silversmithing
After the work with the Mongolian crystals I got a little more intentional about the raw, primordial look the rough stones provide. Here is the first of the series. I have embedded five raw diamonds in Sterling. The process is to make a mold from cuttlefish bone, set the stones in place, then fill the mold with molten Sterling. The results are largely unpredictable. I’m enjoying the “becoming” aspect of the piece. 
This is a custom ring commissioned by some dear friends to commemorate their daughter’s 21st birthday. The only design restrictions I had were “turquoise, a little bit of gold, not dainty, and size 6.” It’s to be worn on the first finger. Here’s what I came up with.
The stone (cut in the 70s, not enhanced or stabilized) is sandwiched between the ring shank and the top plate (oxidized black). The two pieces are held together with 14k gold rivets.
This is the first I’ve tried this type of setting. I wasn’t sure it would work, but it came out well. It was the look I was going for.
This is the first “heirloom gold” wedding band I did.
The idea comes from my daughter Anna: friends and family of the bride and groom are contacted to contribute gold scraps that will go into the wedding band. Earring backs, chain links, earrings without a match, gold teeth, pieces of rings, etc. are collected from the family and friends and become a part of the wedding band, symbolic of all their love for and history with the bride or groom. A portion of the final gold mix is set aside for future generations or siblings as “heirloom gold” that goes into their wedding bands. I think it’s a great idea. Since this one I’ve done six more.
rosebud arts 