 1 5/16 x 7/8 x 7/8"

Aaron Decker, an American jeweler, attended Cranbrook Academy of Art under Iris Eichenberg and was the recipient of the MARZEE graduate prize, The Mercedes Benz Emerging Artist Award, and the Talente Prize. Decker's work is found in both national and international collections. Aside from making, Decker is a commended writer and poet within the field. Aaron Decker’s writing can be found in  CURRENT-OBSESSION and ART JEWELRY FORUM. Notably, Decker was one of the two writers for the Ruudt Peters Retrospective Catalog, BRON. 

 

Decker’s work is a poetic yet playful, using symbols reminiscent of childhood juxtaposed with refined technical finishes- the themes throughout his work allude to his queer youth growing up in a military family. Decker uses idyllic, bright color palettes to disguise violence and weapons. His skill and bold approach to enameling make his work hard to miss.  

 

Aaron Decker’s relationship with Ornamentum began with an internship in the summer of 2014 where he stayed at the family home where he had the opportunity to get to know Laura, Stefan, and their sons Kai and Lukas. His inspiration for the chess piece for Ornamentum’s 20 Year Exhibition comes from a fond memory from that time. 

One morning I awoke to Lukas, who was not yet ten, challenging me to a game of chess.

We sat down to play. Lukas took his time looking across the board at every move, refusing to lift his finger from a piece until he was absolutely sure it was the correct one to make. He played slowly, thoughtfully, and exceptionally well. Every time I moved he would ask 'Are you sure that's the best move to make?'

That memory stuck with me for several years, long enough for me to learn to play chess, come back to Hudson, and kick Lukas's butt in one...single...revelatory...retribution match. Did I hold a grudge against a kid? Yes. Did it feel great to win? Absolutely. 

When I was asked to make work for the 20th anniversary show, I couldn't get that memory out of my head. I love that story and the Ornamentum family. I dedicate this chess set to my time with them, and to the future to come <3.”

In Reflecting on the making of a chess set which will premiere at Salon 2022, Decker states 

"Why the hell are we all protecting the most useless player, and why does he have so much power? The game of chess is a great metaphor. The sides mirror one another, they are literally the same, pieces. The pawns are many, the powerful are few. And the overarching idea, protect the weakest guy, but also, he is a king.... I wanted to reimagine the game of chess more honestly. A short, stout king with no visible weapon other than an idea, religion. A queen who we all know is the most powerful, her weapons pointy and stilted. The knight, bishop, and rook, all quite large, with only singular purposes. And the pawns, usually the youngest soldiers put to the frontlines, are literal babies. Each piece hinges at its waist. When taken by another side, the piece dies, is cracked open, and splat, lays flat with its legs and head up, as though broken in two. Games hide violent seduction. We all want to be powerful and win, don't we?”

Ute Eitzenhoefer, jewelry, schmuck, turquoise, german design

Ute Eitzenhoefer, 2022-01, 2022, brooch, turquoise, oxidized silver, wood, 2.6 x 2.6 x .4 "

(Inv# 7482)

Ute Eitzenhoefer, jewelry, schmuck, turquoise, german design, earrings

Ute Eitzenhoefer, Ear Jewels, 2022, brooch, turquoise, oxidized silver, wood, 1.75 x .9 x .25 "

(Inv# 7483)

Ute Eitzenhoefer, jewelry, schmuck, turquoise, german design

Ute Eitzenhoefer, 2020-04, 2020, brooch, turquoise, oxidized silver, wood, 5 x 1.4 x .6 "

(Inv# 7481)

Ruudt Peters, Azoth Ring, 2004, silver, polyester, 1.4 x 1.6 x 1.6 "

(Inv# 7436)

 

Ruudt Peters Azoth

 

In 2004 Stefan Friedemann attended Munich Jewelry Week, the world's largest jewelry festival, where he met Dutch Jeweler, Ruudt Peters. Peters was presenting his Azoth series, a now famous body of work. A year later, Stefan and Ruudt had remained in contact and in 2005, Peters let it be known that he was interested in presenting the work with Ornamentum, an opportunity the gallery jumped at. They were aware of their limitations as a young gallery trying to present even less conventional works in experimental and materials and forms.

In reflection, Stefan Notes, “It had been in our minds that we would probably enter the art fair world at some point down the road, but with Ruudt Peters on board we decided that we should step up that year, and we presented Azoth at the SOFA fair in Chicago, 2005, each piece presented in a bowl of water upon an iron stand”. This step jump started the gallery in their trajectory of exhibiting at international fairs- soon after leading to their acclaim as pioneers in the field, as well as a reputation for presenting the more challenging works and installation based presentations.”

 

view the story with images

Ruudt Peters, Azoth 12, 2004, brooch, silver, polyester, 1.8 x 1.6 x 2 "

(Inv# 7435)

 

Ruudt Peters Azoth

 

In 2004 Stefan Friedemann attended Munich Jewelry Week, the world's largest jewelry festival, where he met Dutch Jeweler, Ruudt Peters. Peters was presenting his Azoth series, a now famous body of work. A year later, Stefan and Ruudt had remained in contact and in 2005, Peters let it be known that he was interested in presenting the work with Ornamentum, an opportunity the gallery jumped at. They were aware of their limitations as a young gallery trying to present even less conventional works in experimental and materials and forms.

In reflection, Stefan Notes, “It had been in our minds that we would probably enter the art fair world at some point down the road, but with Ruudt Peters on board we decided that we should step up that year, and we presented Azoth at the SOFA fair in Chicago, 2005, each piece presented in a bowl of water upon an iron stand”. This step jump started the gallery in their trajectory of exhibiting at international fairs- soon after leading to their acclaim as pioneers in the field, as well as a reputation for presenting the more challenging works and installation based presentations.”

 

view the story with images

Ruudt Peters, Azoth 1, Diopsiet Double, 2004, pendant, silver, polyester, 2.7 x 1.4 x 3.5 "

(Inv# 7433)

 

Ruudt Peters Azoth

 

In 2004 Friedemann attended Munich Jewelry Week, the world's largest jewelry festival, where he met Dutch Jeweller, Ruudt Peters. Peters was presenting his Azoth series, a now famous body of work. A year later, Stefan and Ruudt had remained in contact and in 2005, Peters During his time hePeters let it be known that he was interested in presenting the work with Ornamentum, an opportunity the gallery jumped at aware of their  limitations as a young gallery trying to present even less conventional works in experimental and materials and forms.  

 

In reflection, Stefan Notes, “It had been in our minds that we would probably enter the art fair world at some point down the road, but with Ruudt Peters on board we decided that we should step up that year, and we presented Azoth at the SOFA fair in Chicago, 2005, each piece presented in a bowl of water upon an iron stand”.  This step jump started the gallery in their trajectory of exhibiting at international fairs- soon after leading to their acclaim as pioneers in the field, as well as a reputation for presenting the more challenging works and installation based presentations.”

 

view the story with images

Ruudt Peters, Azoth 7, Kwartz, 2004, pendant, silver, polyester, 2 x 2.6 x 1.75 "

(Inv# 7434)

 

Ruudt Peters Azoth

 

In 2004 Stefan Friedemann attended Munich Jewelry Week, the world's largest jewelry festival, where he met Dutch Jeweler, Ruudt Peters. Peters was presenting his Azoth series, a now famous body of work. A year later, Stefan and Ruudt had remained in contact and in 2005, Peters let it be known that he was interested in presenting the work with Ornamentum, an opportunity the gallery jumped at. They were aware of their limitations as a young gallery trying to present even less conventional works in experimental and materials and forms.

In reflection, Stefan Notes, “It had been in our minds that we would probably enter the art fair world at some point down the road, but with Ruudt Peters on board we decided that we should step up that year, and we presented Azoth at the SOFA fair in Chicago, 2005, each piece presented in a bowl of water upon an iron stand”. This step jump started the gallery in their trajectory of exhibiting at international fairs- soon after leading to their acclaim as pioneers in the field, as well as a reputation for presenting the more challenging works and installation based presentations.”

 

view the story with images

Ruudt Peters, Nebula, Occiput, 2021, brooch, silver, glass, 2.95 x 2.95 x 2 "

(Inv# 7439)

David Bielander, leather, flower pot, handbag, purse

David Bielander, Blumenampel (Flower Pot), 2022, handbag/ object, silver, leather, 7.5 x 8.75 x 23.5 "

Sold

 

David Bielander, born in Basel, Switzerland, began his journey into jewelry with a goldsmith apprenticeship. Later, he moved to Germany to work for jeweler Georg Spreng before studying under Professor Otto Künzli at the Academy of Fine Arts in Munich. Bielander held the position of Creative Assistant to Professor Daniel Kruger at the Academy of Fine Arts Burg Giebichenstein, Halle, and as an external consultant to the jewelry department at Gerrit Rietveld Academie in Amsterdam. His work is found in notable museums around the world and he has received several prestigious awards such as the Swiss Grand Prix de Design in 2017; the Munich Förderpreis in 2009; Herbert Hofmann Prize in 2010; the Françoise van den Bosch Prize in 2012; the Swiss Design Award in 2012, to name a few.

Bielander takes familiar objects and pushes them to the point of ironic abstraction. A play on hierarchy and value occurs in his Cardboard series as he manipulates gold to perfectly resemble corrugated cardboard. TheCardboard Crown, which debuted in his 2015 exhibition DIY at Ornamentum is part of a limited edition of hand-made works. Following the exhibition in 2015, Ornamentum presented David Bielander at Design Miami.

In reference to the cardboard collections premiere Bielander notes “That year we released the golden cardboards in Miami - a big thing for me then, and so super successful - and a guy overlooking your booth says: Yeah, I get everything here, but (pointing at the cardboard) what about this shit?”

David Bielander has maintained a close relationship with the gallery, professionally and on a more personal level “When Lukas (still really small) was guarding the gallery, together with Laura, and inspecting all the works on display, put on the pineapple bracelet and stated after careful consideration: I’m going to wear that at my wedding.”

 

view the story with photos

Eunmi Chun, Eagle 2, 2018, necklace, cow gut, thread, ink, 16.9 x 11 x .8 "

(Inv# 5380)

Rebekah Frank, steel, jewelry, chain, chain mail

Rebekah Frank, Potential Space, 2022, necklace and brooches, sterling silver, steel, nickel silver

(Inv# 7533)

 

Rebekah Frank first came to Ornamentum while a student at Cranbrook to join Iris Eichenberg and help set up a solo exhibition of hers.  Following her graduation, she joined the gallery roster with her jewelry- compositions of steel combining rigid and fluid elements- essentially "drawings" that come to life when worn.

Ornamentum has featured Frank's work prominently at design fairs in NYC, Basel Switzerland and at Design Miam, where she was also featured as a panelist in the Design Miami Design Talks.  In 2019 Ornamentum featured Rebekah in the solo exhibition titled Just Add Flesh.

The Potential Space Series explores collapsible forms made from chains. These pieces are elegant, intricate and most definitely suggestive. You are invited to explore the potential space from the inside. The textural and tactile experience is ... surprisingly naughty.

