In 1998, when began making One-of-a-Kind Art Jewelry in earnest, It was a magical time. We were both in our mid-thirties, had two young children, were living on a magical property on a large stream which our Studio overlooked, and had blind faith that we could make a name for ourselves doing what we wanted to do. We had the luxury of having a successful wholesale production business, Chickenscratch, (that we downsized in order to make Art), so we set off - very naively.
In 1998, Craft shows and Craft Galleries were aplenty and they were thriving. We sold work to nearly 100 stores and thought, because of our creative vision and skills, our already established connections and sheer determination, that we would be successful, whatever that actually means or meant at the time. We created our first body of work, elaborate fabrications all using the same bird motif and under a heavily modernized influence of Rene LaLique. They were quite good for our first step down the path and we found representation immediately for them. This established a twenty year relationship with Snyderman/Works Galleries in Philadelphia.
We then created another body of work and then another. All the while maintaining our production business, raising a family and tending a sizeable property. Galleries were eager to show our work, and they were plentiful. We went to SOFA (Sculptural Objects Functional Art) with the Snydermans in New York and Chicago fairly regularly. Things were working out and our plan was being realized. The groundwork which we laid appeared to be fertile.
But, alas, nothing stays the same. 9/11 marked the beginning of the down turn. Then the collapse of the financial markets in 2008, then Covid. We have become adaptive animals, not by choice, but out of necessity. 2001 was also the start of a trend in the Craft field that has never readjusted itself. Where in our youth we had to scratch and claw to compete with the established elder statesmen of the field, the new generation were given easy access. Gallerists and show promoters thought that youth would save the changing field, and many still seem to think so.
Reduced cost booths and gallery shows for recent graduates and MFA candidates (!) were becoming the norm. Those elder statesmen were still revered, but not as much as the youth movement of the 2000’s and 2010’s. Slowly the older makers were less important, sadly. We were then in the ”sandwich” age, not old enough to be revered and not young enough to be able to take advantage of programs offered to younger makers. We felt, and feel, like ghosts, part of an unseen and under served generation who devoted their lives to the field.
We are not bitter, though you may think that. We are still operating at the height of our creative powers. The aging of the collectors, the de-ascensioning of their collections, Walmart, Amazon, 3D printed “craft”, and a myriad of other things have been set in motion since 9/11. We have not adapted to most of this, as we are stubborn and highly committed to our way of making and still feel it is extremely relevant and important. The youth movement needs to be EDUCATION, not just young makers. Go to any Museum or high end gallery or Craft show and the visitors are mostly 55 and over. The lack of education will be the demise of not just Crafts, but culture, in general.
So we will continue to make, though for whom is the question of late. We will continue to educate those who are still interested, and we will continue to shout into the void because, just maybe, someone will stop to listen.