Rebekah Frank, steel, jewelry, chain, chain mail

Rebekah Frank, Potential Space, Circular Opening, 2022, brooch, sterling silver, steel, nickel silver, 2 x 4 ", Edition of 5 

(Inv# 7533)

 

 

Rebekah Frank first came to Ornamentum while a student at Cranbrook to join Iris Eichenberg and help set up a solo exhibition of hers.  Following her graduation, she joined the gallery roster with her jewelry- compositions of steel combining rigid and fluid elements- essentially "drawings" that come to life when worn.

 

Ornamentum has featured Frank's work prominently at design fairs in NYC, Basel Switzerland and at Design Miam, where she was also featured as a panelist in the Design Miami Design Talks.  In 2019 Ornamentum featured Rebekah in the solo exhibition titled Just Add Flesh.

 

The Potential Space Series explores collapsible forms made from chains. These pieces are elegant, intricate and most definitely suggestive. You are invited to explore the potential space from the inside. The textural and tactile experience is ... surprisingly naughty.

Rebekah Frank, steel, jewelry, chain, chain mail

Rebekah Frank, Potential Space, Square Opening, 2022, brooch, sterling silver, steel, nickel silver, 2 x 4 ", Edition of 5 

(Inv# 7533)

Rebekah Frank, steel, jewelry, chain, chain mail

Rebekah Frank, Potential Space, Unbounded Opening, 2022, brooch, sterling silver, steel, nickel silver, 2 x 4 ", Edition of 5 

(Inv# 7533)

Rebekah Frank, steel, jewelry, chain, chain mail

Rebekah Frank, Potential Space: I Carry You Between, 2021, necklace, steel, sterling silver, 24" length, Edition of 5

(Inv# 7536)

Rebekah Frank, Potential Space: I Carry You Between, 2021, necklace, steel, sterling silver, 24" length, Edition of 5

(Inv# 7536)

photo: Lydia Daniller

Rebekah Frank, Potential Space: I Carry You Between, 2021, necklace, steel, sterling silver, 24" length, Edition of 5

(Inv# 7536)

photo: Lydia Daniller

Rebekah Frank, Potential Space: I Carry You Between, 2021, necklace, steel, sterling silver, 24" length, Edition of 5

(Inv# 7536)

photo: Lydia Daniller

John Iversen crackle

John Iversen, Blanket, 2019, bracelet, 18k white and green gold

 

view works by John Iversen

Terhi Tolvanen, Bridge, 2022, pendant/ object, diopside, oyster shell, heather & cherry wood, textile, silver, 4.3 x 5.5 x 2.4 "

(Inv# 7489)

 

Following technical jewelry training in her native Finland, Terhi Tolvanen relocated to Amsterdam to pursue further studies at the revered Rietveld Academy and its Masters program, the Sandberg Institute.

The title of her solo exhibition at CODA Museum (NL) Reinventing Nature, does well to describe her work, most often comprised of wooden branches and other natural materials composed into bold new forms with jewelry techniques and materials paired with unexpected elements such as concrete and paint.

Terhi reflected on her cooperation with Ornamentum:

We met for the very first time at Ruudt´s house in Amsterdam.

At the time freshly out of school I had no idea really what it's like to work with a gallery :)

Quite some years later in 2007 I was at the Chicago fair where I saw your very classy and beautiful stand and was totally impressed!

I still clearly remember having thought wow I would love to work with such a high standard gallery...

And then it took again several years before I dared to contact you. 

This year it's been ten years working together with you! I have always been very proud to be part of your gallery artists!

Terhi Tolvanen, Frosty XL, 2022, earrings, labradorite, heather wood, paint, silver, 2.2 "

Sold

 

Following technical jewelry training in her native Finland, Terhi Tolvanen relocated to Amsterdam to pursue further studies at the revered Rietveld Academy and its Masters program, the Sandberg Institute.

The title of her solo exhibition at CODA Museum (NL) Reinventing Nature, does well to describe her work, most often comprised of wooden branches and other natural materials composed into bold new forms with jewelry techniques and materials paired with unexpected elements such as concrete and paint.

Terhi reflected on her cooperation with Ornamentum:

We met for the very first time at Ruudt´s house in Amsterdam.

At the time freshly out of school I had no idea really what it's like to work with a gallery :)

Quite some years later in 2007 I was at the Chicago fair where I saw your very classy and beautiful stand and was totally impressed!

I still clearly remember having thought wow I would love to work with such a high standard gallery...

And then it took again several years before I dared to contact you. 

This year it's been ten years working together with you! I have always been very proud to be part of your gallery artists!

Terhi Tolvanen, Frozen Grass, 2022, earrings, silver, snow quartz with tourmaline inclusions, reconstructed opal, cement, paint, 1.65 "

(Inv# 7491)

 

Following technical jewelry training in her native Finland, Terhi Tolvanen relocated to Amsterdam to pursue further studies at the revered Rietveld Academy and its Masters program, the Sandberg Institute.

The title of her solo exhibition at CODA Museum (NL) Reinventing Nature, does well to describe her work, most often comprised of wooden branches and other natural materials composed into bold new forms with jewelry techniques and materials paired with unexpected elements such as concrete and paint.

Terhi reflected on her cooperation with Ornamentum:

We met for the very first time at Ruudt´s house in Amsterdam.

At the time freshly out of school I had no idea really what it's like to work with a gallery :)

Quite some years later in 2007 I was at the Chicago fair where I saw your very classy and beautiful stand and was totally impressed!

I still clearly remember having thought wow I would love to work with such a high standard gallery...

And then it took again several years before I dared to contact you. 

This year it's been ten years working together with you! I have always been very proud to be part of your gallery artists!

Jantje Fleischhut, German, Dutch, jewelry, space

Jantje Fleischhut, Constellation - Encoded Frequence, 2022

boxed set of brooches, silver, steel, moonstones, textile wire element, agate, steel, rhodium plate

(Inv# 7531)

Jantje Fleischhut, German, Dutch, jewelry, space

Jantje Fleischhut, Constellation - Gravel, 2022

boxed set of brooches, silver, steel, aluminum, resin, pigment, found plastic, mineral (Swiss), 14k gold, precious stone

(Inv# 7530)

Jantje Fleischhut, German, Dutch, jewelry, space

Jantje Fleischhut, Constellation - Gravel, 2022

boxed set of brooches, silver, steel, aluminum, resin, pigment, found plastic, mineral (Swiss), 14k gold, precious stone

(Inv# 7530)

Jantje Fleischhut, German, Dutch, jewelry, space

Jantje Fleischhut, Constellation - Gravel, 2022

boxed set of brooches, silver, steel, aluminum, resin, pigment, found plastic, mineral (Swiss), 14k gold, precious stone

(Inv# 7530)

Alexander Blank Smiley Face

Alexander Blank, Smiley Rings, 2022, silver or 18k gold

(Inv# 7472)

 

Introduced to the jewelry world by accident when a photographer he was hoping to work for already had an apprentice, Alexander Blank went next door to a goldsmith who was hiring and discovered his passion for jewelry. Following his apprenticeship, he went on to study technical training in Hanau and Hannover before joining the Design Academy in Hanua and delving into contemporary jewelry. He completed his studies at the Academy of Fine Art in Munich under Professor Otto Künzli. His work can be found in many private and public collections such as the Pinakothek der Moderne Munich, Danner Collection Munich, National Museum of Scotland, Hiko Mizuno Collection Tokyo, and several others. Alexander Blank’s work reinterprets iconic symbols; cartoon characters, postcard palm trees, corporate logos, and his emblematic smiley face are presented in a humorously macabre manner with a sharp attention to detail. For Ornamentum’s 20 Year exhibition, he asked to present a series of ‘Crooked Smiley’ rings and a wall piece- an upsizing of his original Smiley brooch that has become quite recognizable in the contemporary jewelry lexicon.

Blank statement of the new pieces, "Of course I had to do something with the smiley that you see everywhere, in your text messages, advertisements, pop ups,etc. You kind of get bombed with it!
It somehow lost its symbolism or its iconic value that I know it had in hippy times as a feel good symbol or as part of the youth movement of acid house music and its drug abuse. There it was used on flyers for parties or t-shirts or any other accessories. The Smiley kind of lost its origin because it was used in multiple meanings and will always be reborn freshly for any possible occasion in the future.

It gets abused in a way!

What remains if a Smiley gets worn out?
A smiley that went through all these periods and already had its hard and good times.
Sure, one that has dents and marks on the shiny happy face, but still keeps on smiling, keeps you up! Like this one..."

 

view story as pdf

Alexander Blank Smiley Face

Alexander Blank, Smiley, 2022, wall hanging, forged steel, paint

13.75 x 13.5 x 3.9 ", edition of 3

(Inv# 7471.1)

edition 1/3 sold

 

Introduced to the jewelry world by accident when a photographer he was hoping to work for already had an apprentice, Alexander Blank went next door to a goldsmith who was hiring and discovered his passion for jewelry. Following his apprenticeship, he went on to study technical training in Hanau and Hannover before joining the Design Academy in Hanua and delving into contemporary jewelry. He completed his studies at the Academy of Fine Art in Munich under Professor Otto Künzli. His work can be found in many private and public collections such as the Pinakothek der Moderne Munich, Danner Collection Munich, National Museum of Scotland, Hiko Mizuno Collection Tokyo, and several others. Alexander Blank’s work reinterprets iconic symbols; cartoon characters, postcard palm trees, corporate logos, and his emblematic smiley face are presented in a humorously macabre manner with a sharp attention to detail. For Ornamentum’s 20 Year exhibition, he asked to present a series of ‘Crooked Smiley’ rings and a wall piece- an upsizing of his original Smiley brooch that has become quite recognizable in the contemporary jewelry lexicon.

Blank statement of the new pieces, "Of course I had to do something with the smiley that you see everywhere, in your text messages, advertisements, pop ups,etc. You kind of get bombed with it!
It somehow lost its symbolism or its iconic value that I know it had in hippy times as a feel good symbol or as part of the youth movement of acid house music and its drug abuse. There it was used on flyers for parties or t-shirts or any other accessories. The Smiley kind of lost its origin because it was used in multiple meanings and will always be reborn freshly for any possible occasion in the future.

It gets abused in a way!

What remains if a Smiley gets worn out?
A smiley that went through all these periods and already had its hard and good times.
Sure, one that has dents and marks on the shiny happy face, but still keeps on smiling, keeps you up! Like this one..."

 

view story as pdf

Alexander Blank Smiley Face

Alexander Blank, Smiley Ring - Gold, 2022, 18k gold

(Inv# 7472)

Jutta Klingebiel, Kind und Tod (Child and Death), 2022

pendant & ring, silver, enamel drawing

 

In 2003, German enamelist Jutta Klingebiel was invited to participate in Five Enamelists, one of the earliest exhibitions at Ornamentum.  Ever since, her work has been had an important place in the gallery and with Ornamentum at the international fairs.  Klingebiel employs one of the most difficult techniques of enameling- painting and firing the medium repeatedly until the desired effect is achieved.  Because of its laborious nature it is an extremely rarely employed method in the 21st Century.  

Klingebiel's enamel paintings are romantically solemn, and poetic- a study of a moment, a butterfly that whisped past, or a portrait from the "history" of our imagination.  The small scale and simple dark backgrounds create an atmosphere of intimacy.  Although the subjects of Klingebiel's enamels stem from the artist's vision, they strike a personal connection, akin to a photo found in a departed relative's locket.  We may not have experienced the  scenes ourselves, but they they are familiar and belong to us in a way that most jewels / objects can only strive to. 

Jutta Klingebiel, Auge (Eye), 2021, ring, gold 18k, enamel with enamel painting, .9 x .87 x .9 ", finger size 6

(Inv# 7624)

 

In 2003, German enamelist Jutta Klingebiel was invited to participate in Five Enamelists, one of the earliest exhibitions at Ornamentum.  Ever since, her work has been had an important place in the gallery and with Ornamentum at the international fairs.  Klingebiel employs one of the most difficult techniques of enameling- painting and firing the medium repeatedly until the desired effect is achieved.  Because of its laborious nature it is an extremely rarely employed method in the 21st Century.  

Klingebiel's enamel paintings are romantically solemn, and poetic- a study of a moment, a butterfly that whisped past, or a portrait from the "history" of our imagination.  The small scale and simple dark backgrounds create an atmosphere of intimacy.  Although the subjects of Klingebiel's enamels stem from the artist's vision, they strike a personal connection, akin to a photo found in a departed relative's locket.  We may not have experienced the  scenes ourselves, but they they are familiar and belong to us in a way that most jewels / objects can only strive to. 

Jutta Klingebiel, enamel, magpie, gold ring

Jutta Klingebiel, Magpie, 2020, ring, 18k gold, enamel

(Inv# 6558)

 

In 2003, German enamelist Jutta Klingebiel was invited to participate in Five Enamelists, one of the earliest exhibitions at Ornamentum.  Ever since, her work has been had an important place in the gallery and with Ornamentum at the international fairs.  Klingebiel employs one of the most difficult techniques of enameling- painting and firing the medium repeatedly until the desired effect is achieved.  Because of its laborious nature it is an extremely rarely employed method in the 21st Century.  

Klingebiel's enamel paintings are romantically solemn, and poetic- a study of a moment, a butterfly that whisped past, or a portrait from the "history" of our imagination.  The small scale and simple dark backgrounds create an atmosphere of intimacy.  Although the subjects of Klingebiel's enamels stem from the artist's vision, they strike a personal connection, akin to a photo found in a departed relative's locket.  We may not have experienced the  scenes ourselves, but they they are familiar and belong to us in a way that most jewels / objects can only strive to. 

The Magpie, set in a ring of 18k gold, was created after its likeness visited Klingebiel's studio window during the Covid lockdown.

Jutta Klingebiel, enamel hand, pendant, gold

Jutta Klingebiel, Hand, 2021, pendant, gold 18k, enamel, grey string, 0.5" Ø

 

 

 

In 2003, German enamelist Jutta Klingebiel was invited to participate in Five Enamelists, one of the earliest exhibitions at Ornamentum.  Ever since, her work has been had an important place in the gallery and with Ornamentum at the international fairs.  Klingebiel employs one of the most difficult techniques of enameling- painting and firing the medium repeatedly until the desired effect is achieved.  Because of its laborious nature it is an extremely rarely employed method in the 21st Century.  

Klingebiel's enamel paintings are romantically solemn, and poetic- a study of a moment, a butterfly that whisped past, or a portrait from the "history" of our imagination.  The small scale and simple dark backgrounds create an atmosphere of intimacy.  Although the subjects of Klingebiel's enamels stem from the artist's vision, they strike a personal connection, akin to a photo found in a departed relative's locket.  We may not have experienced the  scenes ourselves, but they they are familiar and belong to us in a way that most jewels / objects can only strive to. 

 

Samuel Gassman, Jewel 26 Butterfly Necklace, 2022, necklace

victorian rolled gold book chain, silver, Chinese filigree c. 1930, celluloid, rhinestone, Persian turquoise, Peking glass c. 1890, steel wire, jade, cotton, linen, silk, old socks

(Inv# 7542)

 

In 2021 Ornamentum introduced the work of Samuel Gassman, an outsider-artist of the contemporary jewelry scene, presented for the first time at Ornamentum in an exhibition titled The Dowery of the Faerie Queen.  Fascinating compositions of fabric, metal and collected historical ephemera housed in hand-made boxes that are as intrinsic to the works as the buttons, figurines, textiles and other curiousities that comprise the jewelry pieces housed within.  Referred to as Rag Jewels by Gassman, each wearable (and its box), demonstrates a painstakingly-obsessive personality creating collages that speak to Victorian-fancy and flea-market-rummaging simultaneously. We struggle to know exactly where Gassman’s work fits in the grand scheme of contemporary jewelry movements, and find that this makes it all the more intriguing.

 

A multi-facetted persona/ artist, Gassman's background includes gemology, language studies, antiques and most evident in his work, a lifetime love of sewing.  His artworks can be found in collections such as the Cooper Hewitt Smithsonian Design Museum, New York, NY; the Musée des Arts Décoratifs, Paris, France; the Grassi Museum, Leipzig, Germany; the Museo Arte Contemporano (MAC), Santiago, Chile. He also created an International Human Rights Flag that has been on display at the United States Embassy in London, England since 2012.

 

Following the exhibition, Gassman’s work has grown even bolder. At the fairs in NYC and Miami, Ornamentum presented several Parures, full sets of jewelry in their own boxes, one of which is destined for a NYC museum.

Samuel Gassman, Jewel 26 Butterfly Necklace, 2022, necklace

victorian rolled gold book chain, silver, Chinese filigree c. 1930, celluloid, rhinestone, Persian turquoise, Peking glass c. 1890, steel wire, jade, cotton, linen, silk, old socks

(Inv# 7542)

 

In 2021 Ornamentum introduced the work of Samuel Gassman, an outsider-artist of the contemporary jewelry scene, presented for the first time at Ornamentum in an exhibition titled The Dowery of the Faerie Queen.  Fascinating compositions of fabric, metal and collected historical ephemera housed in hand-made boxes that are as intrinsic to the works as the buttons, figurines, textiles and other curiousities that comprise the jewelry pieces housed within.  Referred to as Rag Jewels by Gassman, each wearable (and its box), demonstrates a painstakingly-obsessive personality creating collages that speak to Victorian-fancy and flea-market-rummaging simultaneously. We struggle to know exactly where Gassman’s work fits in the grand scheme of contemporary jewelry movements, and find that this makes it all the more intriguing.

 

A multi-facetted persona/ artist, Gassman's background includes gemology, language studies, antiques and most evident in his work, a lifetime love of sewing.  His artworks can be found in collections such as the Cooper Hewitt Smithsonian Design Museum, New York, NY; the Musée des Arts Décoratifs, Paris, France; the Grassi Museum, Leipzig, Germany; the Museo Arte Contemporano (MAC), Santiago, Chile. He also created an International Human Rights Flag that has been on display at the United States Embassy in London, England since 2012.

 

Following the exhibition, Gassman’s work has grown even bolder. At the fairs in NYC and Miami, Ornamentum presented several Parures, full sets of jewelry in their own boxes, one of which is destined for a NYC museum.

Samuel Gassman, Jewel 24 Locket, 2022, pendant

glass reverse intaglios of Kant and Henry the Lion c. 1935, verre eglomise of Paris sites c.1850, cut steel c. 1790, silk brocade, silver, cotton, old socks

(Inv# 7540)

 

In 2021 Ornamentum introduced the work of Samuel Gassman, an outsider-artist of the contemporary jewelry scene, presented for the first time at Ornamentum in an exhibition titled The Dowery of the Faerie Queen.  Fascinating compositions of fabric, metal and collected historical ephemera housed in hand-made boxes that are as intrinsic to the works as the buttons, figurines, textiles and other curiousities that comprise the jewelry pieces housed within.  Referred to as Rag Jewels by Gassman, each wearable (and its box), demonstrates a painstakingly-obsessive personality creating collages that speak to Victorian-fancy and flea-market-rummaging simultaneously. We struggle to know exactly where Gassman’s work fits in the grand scheme of contemporary jewelry movements, and find that this makes it all the more intriguing.

 

A multi-facetted persona/ artist, Gassman's background includes gemology, language studies, antiques and most evident in his work, a lifetime love of sewing.  His artworks can be found in collections such as the Cooper Hewitt Smithsonian Design Museum, New York, NY; the Musée des Arts Décoratifs, Paris, France; the Grassi Museum, Leipzig, Germany; the Museo Arte Contemporano (MAC), Santiago, Chile. He also created an International Human Rights Flag that has been on display at the United States Embassy in London, England since 2012.

 

Following the exhibition, Gassman’s work has grown even bolder. At the fairs in NYC and Miami, Ornamentum presented several Parures, full sets of jewelry in their own boxes, one of which is destined for a NYC museum.

Ted Noten, Dutch Design, older works, ring, acrylic

Alternative for Wedding Rings Object 3, 1995, gold wedding bands cast in acrylic, 2.76 x 2.76 x 4.33 inches

 

Dutch Design Legend Ted Noten is the most prominent figure coming out of the contemporary jewelry scene to have broken through to the world of fine arts, and when Ornamentum first joined Miami Art Week to exhibit at Design/ Miami, they made an impact with a stunning solo show of Noten's iconic handbag sculptures of acrylic with various objects- including a gun! cast within.  Noten has been the subject of two solo exhibitions at the Boijmans Museum in Rotterdam and a major exhibition at the Stedelijk Museum 's-Hertogenbosch.  His works of sculpture and jewelry can be found in prestigious public and private collections worldwide.

Karl Fritsch, ring, stones, bling, silver, gold, diamonds, cubic zirconia, big, crazy

Karl Fritsch, ring, 2022, silver, diamond, nail, .5 x .8 x 1.3 ", ring size 6.25 / 52

(Inv# 7389)

 

Born in Germany, Karl Fritsch trained as a goldsmith at the Goldschmiedeschule in Pforzheim then later attended the Academy of Fine Arts in Munich studying under Professors Hermann Jünger and Otto Künzli. In 2006, Fritsch was awarded the Françoise van den Bosch Award. His work can be found in international museums such as the Metropolitan Museum New York, Stedelijk Museum Amsterdam, Neue Pinakothek Munich, Victoria and Albert Museum London, Museum of New Zealand Te Papa Tongarewa, are where many of his works can be found.

Karl Fritsch’s distinct approach to jewelry is characterized by a childlike playfulness, and rebelliousness which simultaneously embraces and discards all of the strict traditions of jewelry. The freeness and sense of humor which can be sensed within his pieces have made his rings highly collectible. By pushing the boundaries of this craft past the point of ridiculousness, he achieves profundity.

Ornamentum first exhibited Karl Fritch during a holiday earring show in the mid 2000’s, but the true partnership gained steam later in 2010 when they asked him to do a large presentation at Design Miami. Since then, Ornamentum has exhibited his works prominently in the gallery and at fairs in NYC, Miami, California, and Basel, Switzerland.

"Besides all the love and madness in showing what their chosen group of jewelers are making, I truly admire the professionalism and wholeheartedly enjoy Ornamentum. Bookkeeping to the maxxxxxxx !
In Ornamentum we trust !!

Hoch soll es leben ! 3x hoch !!!"

 

view the story with images

Karl Fritsch, ring, stones, bling, silver, gold, diamonds, cubic zirconia, big, crazy

Karl Fritsch, ring, 2022, silver, diamond, nail, .5 x .8 x 1.3 ", ring size 6.25 / 52

(Inv# 7389)

 

Born in Germany, Karl Fritsch trained as a goldsmith at the Goldschmiedeschule in Pforzheim then later attended the Academy of Fine Arts in Munich studying under Professors Hermann Jünger and Otto Künzli. In 2006, Fritsch was awarded the Françoise van den Bosch Award. His work can be found in international museums such as the Metropolitan Museum New York, Stedelijk Museum Amsterdam, Neue Pinakothek Munich, Victoria and Albert Museum London, Museum of New Zealand Te Papa Tongarewa, are where many of his works can be found.

Karl Fritsch’s distinct approach to jewelry is characterized by a childlike playfulness, and rebelliousness which simultaneously embraces and discards all of the strict traditions of jewelry. The freeness and sense of humor which can be sensed within his pieces have made his rings highly collectible. By pushing the boundaries of this craft past the point of ridiculousness, he achieves profundity.

Ornamentum first exhibited Karl Fritch during a holiday earring show in the mid 2000’s, but the true partnership gained steam later in 2010 when they asked him to do a large presentation at Design Miami. Since then, Ornamentum has exhibited his works prominently in the gallery and at fairs in NYC, Miami, California, and Basel, Switzerland.

"Besides all the love and madness in showing what their chosen group of jewelers are making, I truly admire the professionalism and wholeheartedly enjoy Ornamentum. Bookkeeping to the maxxxxxxx !
In Ornamentum we trust !!

Hoch soll es leben ! 3x hoch !!!"

 

view the story with images

Karl Fritsch, ring, stones, bling, silver, gold, diamonds, cubic zirconia, big, crazy

Karl Fritsch, ring, 2022, ring, gold 18k, synthetic rubies, cubic zirconia, 1 x .8 x 1.4 ", ring size 8 / 57

(Inv# 7390)

 

Born in Germany, Karl Fritsch trained as a goldsmith at the Goldschmiedeschule in Pforzheim then later attended the Academy of Fine Arts in Munich studying under Professors Hermann Jünger and Otto Künzli. In 2006, Fritsch was awarded the Françoise van den Bosch Award. His work can be found in international museums such as the Metropolitan Museum New York, Stedelijk Museum Amsterdam, Neue Pinakothek Munich, Victoria and Albert Museum London, Museum of New Zealand Te Papa Tongarewa, are where many of his works can be found.

Karl Fritsch’s distinct approach to jewelry is characterized by a childlike playfulness, and rebelliousness which simultaneously embraces and discards all of the strict traditions of jewelry. The freeness and sense of humor which can be sensed within his pieces have made his rings highly collectible. By pushing the boundaries of this craft past the point of ridiculousness, he achieves profundity.

Ornamentum first exhibited Karl Fritch during a holiday earring show in the mid 2000’s, but the true partnership gained steam later in 2010 when they asked him to do a large presentation at Design Miami. Since then, Ornamentum has exhibited his works prominently in the gallery and at fairs in NYC, Miami, California, and Basel, Switzerland.

"Besides all the love and madness in showing what their chosen group of jewelers are making, I truly admire the professionalism and wholeheartedly enjoy Ornamentum. Bookkeeping to the maxxxxxxx !
In Ornamentum we trust !!

Hoch soll es leben ! 3x hoch !!!"

 

view the story with images

Karl Fritsch, ring, stones, bling, silver, gold, diamonds, cubic zirconia, big, crazy

Karl Fritsch, ring, 2022, ring, gold 18k, synthetic rubies, cubic zirconia, 1 x .8 x 1.4 ", ring size 8 / 57

(Inv# 7390)

 

Born in Germany, Karl Fritsch trained as a goldsmith at the Goldschmiedeschule in Pforzheim then later attended the Academy of Fine Arts in Munich studying under Professors Hermann Jünger and Otto Künzli. In 2006, Fritsch was awarded the Françoise van den Bosch Award. His work can be found in international museums such as the Metropolitan Museum New York, Stedelijk Museum Amsterdam, Neue Pinakothek Munich, Victoria and Albert Museum London, Museum of New Zealand Te Papa Tongarewa, are where many of his works can be found.

Karl Fritsch’s distinct approach to jewelry is characterized by a childlike playfulness, and rebelliousness which simultaneously embraces and discards all of the strict traditions of jewelry. The freeness and sense of humor which can be sensed within his pieces have made his rings highly collectible. By pushing the boundaries of this craft past the point of ridiculousness, he achieves profundity.

Ornamentum first exhibited Karl Fritch during a holiday earring show in the mid 2000’s, but the true partnership gained steam later in 2010 when they asked him to do a large presentation at Design Miami. Since then, Ornamentum has exhibited his works prominently in the gallery and at fairs in NYC, Miami, California, and Basel, Switzerland.

"Besides all the love and madness in showing what their chosen group of jewelers are making, I truly admire the professionalism and wholeheartedly enjoy Ornamentum. Bookkeeping to the maxxxxxxx !
In Ornamentum we trust !!

Hoch soll es leben ! 3x hoch !!!"

 

view the story with images

Karl Fritsch, ring, stones, bling, silver, gold, diamonds, cubic zirconia, big, crazy

Karl Fritsch, ring, 2020, silver, cubic zirconia, 2.8 x 2.7 x 3 "

(Inv# 7391)

 

Born in Germany, Karl Fritsch trained as a goldsmith at the Goldschmiedeschule in Pforzheim then later attended the Academy of Fine Arts in Munich studying under Professors Hermann Jünger and Otto Künzli. In 2006, Fritsch was awarded the Françoise van den Bosch Award. His work can be found in international museums such as the Metropolitan Museum New York, Stedelijk Museum Amsterdam, Neue Pinakothek Munich, Victoria and Albert Museum London, Museum of New Zealand Te Papa Tongarewa, are where many of his works can be found.

Karl Fritsch’s distinct approach to jewelry is characterized by a childlike playfulness, and rebelliousness which simultaneously embraces and discards all of the strict traditions of jewelry. The freeness and sense of humor which can be sensed within his pieces have made his rings highly collectible. By pushing the boundaries of this craft past the point of ridiculousness, he achieves profundity.

Ornamentum first exhibited Karl Fritch during a holiday earring show in the mid 2000’s, but the true partnership gained steam later in 2010 when they asked him to do a large presentation at Design Miami. Since then, Ornamentum has exhibited his works prominently in the gallery and at fairs in NYC, Miami, California, and Basel, Switzerland.

"Besides all the love and madness in showing what their chosen group of jewelers are making, I truly admire the professionalism and wholeheartedly enjoy Ornamentum. Bookkeeping to the maxxxxxxx !
In Ornamentum we trust !!

Hoch soll es leben ! 3x hoch !!!"

 

view the story with images

Tanel Veenre brooch

Tanel Veenre, Feather-ear, brooch 2006, orchids, feathers, mica, dental resin, white gold, 5 x 2.25 x 2.5"

 

 

view works by Tanel Veenre

Karin Johansson, Warren Street Confetti, 2022, necklace, gold, silver, fired enamel, acrylic, 37.4 " length

(Inv# 7519)

 

Karin Johansson was born in Sweden and completed her studies at HDK Academy of Design and Crafts Gothenburg University, where she later on became head of the Jewellery Art department from 2007 to 2019. Over the course of her career she has received several grants and awards including the ten-year working grant of the Swedish Arts Grants Committee. She is also one of the founders of the Hnoss Gallery in Gothenburg, later Hnoss Initiative.

Her jewelry acts as an eclectic memoir of her past, using found objects and images from her surroundings to construct the narrative behind her pieces. In 2018, when Ornamentum showed her work, she visited Hudson.

“The two necklaces titled Hudson River Soundtrack and Warren Street Confetti were inspired from our (my daughter Alva and me) lovely stay in Hudson 2018.
The misty boat trip on the river, and all the colorful antique stores on Warren Street.

wish to be back, in a near future”

 

view the story with images

Karin Johansson, Hudson River Soundtrack, 2022, necklace, gold, silver, fired enamel, acrylic, 37.8 " length

(Inv# 7520)

 

Karin Johansson was born in Sweden and completed her studies at HDK Academy of Design and Crafts Gothenburg University, where she later on became head of the Jewellery Art department from 2007 to 2019. Over the course of her career she has received several grants and awards including the ten-year working grant of the Swedish Arts Grants Committee. She is also one of the founders of the Hnoss Gallery in Gothenburg, later Hnoss Initiative.

Her jewelry acts as an eclectic memoir of her past, using found objects and images from her surroundings to construct the narrative behind her pieces. In 2018, when Ornamentum showed her work, she visited Hudson.

“The two necklaces titled Hudson River Soundtrack and Warren Street Confetti were inspired from our (my daughter Alva and me) lovely stay in Hudson 2018.
The misty boat trip on the river, and all the colorful antique stores on Warren Street.

wish to be back, in a near future”

 

view the story with images

Iris Eichenberg, Potential, 2022

wool felt, buckwheat, silver, brass, gold, steel, copper, ribbon, graphite, 27 x 48 " unrolled

 

Sold

 

Iris Eichenberg, German born, graduated from Gerrit Rietveld Academie in Amsterdam in 1994. In 2000 Eichenberg took up the position as head of the Jewellery Department and the Academie. Later in 2006 She joined Ornamentum’s artist roster shortly before moving to the US to teach at Cranbrook Academy of Art in Bloomfield Hills, Michigan. Living as an immigrant at several points in her life, her works visit themes of memory, place, belonging, and the concept of “home”. In 2007, Ornamentum presented Iris Eichenberg’s Timelines/Tenements, an exhibition directly relating to the immigrant experience at the SOFA NY Fair, where it received broad acclaim.

“...... working with a Gallery over years is growing together and developing a relationship in which you challenge each other and first of all nurture each other.
It is a home base from which you venture out and return , a context which defines you.

I remember sitting with Laura and Stefan thinking about their 12th anniversary and then it was 2022 all of a sudden. I still see them, the day we first met in Amsterdam and have seen so many places with them since then.

I love them for their loyalty, discretion and the way they think for me !
thank you for all you have shared with me in the last 20 years.” - Eichenberg

For Ornamentum’s 20 Year exhibition, Eichenberg created Potential.

Iris describes the work, “This folded set of potential beginnings and endings embraces rituals of unpacking and secrets shared with a few. An altar or tool set of a narrative not told but aiming to become in-between and finished by the viewer again and again. It consists of the melted remnant of my family silver and refers to the inherent language of jewelry making and traditions attached to it."

Eichenberg currently has a solo mid career overview exhibition at the San Francisco Museum of Craft & Design, planned to travel in late 2023 to the Lowe Museum, Miami, FL. Her work can be found in The Metropolitan Museum of Art, The Rijksmuseum in Amsterdam, the Schmuck Museum Pforzheim, the Foundation National d’Art Contemporain in Paris, and many more.

 

view the story with images

Iris Eichenberg, Potential, 2022

wool felt, buckwheat, silver, brass, gold, steel, copper, ribbon, graphite, 27 x 48 " unrolled

(Inv# 7492)

Ralph Bakker, Dutch Design, Gemstone, Rings, contemporary

Ralph Bakker, Stones 4, 2022, rings, gold, silver, rose quartz

(Inv# 7485)

 

“Define an area as safe and use it as an anchor”

(Oblique Stratégies, Brian Eno)

 

Stones- gemstones are my first love in jewellery making, and love is always tricky.

You can easily loose your objective view. 

But stones are stones and deserved to be seen.

 

Ralph Bakker, Dutch Design, Gemstone, Rings, contemporary

Ralph Bakker, Stones 5, 2022, ring, gold, silver, madeira citrine

(Inv# 7484)

 

“Define an area as safe and use it as an anchor”

(Oblique Stratégies, Brian Eno)

 

Stones- gemstones are my first love in jewellery making, and love is always tricky.

You can easily loose your objective view. 

But stones are stones and deserved to be seen.

Anders Ljungberg Sweden Swedish Silver Silversmith

Anders Ljungberg, Ebb, 2022, sculpture, patinated brass (partly tinplated), burnt oak, 23 x 21 x 7 "

(Inv# 7480)

 

Anders Ljungberg first joined Ornamentum when he was asked to participate in the groundbreaking 2020-2021 exhibition 

UP IN SMOKE: Contemporary Jewelers, Silversmiths and Designers Take On Marijuana, presented at Design/ Miami and at Ornamentum.  

Ljungberg's work was again presented in Miami in December of 2021 and acquired by a private collection.  For the Ornamentum 20 Year Anniversary exhibition, Anders has offered two striking table pieces.  

Anders Ljungberg Sweden Swedish Silver Silversmith

Anders Ljungberg, Förlåten #2, 2022, chrome-plated brass (partially silver-plated) , tin-plated copper, 17 x 14 x 5 "

(Inv# 7479)

 

Anders Ljungberg first joined Ornamentum when he was asked to participate in the groundbreaking 2020-2021 exhibition 

UP IN SMOKE: Contemporary Jewelers, Silversmiths and Designers Take On Marijuanapresented at Design/ Miami and at Ornamentum.  

Ljungberg's work was again presented in Miami in December of 2021 and acquired by a private collection.  For the Ornamentum 20 Year Anniversary exhibition, Anders has offered two striking table pieces.  

Unfortunately the title "Förlåten" is hard to translate into English ( I have asked many English speaking friends) But in Swedish it means the curtain that was separating the most holy from were people walked around in the Temple in Jerusalem 2000 years ago. It has also been used in Christianity but also in profane use. In Swedish it is the same word as Forgiven which makes it tricky to translate.

The Förlåten piece consists of two parts which one is Functional jug. The other one a curious kind of lid. The photo shows how they are placed together.

Petra Zimmermann, Austrian jewelry, acrylic

Petra Zimmermann, bracelet, 2020, polymethyl methacrylate, 4.92 x 5.12 x 4.33 inches, 66mm inside Ø

 

Sold

 

Petra Zimmermann's bracelets are sculptures for the body that can be described as constructions between surface and free form, which at the same time arch into space and into a form that clings to the body.   Inspired by artistic approaches that follow, continue and develop the tradition of the classical modern concept of sculpture, their curves also pay homage to the Art Nouveau. Simple manipulations of circular forms with various incisions, voluminous objects are created, which only develop their decorative function in the context of the human body.

Jiro Kamata,&nbsp;(Big Stellar) Holon Ring camera lens silver jewelry

Jiro Kamata, (Big Stellar) Holon Ring 3, 2021

oxidized silver, camera lenses with PVD coating, 3 x 2.36 x 2.36 "

(Inv# 7467)

 

Jiro Kamata was born in Japan and moved to Germany in the ‘90s to study at the Hochschule für Gestalltung in Pforzheim, where he met his classmate Laura Lapachin. After graduating, he continued his studies at the Academy of Fine Art in Munich under Professor Otto Künzli.

He has been with Ornamentum since its inception and has been featured in several solo exhibitions as well as at numerous international fairs. His nontraditional and innovative style addresses themes of reflection, optics, and light and shadow. Working around these concepts for the past 20 years, his most recent work includes bold rings with a reflective color PVD coating on the surface of camera lenses which are set like gemstones.

His pieces can be found in the collections of world renowned museums such as the Swiss National Museum, Stedelijk Museum Amsterdam, Victoria and Albert Museum, Museum of Fine Arts Boston, and many others. Recently, a pipe piece from Ornamentum’s “Up in Smoke exhibition” was acquired by the Toledo Museum of Art in Ohio.

Kamata’s intensity and integrity make his work some of the finest examples of innovative jewelry in the world. A marriage of technical expertise and conceptual rigor is balanced in works that span a long trajectory with Ornamentum. On reflecting on their time in School, Laura says “I remember working on a project during our studies in Germany... While I and most of the other students were busy experimenting and building models, Jiro would sit and ponder for days. And as due date approached, he would know exactly what he had in mind and set forth in the eleventh hour to create something completely unexpected, meticulously crafted and completely thought out conceptually.”

 

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Jiro Kamata,&nbsp;(Big Stellar) Holon Ring camera lens silver jewelry

Jiro Kamata, (Big Stellar) Holon Ring 7, 2022

oxidized silver, camera lenses with PVD coating, 2.6 x 1.6 x 1.65 "

(Inv# 7468)

 

Jiro Kamata was born in Japan and moved to Germany in the ‘90s to study at the Hochschule für Gestalltung in Pforzheim, where he met his classmate Laura Lapachin. After graduating, he continued his studies at the Academy of Fine Art in Munich under Professor Otto Künzli.

He has been with Ornamentum since its inception and has been featured in several solo exhibitions as well as at numerous international fairs. His nontraditional and innovative style addresses themes of reflection, optics, and light and shadow. Working around these concepts for the past 20 years, his most recent work includes bold rings with a reflective color PVD coating on the surface of camera lenses which are set like gemstones.

His pieces can be found in the collections of world renowned museums such as the Swiss National Museum, Stedelijk Museum Amsterdam, Victoria and Albert Museum, Museum of Fine Arts Boston, and many others. Recently, a pipe piece from Ornamentum’s “Up in Smoke exhibition” was acquired by the Toledo Museum of Art in Ohio.

Kamata’s intensity and integrity make his work some of the finest examples of innovative jewelry in the world. A marriage of technical expertise and conceptual rigor is balanced in works that span a long trajectory with Ornamentum. On reflecting on their time in School, Laura says “I remember working on a project during our studies in Germany... While I and most of the other students were busy experimenting and building models, Jiro would sit and ponder for days. And as due date approached, he would know exactly what he had in mind and set forth in the eleventh hour to create something completely unexpected, meticulously crafted and completely thought out conceptually.”

 

view the story with photos

Jiro Kamata,&nbsp;(Big Stellar) Holon Ring camera lens silver jewelry

Jiro Kamata, (Big Stellar) Holon Ring 12, 2022

oxidized silver, camera lenses with PVD coating, 2.5 x 2.4 x 1.5 "

(Inv# 7469)

 

Jiro Kamata was born in Japan and moved to Germany in the ‘90s to study at the Hochschule für Gestalltung in Pforzheim, where he met his classmate Laura Lapachin. After graduating, he continued his studies at the Academy of Fine Art in Munich under Professor Otto Künzli.

He has been with Ornamentum since its inception and has been featured in several solo exhibitions as well as at numerous international fairs. His nontraditional and innovative style addresses themes of reflection, optics, and light and shadow. Working around these concepts for the past 20 years, his most recent work includes bold rings with a reflective color PVD coating on the surface of camera lenses which are set like gemstones.

His pieces can be found in the collections of world renowned museums such as the Swiss National Museum, Stedelijk Museum Amsterdam, Victoria and Albert Museum, Museum of Fine Arts Boston, and many others. Recently, a pipe piece from Ornamentum’s “Up in Smoke exhibition” was acquired by the Toledo Museum of Art in Ohio.

Kamata’s intensity and integrity make his work some of the finest examples of innovative jewelry in the world. A marriage of technical expertise and conceptual rigor is balanced in works that span a long trajectory with Ornamentum. On reflecting on their time in School, Laura says “I remember working on a project during our studies in Germany... While I and most of the other students were busy experimenting and building models, Jiro would sit and ponder for days. And as due date approached, he would know exactly what he had in mind and set forth in the eleventh hour to create something completely unexpected, meticulously crafted and completely thought out conceptually.”

 

view the story with images

Jiro Kamata,&nbsp;(Big Stellar) Holon Ring camera lens silver jewelry

Jiro Kamata, (Big Stellar) Holon Ring 13, 2022

oxidized silver, camera lenses with PVD coating, 2.6 x 2.1 x 1.6 "

Sold

 

Jiro Kamata was born in Japan and moved to Germany in the ‘90s to study at the Hochschule für Gestalltung in Pforzheim, where he met his classmate Laura Lapachin. After graduating, he continued his studies at the Academy of Fine Art in Munich under Professor Otto Künzli.

He has been with Ornamentum since its inception and has been featured in several solo exhibitions as well as at numerous international fairs. His nontraditional and innovative style addresses themes of reflection, optics, and light and shadow. Working around these concepts for the past 20 years, his most recent work includes bold rings with a reflective color PVD coating on the surface of camera lenses which are set like gemstones.

His pieces can be found in the collections of world renowned museums such as the Swiss National Museum, Stedelijk Museum Amsterdam, Victoria and Albert Museum, Museum of Fine Arts Boston, and many others. Recently, a pipe piece from Ornamentum’s “Up in Smoke exhibition” was acquired by the Toledo Museum of Art in Ohio.

Kamata’s intensity and integrity make his work some of the finest examples of innovative jewelry in the world. A marriage of technical expertise and conceptual rigor is balanced in works that span a long trajectory with Ornamentum. On reflecting on their time in School, Laura says “I remember working on a project during our studies in Germany... While I and most of the other students were busy experimenting and building models, Jiro would sit and ponder for days. And as due date approached, he would know exactly what he had in mind and set forth in the eleventh hour to create something completely unexpected, meticulously crafted and completely thought out conceptually.”

 

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Annelies Planteydt, Dutch Design, Architecture jewelry, Galerie Marzee, gold, pigments

Annelies Planteydt, Beautiful City - New Rooms - Green Sky Blue Dynamic Rooms, 2022, necklace, gold (750/000), tatalum, titanium, pigments, 7 x 14 ", Edition 1 of 5

Phase 1.

(Inv# 7582.1)

 

The work of Annelies Planteydt refers to architecture, it is not based on actual structures- rather about how patterns of organization are found in the lives and creations of humans as well as in the natural world.  Each piece can be viewed in two or more phases, as it would be displayed as a rendering, and then how it is worn.

“I work with a kind of elementary particles and build structures with them.  The pieces have an inner structure, but when you wear them this is not so obvious anymore.  The groundplan is the architecture of the piece, the other phase is the 'living' version of it.

the groundplan is stable, the other phase is mobile.  It is about the moment of transition from one to another.”

 

"Congratulations to the 20 year Ornamentum anniversary!

A long time already and a good time.

I remember when you first wrote me to invite me to show work in the gallery I was so very pleased and honored,

it was such a surprise! I enjoy very much working with you since.

It is great to be able to see the exhibitions on the website, so I can follow the shows and see all the work.

Thanks a lot for the great cooperation. 

I wish you all the best for the gallery and your family and a great party!"  AP

Annelies Planteydt, Dutch Design, Architecture jewelry, Galerie Marzee, gold, pigments

Annelies Planteydt, Beautiful City - New Rooms - Green Sky Blue Dynamic Rooms, 2022, necklace, gold (750/000), tatalum, titanium, pigments, 7 x 14 ", Edition 1 of 5

Phase 2

(Inv# 7582.1)

 

The work of Annelies Planteydt refers to architecture, it is not based on actual structures- rather about how patterns of organization are found in the lives and creations of humans as well as in the natural world.  Each piece can be viewed in two or more phases, as it would be displayed as a rendering, and then how it is worn.

“I work with a kind of elementary particles and build structures with them.  The pieces have an inner structure, but when you wear them this is not so obvious anymore.  The groundplan is the architecture of the piece, the other phase is the 'living' version of it.

the groundplan is stable, the other phase is mobile.  It is about the moment of transition from one to another.”

 

"Congratulations to the 20 year Ornamentum anniversary!

A long time already and a good time.

I remember when you first wrote me to invite me to show work in the gallery I was so very pleased and honored,

it was such a surprise! I enjoy very much working with you since.

It is great to be able to see the exhibitions on the website, so I can follow the shows and see all the work.

Thanks a lot for the great cooperation. 

I wish you all the best for the gallery and your family and a great party!"  AP

Annelies Planteydt, Dutch Design, Architecture jewelry, Galerie Marzee, gold, pigments

Annelies Planteydt, Beautiful City - New Rooms - Green Sky Blue Dynamic Rooms, 2022, necklace, gold (750/000), tatalum, titanium, pigments, 7 x 14 ", Edition 1 of 5

Phase 3

(Inv# 7582.1)

 

The work of Annelies Planteydt refers to architecture, it is not based on actual structures- rather about how patterns of organization are found in the lives and creations of humans as well as in the natural world.  Each piece can be viewed in two or more phases, as it would be displayed as a rendering, and then how it is worn.

“I work with a kind of elementary particles and build structures with them.  The pieces have an inner structure, but when you wear them this is not so obvious anymore.  The groundplan is the architecture of the piece, the other phase is the 'living' version of it.

the groundplan is stable, the other phase is mobile.  It is about the moment of transition from one to another.”

 

"Congratulations to the 20 year Ornamentum anniversary!

A long time already and a good time.

I remember when you first wrote me to invite me to show work in the gallery I was so very pleased and honored,

it was such a surprise! I enjoy very much working with you since.

It is great to be able to see the exhibitions on the website, so I can follow the shows and see all the work.

Thanks a lot for the great cooperation. 

I wish you all the best for the gallery and your family and a great party!"  AP

Philip Sajet, Dutch, snake necklace, glass, gold

Philip Sajet, Golden Snake, 2022, necklace, gold, flame-worked glass by Elisabetta Cappello, 19.5" length x .625" Ø

(Inv# 7411) Photo: Aatjan Renders

 

The snake is a dear subject in the history of jewelry art: a living being so completely contrary to the human being in form, character and temperature.

But nevertheless in wearing a snake, the blending of the two is perfect- an example of where that which is often considered the horrific becomes beauty.

Johanna Dahm, Wilhelm Tell's Shot Rings, Moulage with poem, 2022

Gold, bisected US revolver, metal, wax, human hair

moulage: Johanna Stierlin

19x11x34cm

Johanna Dahm, You And Me, 2022, Poem

Valerie James, Meadow Run, 2021, necklace, oxidized sterling silver, ribbon, 24" length

(Inv# 7578)

 

Valerie James received her Bachelor’s degree from the Tyler School of Art and continued on to receive her Master’s degree from the Rhode Island School of Design. She now lives and works in Philadelphia, Pennsylvania. She has received several prestigious grants and awards, and continues to teach at RISD and the Tyler School of Art.

Her work centers on the concept of traversed spaces by analyzing the psychology of walking and the relationship between the body and landscape. She translates these concepts into her pieces through the use of hand engraving techniques. Her necklaces, based on specific locations, follow the contours of the horizon and use the engraved trail to symbolize light crossing the landscape.

Her relationship with Ornamentum began in the summer of 2018 with an internship at the gallery during her graduate studies as RISD. “—assisting with fun things such as photographing hundreds of Karl Fritsch rings and making sure every glass vitrine was spotless. In all earnestness, this experience gave me the opportunity to make invaluable connections and witness what it takes to grow an artistic practice. Living in Hudson became hugely influential to how I approach my practice even now, wandering frequently and trying to notice small, yet special moments. I’ve had the opportunity to occasionally gallery-sit since that summer and I always look forward to my trips back upstate. I am incredibly grateful to Laura and Stefan for their willingness to always share their wisdom and guidance in the beginning years of my career. Congratulations on 20 years!”

 

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Valerie James, Meadow Run, 2021, necklace, oxidized sterling silver, ribbon, 24" length

(Inv# 7578)

 

Valerie James received her Bachelor’s degree from the Tyler School of Art and continued on to receive her Master’s degree from the Rhode Island School of Design. She now lives and works in Philadelphia, Pennsylvania. She has received several prestigious grants and awards, and continues to teach at RISD and the Tyler School of Art.

Her work centers on the concept of traversed spaces by analyzing the psychology of walking and the relationship between the body and landscape. She translates these concepts into her pieces through the use of hand engraving techniques. Her necklaces, based on specific locations, follow the contours of the horizon and use the engraved trail to symbolize light crossing the landscape.

Her relationship with Ornamentum began in the summer of 2018 with an internship at the gallery during her graduate studies as RISD. “—assisting with fun things such as photographing hundreds of Karl Fritsch rings and making sure every glass vitrine was spotless. In all earnestness, this experience gave me the opportunity to make invaluable connections and witness what it takes to grow an artistic practice. Living in Hudson became hugely influential to how I approach my practice even now, wandering frequently and trying to notice small, yet special moments. I’ve had the opportunity to occasionally gallery-sit since that summer and I always look forward to my trips back upstate. I am incredibly grateful to Laura and Stefan for their willingness to always share their wisdom and guidance in the beginning years of my career. Congratulations on 20 years!”

 

view the story with photos

Valerie James, Saranac, 2021, necklace, oxidized sterling silver, ribbon, 24" length

(Inv# 7577)

 

Valerie James received her Bachelor’s degree from the Tyler School of Art and continued on to receive her Master’s degree from the Rhode Island School of Design. She now lives and works in Philadelphia, Pennsylvania. She has received several prestigious grants and awards, and continues to teach at RISD and the Tyler School of Art.

Her work centers on the concept of traversed spaces by analyzing the psychology of walking and the relationship between the body and landscape. She translates these concepts into her pieces through the use of hand engraving techniques. Her necklaces, based on specific locations, follow the contours of the horizon and use the engraved trail to symbolize light crossing the landscape.

Her relationship with Ornamentum began in the summer of 2018 with an internship at the gallery during her graduate studies as RISD. “—assisting with fun things such as photographing hundreds of Karl Fritsch rings and making sure every glass vitrine was spotless. In all earnestness, this experience gave me the opportunity to make invaluable connections and witness what it takes to grow an artistic practice. Living in Hudson became hugely influential to how I approach my practice even now, wandering frequently and trying to notice small, yet special moments. I’ve had the opportunity to occasionally gallery-sit since that summer and I always look forward to my trips back upstate. I am incredibly grateful to Laura and Stefan for their willingness to always share their wisdom and guidance in the beginning years of my career. Congratulations on 20 years!”

 

view the story with photos

 

david clarke, pewter

Clusterfuck, 2016, 47 cast bunnies, pewter, 11.5 x 12.5 x 11 inches

 

"Radical Silversmith" David Clarke (UK) created Clusterfuck for his 2016 Ornamentum exhibition Lost Causes, together with Jaydan Moore.  Comprised of 47 cast bunny figures, the piece references the artist's age at the time of his mother's death and early memories of her working in the kitchen to prepare rabbits for dinner.

david clarke, pewter

Clusterfuck, detail shot, 2016, 47 cast bunnies, pewter, 11.5 x 12.5 x 11 inches

 

"Radical Silversmith" David Clarke (UK) created Clusterfuck for his 2016 Ornamentum exhibition Lost Causes, together with Jaydan Moore.  Comprised of 47 cast bunny figures, the piece references the artist's age at the time of his mother's death and early memories of her working in the kitchen to prepare rabbits for dinner.

Daniel Jocz, Gamble:  Cigarette, 1998, necklace enamel, copper, sterling silver chain

(Inv# 2292)

Daniel Jocz, Candywear, X + O's, 2000, brooches, hollow electro-formed silver, electrostatic flocking

 

Idiots (Afke Golsteijn & Floris Bakker), Mini Airplane Graveyard, 2022, paper, color pencil, lacquer, magnets

 

Known for their sculpture and wearables using (naturally deceased) taxidermied animals, Idiots' work often references the fragility of nature.  Mini Airplane Graveyard is a pile of paper airplanes upon which images of butterflies and moths are drawn.  The individual airplanes can be worn if desired, using a magnet attachment.

Luzia Vogt, Mariposa, earrings, 14K gold, glass, synthetic material

Swiss artist and designer Luzia Vogt was another colleague from Laura and Stefan's days in Germany.

Her Mariposa earrings are light and colourful. Partly made of glass, sawn and cut from drinking glasses and vases of convivial gathering, partly cut from PVC foils, they are in the shape of butterfly wings. They demand caution and attention. As dazzling and colourful as they appear, they are visually fragile like our desires and lifestyles: delicate constructs.

 

"I am proud that ornamentum was the first contemporary jewelry gallery to be present and show at Design Miami in Basel (Switzerland).

I appreciate very much working with ornamentum / Laura and Stefan. The gallery grew step by step, congratulation to the diverse events, exhibitions and fairs you are constantly organisinig or are participating in. For me you are hard working, reliable, easy accessible and keeping your sense of humor. Great!

I wish you and the gallery all the best for the next 20 years to come."  LV

Luzia Vogt, Mariposa, earrings, 14K gold, glass, synthetic material

(Inv# 7415)

 

Swiss artist and designer Luzia Vogt was another colleague from Laura and Stefan's days in Germany.

Her Mariposa earrings are light and colourful. Partly made of glass, sawn and cut from drinking glasses and vases of convivial gathering, partly cut from PVC foils, they are in the shape of butterfly wings. They demand caution and attention. As dazzling and colourful as they appear, they are visually fragile like our desires and lifestyles: delicate constructs.

 

"I am proud that ornamentum was the first contemporary jewelry gallery to be present and show at Design Miami in Basel (Switzerland).

I appreciate very much working with ornamentum / Laura and Stefan. The gallery grew step by step, congratulation to the diverse events, exhibitions and fairs you are constantly organisinig or are participating in. For me you are hard working, reliable, easy accessible and keeping your sense of humor. Great!

I wish you and the gallery all the best for the next 20 years to come."  LV

Lisa Walker, New Zealand, jewelry, design, fabric, stuffed, large,

Lisa Walker, Curved Lines Following Each Other, 2021, necklace, fabric, stuffing, acrylic paint, thread, 12.4 x 10.6 x 1.14", string length 25"

(Inv# 7412)

 

New Zealand artist Lisa Walker’s experimental approach to jewelry challenges established conventions and values within the discipline. She graduated from the Otago Polytechnic Art School in Dunedin and traveled for a few years before returning to New Zealand and establishing Workshop 6 in Auckland. She received her Masters degree from the Akadamie der Bildenden Künste in Munich, Germany, where she studied under Professor Otto Künzli. She has worked between Munich and Wellington, the latter being where she now resides. Her work can be found in several renowned international collections.She has received many awards such as the Francoise van den Bosch Award in 2009 and the Arts Laureate Award of the New Zealand Arts Foundation in 2015.

Lisa Walker’s work stands out due to her playful yet considerate use of materials. By using found objects, playing with scale, and unconventionally combining different techniques, she creates pieces that are surprising and question tradition. Utilizing handwork techniques that are historically attributed to women, her work reclaims and challenges these feministic crafts.

Her Curved Lines Following Each Other, 2021, piece featured in Ornamentum’s 20 Year Exhibition was inspired by the work of another artist represented by the gallery.

“I first started seeing Aaron Decker’s work on Instagram a while ago and immediately recognised a kind of kindred spirit. He made these wiggly shapes in silver that I loved, I’ve borrowed from them. The circles are from a work by Dutch/New Zealand artist Theo Schoon.”

 

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Jacqueline Ryan gold enamel earrings Italian jewelry 18k

Jacqueline Ryan, Ocean- Anemone, 2019, earrings, 18k gold, 1.9 x 1 x .6 "

 

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Jacqueline Ryan gold enamel earrings Italian jewelry 18k

Jacqueline Ryan, Ocean- Anemone, 2019, earrings, 18k gold, 1.9 x 1 x .6 "

 

Sold

Tarja Tuupanen, About Ornament XV, 2022, necklace, carved marble, thread, 4.3 x 4.3 x 1.85 "- necklace length 39"

(Inv# 7413)

Tuupanen´s jewellery is always connected with stone and in the latest works the theme is ornament.

 

Inspired by decorative household objects found from secondhand markets, made from marble or alabaster, Tuupanen has begun to study the theme of ornament. These objects form a visual backround at the studio, a pile of things which are a bit outdated but not antique. The decoration and ornaments in them are sometimes well-made, sometimes hastily done in souvenir style, but always appealing. In past times for craft maker an ornament in artefact was an act of finesse, or the ornament has been used to cover the mistakes in industrial production. What it could be for an artist today?

 

For Tuupanen ornament is alluring and forbidden. She studies this topic in the serie of necklaces made mainly from black marble. The grayish color gives a smooth background for the ornamental forms, the soft material gives pleasure in technical making. Remaking and repetition is elementary for the topic and in the process. The decoration lie heavily on the body or escapes to be a sculptural object.

 

The Hibernate group was founded in 1999, in Finland, and includes Helena Lehitnen, Eija Mustonen, and Tarja Tuupanen. Each artist works individually with distinct styles centering around different materials and techniques. The collective works together to show their pieces and creates collaborative installations to accompany their work. Ornamentum has had two solo exhibitions of Hibernate, one in 2008 and one in 2016.

All three of the artists who are featured in the 20 Year Exhibition show a sensitivity and respect for materials. Their work focuses on rediscovering qualities in known materials and playing on the viewers’ perception of the pieces. The pieces often examine the relationship between an object and

the body through touch by providing a multi sensory experience of materiality.

Helena Lehtinen’s contemporary work provides a new meaning and story to antique materials. The carefully selected materials are not deconstructed, but rather highlighted through the use of planned alliances and relationships within the work.

Eija Mustonen, who has recently focused on working with metal, emphasizes and honors the tradition of smithing through her work. Championing the effects on manual labor, her pieces are simple and focus on showcasing the material and technical qualities. She now focuses on folding and bending metal forms and references clothing accessories, home linen, and utensils.

Tarja Tuupanen works with stone and explores the psychology of ornament. Her necklace made of a carved black marble with thin grey threads asserts its presence and weight on the body or escapes the body to be viewed as a sculptural object.

“Jewellery develops culture, because jewellery are objects touching human beings. That is what Hibernate does.” -Karen Pontoppidan

 

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Veronika Fabian, jewelry, Marzee, chain links necklace, tattoo, hallmark

Veronika Fabian, CU15-411-1641, 2021, necklace, brass chain, gold-plated, 

8.27 x 22.05 x 1.18 ", (Inv# 6978)

Veronika Fabian, jewelry, Marzee, chain links necklace, tattoo, hallmark

Veronika Fabian, CU15-411-1641, 2021, necklace, brass chain, gold-plated,

8.27 x 22.05 x 1.18 ", (Inv# 6978)

 

Norman Weber, acrylic jewelry, German 3d printing

Norman Weber, No-Blabla-La 14, 2018, bracelet, acrylic, 3-d printed and hand-worked, lacquer, 4.84 x 4.53 x 1.5 "

(Inv# 7459)

Norman Weber, acrylic jewelry, German 3d printing

Norman Weber, No-Blabla-La 15, 2018

acrylic, 3-d printed and hand-worked, lacquer, stainless steel, silver, 3.58 x 3.66 x 1.26 "

(Inv# 7460)

Norman Weber, acrylic jewelry, German 3d printing

Norman Weber, No-Blabla-La 16, 2018

acrylic, 3-d printed and hand-worked, lacquer, stainless steel, silver, 3.39 x 3.62 x 1.22 "

(Inv# 7461)

Silke Spitzer, Germany, wall piece textile

Silke Spitzer, Wall Brooch, Purple leaf, Red Braids, 2022

wool, linen, cotton yarn, oil stick, pen, pencil, ink, shellac, cork, 35.43 x 26.38 x 1.18 "

(Inv# 7457)

 

Silke Spitzer studied at the University of Applied Arts and Design in Pforzheim at the same time that Laura did. During her studies she received a DAAD Scholarship from the Rhode Island School of Design. After her time at RISD, she returned to Pforzheim and graduated with a MFA in Jewelry Design. Since then, she has relocated to Berlin In 2011 she co-founded and taught at a small jewelry school which challenged the traditional framework of the craft. Now, she spends her time between her studio in Kreuzberg, and her home on a small farm outside of Berlin.

Her work pushes the boundaries of the jewelry discipline and explores the space between art jewelry and sculptural objects. The pieces are impactful, bold, and refuse to go unnoticed. Her bright color palette is influenced by her surroundings along with the use of non-precious materials which she finds in her neighborhood. She has received several international awards such as the Justus Brinckmann Prize in 2015, Grassi Award in 2010, and others.

Silke Spitzer has been with the gallery since its early years beginning with her residency in 2004, where she fondly remembers the shared labor and excitement of the gallery’s early days.

“I remember at the very beginning,
Maybe the first or second year of the gallery when I visited as an „ artist in residence“ and there was still a lot of construction going on, also during the opening hours of the gallery.
I would show a fancy necklace to a customer downstairs in the gallery while the constructors and Stefan would work on the plumbing on the second floor and they were so much into the „ fucking son of a bitch i lost my hammer“ kind of work, that they forgot we might hear them swearing downstairs in the gallery....”

 

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Silke Spitzer, Germany, wall piece textile

Silke Spitzer, Wall Brooch, Green and Blue Leaf With Bangs, 2022

wool, linen, cotton yarn, oil stick, pen, pencil, ink, shellac, cork, 30.71 x 21.65 x 1.18 "

(Inv# 7458)

 

Silke Spitzer studied at the University of Applied Arts and Design in Pforzheim at the same time that Laura did. During her studies she received a DAAD Scholarship from the Rhode Island School of Design. After her time at RISD, she returned to Pforzheim and graduated with a MFA in Jewelry Design. Since then, she has relocated to Berlin In 2011 she co-founded and taught at a small jewelry school which challenged the traditional framework of the craft. Now, she spends her time between her studio in Kreuzberg, and her home on a small farm outside of Berlin.

Her work pushes the boundaries of the jewelry discipline and explores the space between art jewelry and sculptural objects. The pieces are impactful, bold, and refuse to go unnoticed. Her bright color palette is influenced by her surroundings along with the use of non-precious materials which she finds in her neighborhood. She has received several international awards such as the Justus Brinckmann Prize in 2015, Grassi Award in 2010, and others.

Silke Spitzer has been with the gallery since its early years beginning with her residency in 2004, where she fondly remembers the shared labor and excitement of the gallery’s early days.

“I remember at the very beginning,
Maybe the first or second year of the gallery when I visited as an „ artist in residence“ and there was still a lot of construction going on, also during the opening hours of the gallery.
I would show a fancy necklace to a customer downstairs in the gallery while the constructors and Stefan would work on the plumbing on the second floor and they were so much into the „ fucking son of a bitch i lost my hammer“ kind of work, that they forgot we might hear them swearing downstairs in the gallery....”

 

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Helena Lehtinen Finland Jewelry, flowers, textiles

Helena Lehtinen, Garden 3, 2021, necklace, wool, vintage textiles, 22.83 x 13.78 x 1.18 "

(Inv# 7443)

 

I have always collected part of my materials from flea markets and my choices have been very personal.

It means that form, colors or surfaces have important meaning.

I’m fascinated by everyday objects which present to me as cultural tradition.

I don’t treat my choices as raw material, which needs to be processed but material -objects to be

highlighted and transformed trough carefully planned alliances.

 

Hibernate group

(Helena Lehitnen, right in above photo)

The Hibernate group was founded in 1999, in Finland, and includes Helena Lehitnen, Eija Mustonen, and Tarja Tuupanen. Each artist works individually with distinct styles centering around different materials and techniques. The collective works together to show their pieces and creates collaborative installations to accompany their work. Ornamentum has had two solo exhibitions of Hibernate, one in 2008 and one in 2016.

All three of the artists who are featured in the 20 Year Exhibition show a sensitivity and respect for materials. Their work focuses on rediscovering qualities in known materials and playing on the viewers’ perception of the pieces. The pieces often examine the relationship between an object and the body through touch by providing a multi sensory experience of materiality.

Helena Lehtinen’s contemporary work provides a new meaning and story to antique materials. The carefully selected materials are not deconstructed, but rather highlighted through the use of planned alliances and relationships within the work.

Eija Mustonen, who has recently focused on working with metal, emphasizes and honors the tradition of smithing through her work. Championing the effects on manual labor, her pieces are simple and focus on showcasing the material and technical qualities. She now focuses on folding and bending metal forms and references clothing accessories, home linen, and utensils.

Tarja Tuupanen works with stone and explores the psychology of ornament. Her necklace made of a carved black marble with thin grey threads asserts its presence and weight on the body or escapes the body to be viewed as a sculptural object.

“Jewellery develops culture, because jewellery are objects touching human beings. That is what Hibernate does.” -Karen Pontoppidan

 

view the story with images

Helena Lehtinen Finland Jewelry, flowers, textiles

Helena Lehtinen, Garden 1, 2021, necklace, glass beads, vintage textiles, silk, 25.59 x 13.78 x .79 "

 

Sold

 

I have always collected part of my materials from flea markets and my choices have been very personal.

It means that form, colors or surfaces have important meaning.

I’m fascinated by everyday objects which present to me as cultural tradition.

I don’t treat my choices as raw material, which needs to be processed but material -objects to be

highlighted and transformed trough carefully planned alliances.

 

Hibernate group

(Helena Lehitnen, right in above photo)

The Hibernate group was founded in 1999, in Finland, and includes Helena Lehitnen, Eija Mustonen, and Tarja Tuupanen. Each artist works individually with distinct styles centering around different materials and techniques. The collective works together to show their pieces and creates collaborative installations to accompany their work. Ornamentum has had two solo exhibitions of Hibernate, one in 2008 and one in 2016.

All three of the artists who are featured in the 20 Year Exhibition show a sensitivity and respect for materials. Their work focuses on rediscovering qualities in known materials and playing on the viewers’ perception of the pieces. The pieces often examine the relationship between an object and the body through touch by providing a multi sensory experience of materiality.

Helena Lehtinen’s contemporary work provides a new meaning and story to antique materials. The carefully selected materials are not deconstructed, but rather highlighted through the use of planned alliances and relationships within the work.

Eija Mustonen, who has recently focused on working with metal, emphasizes and honors the tradition of smithing through her work. Championing the effects on manual labor, her pieces are simple and focus on showcasing the material and technical qualities. She now focuses on folding and bending metal forms and references clothing accessories, home linen, and utensils.

Tarja Tuupanen works with stone and explores the psychology of ornament. Her necklace made of a carved black marble with thin grey threads asserts its presence and weight on the body or escapes the body to be viewed as a sculptural object.

“Jewellery develops culture, because jewellery are objects touching human beings. That is what Hibernate does.” -Karen Pontoppidan

 

view the story with images

Karin Wagner, Swiss necklace felt jewelry flower bolita colorful design

Karin Wagner, Flower Vine, wool felt, elastic

Visitors to the gallery over the past 20 years have definitely noticed the work of Karin Wagner of Basel, Switzerland, who has been featured since the beginning in 2002.

Karin Wagner's jewelry allows the wearer a bold, colorful statement- existing in a space between jewelry and clothing, while the medium allows for the gallery to offer these works at a price that most passersby find to be an affordable intoduction to the world of contemporary studio jewelry.

 

Karin Wagner, Swiss necklace felt jewelry flower bolita colorful design

Karin Wagner, Flower Necklace, wool felt, elastic

Visitors to the gallery over the past 20 years have definitely noticed the work of Karin Wagner of Basel, Switzerland, who has been featured since the beginning in 2002.

Karin Wagner's jewelry allows the wearer a bold, colorful statement- existing in a space between jewelry and clothing, while the medium allows for the gallery to offer these works at a price that most passersby find to be an affordable intoduction to the world of contemporary studio jewelry.

Hibernate, Finland jewelry

Eija Mustonen, Folded (Long), 2021, brooch, nickel silver, 20.5 x 2.4 x .8 "

(Inv# 7603)

 

Hibernate group

The Hibernate group was founded in 1999, in Finland, and includes Helena Lehitnen, Eija Mustonen, and Tarja Tuupanen. Each artist works individually with distinct styles centering around different materials and techniques. The collective works together to show their pieces and creates collaborative installations to accompany their work. Ornamentum has had two solo exhibitions of Hibernate, one in 2008 and one in 2016.

All three of the artists who are featured in the 20 Year Exhibition show a sensitivity and respect for materials. Their work focuses on rediscovering qualities in known materials and playing on the viewers’ perception of the pieces. The pieces often examine the relationship between an object and the body through touch by providing a multi sensory experience of materiality.

Helena Lehtinen’s contemporary work provides a new meaning and story to antique materials. The carefully selected materials are not deconstructed, but rather highlighted through the use of planned alliances and relationships within the work.

Eija Mustonen, who has recently focused on working with metal, emphasizes and honors the tradition of smithing through her work. Championing the effects on manual labor, her pieces are simple and focus on showcasing the material and technical qualities. She now focuses on folding and bending metal forms and references clothing accessories, home linen, and utensils.

Tarja Tuupanen works with stone and explores the psychology of ornament. Her necklace made of a carved black marble with thin grey threads asserts its presence and weight on the body or escapes the body to be viewed as a sculptural object.

“Jewellery develops culture, because jewellery are objects touching human beings. That is what Hibernate does.” -Karen Pontoppidan

 

view the story with photos

Hibernate, Finland jewelry

Eija Mustonen, 3 X Folded, 2021, brooch/ pocket piece, nickel silver, 5.9 x 2.75 x 3.95 "

(Inv# 7604)

 

Hibernate group

The Hibernate group was founded in 1999, in Finland, and includes Helena Lehitnen, Eija Mustonen, and Tarja Tuupanen. Each artist works individually with distinct styles centering around different materials and techniques. The collective works together to show their pieces and creates collaborative installations to accompany their work. Ornamentum has had two solo exhibitions of Hibernate, one in 2008 and one in 2016.

All three of the artists who are featured in the 20 Year Exhibition show a sensitivity and respect for materials. Their work focuses on rediscovering qualities in known materials and playing on the viewers’ perception of the pieces. The pieces often examine the relationship between an object and the body through touch by providing a multi sensory experience of materiality.

Helena Lehtinen’s contemporary work provides a new meaning and story to antique materials. The carefully selected materials are not deconstructed, but rather highlighted through the use of planned alliances and relationships within the work.

Eija Mustonen, who has recently focused on working with metal, emphasizes and honors the tradition of smithing through her work. Championing the effects on manual labor, her pieces are simple and focus on showcasing the material and technical qualities. She now focuses on folding and bending metal forms and references clothing accessories, home linen, and utensils.

Tarja Tuupanen works with stone and explores the psychology of ornament. Her necklace made of a carved black marble with thin grey threads asserts its presence and weight on the body or escapes the body to be viewed as a sculptural object.

“Jewellery develops culture, because jewellery are objects touching human beings. That is what Hibernate does.” -Karen Pontoppidan

 

view the story with photos

Mary Preston, Helen, 2022, neckpiece, vinyl, pleather, wool, leather, fabric, cut steel,  semi-precious stones, glass, 20 x 4 x 4 "

(Inv# 7589)

 

Hindsight

 

Worn quilt squares

Thrifted and crafted 

Fragments from faded memories

Cast off clip ons and sifted-through rhinestones

Tributes made in hindsight

 

Retrospect can embolden

Definitions of ourselves

Because we become who we are

Unknowingly

 

Shaped by our maiden tentative steps

And wanderlust conversations

 

Perception

Gained slowly, stitch by stitch

The passing of time

The passing of lives

 

Until we feel heavy, or full

Of who we are

Who formed us

What is really important

Mary Preston, Ruth, 2022, upholstery, vinyl, wool, glass, plastic,  semi-precious stones, 20 x 4 x 3 "

(Inv# 7590)

 

Hindsight

 

Worn quilt squares

Thrifted and crafted 

Fragments from faded memories

Cast off clip ons and sifted-through rhinestones

Tributes made in hindsight

 

Retrospect can embolden

Definitions of ourselves

Because we become who we are

Unknowingly

 

Shaped by our maiden tentative steps

And wanderlust conversations

 

Perception

Gained slowly, stitch by stitch

The passing of time

The passing of lives

 

Until we feel heavy, or full

Of who we are

Who formed us

What is really important

Stephanie Jendis, Cascade, necklace, labradorite, silver with black rhodium plate

(Inv# 7550)

Stephanie Jendis, Pink Galaxy, ring, cobalt calcite, cultured pearls, black rhodium plated silver

(Inv# 7549)

Stephanie Jendis, Nachtfalter (Moth) III, brooch, ebony, hematite, silver

(Inv# 7548)

20 YEARS ORNAMENTUM

Laura and Stefan met in the early 1990’s while pursuing their degrees in Metals and Jewelry at Wayne State University in Detroit, MI. Stefan’s interest in the jewelry developed early as he took evening classes during high school, and Laura came upon the medium due to happenstance. Their meeting led to several conversations which helped them decide that jewelry could be a direction with a future for them both.
Many days and nights working in the WSU studios led Laura and Stefan to not only set a career in jewelry as their goal, but also a life with each other. After their studies, Laura joined Stefan on their most demanding adventure so far, 3 years of study and work in Pforzheim – the jewelry center of Germany. In Pforzheim they honed their skills and aesthetic. Stefan, who has dual nationality, finished with a degree from the design program of the Goldsmithing school; Laura was able to experience the same program for two years and a year at the University of Design (just down the hill) as a guest student.
The two decided to return to the US in 1999 - the culture of the Northeast beckoned.  NYC seemed too daunting to start from scratch, so they settled in Providence, RI, a city with a long history of jewelry industry and home to RISD. Funnily enough it was also where many Pforzheim students went for exchange years.  Because of the ties to the jewelry industry, Providence provided further experiences for bench work and training as Stefan and Laura searched for a new place to call home.
Hudson came to their attention due to chance - opening a magazine to see an article on a blossoming home market taking hold further North from the city than the bedroom communities in Westchester and Dutchess Counties, Hudson had formed into a burgeoning center for antiques, art and style – a transition that gained momentum throughout the later 2000’s. 
Laura and Stefan felt it was the right place, jumped in and acquired the building that houses Ornamentum in 2002.

There have been many changes in the 20 years that followed.   Ornamentum lived its first 6 years in an 8’ wide space, growing into the larger exhibition room next to it in 2008.  IKEA cabinets were replaced with pedestals and fine cabinetry.  A worn-out façade was updated with 10’ modern storefront and doors. The original idea of a studio / gallery where Stefan and Laura would make and sell their own work was discarded, the Ornamentum logo was updated, and the gallery was set up to better reflect the contemporary nature of the work that is exhibited.

With so much behind us and so much to come, we are celebrating this milestone with an overview exhibition.  Many of our artists sent us works to mark the occasion- some new, some older… several of the works mark specific periods in the gallery timeline while others are simply great pieces, others were created in direct response to the occasion, while others give example to how our artists’ range of exploration have moved past jewelry into the world of sculpture, object and wall art.

Follow us on Instagram as we continue telling the Ornamentum story throughout the exhibition- and the rest of our anniversary year!