32 ORNAMENT 38.2.2015 W of flawless forms and that of imperfect being—are separated not by any wall or gulf but rather by rather but gulf or conditions ofchanceandcircumstance thatthemindtranscendsbutmaterialworld cannot. wall any by not separated being—are imperfect of that domain and nature—the forms and flawless geometry of that suggests amplifier, an of knob increase the gradual turns the one as like volume smooth, in imperceptibly almost be can transition this That naturalism. of A W growth. They’renotfollowedperfectly.Therearegoingtobevariations,because It’s nottheperfectionthatyouwouldgetbydrawingwithacompassandruler; maybe aplantdidn’tgetenoughwater,orsunlight,nutrientsfromthesoil. “There’s mathoutthereinnature.Underneatheverythingarepatternsof endy disparate hue, art leaves the realm of circles, squares and triangles and enters the environs a the of enters and tinges triangles faint and squares on circles, of takes realm color the leaves unmodulated art hue, pure, disparate and slightly, so ever waver line to exacting imbalance, begins of hint merest the acquires symmetry perfect when moment the t orldly it’s geometrythathasinteractedwiththestressesoflife.” M G c A eometry llister Glen R.Brown to stretch myself in other ways and not get too be too to get going was not I and that comfortable withenamel.” feeling ways a had other I in comfortable. myself stretch to recalls, start doing just what I was and already doing in leap ceramics. I wantedparallel McAllister a make to first,” want didn’t at I Kroiz. “because enamel Shana using instructor resisted MICA I of work enamel the to attracted sherds naturally herself found she however, glazes, pottery Raku-fired with experienced ceramist a As assemblages. in together joining for possibilities new open to only not change, career a was facilitate to jewelry intended in certificate a pursue to decision the but ceramist, studio a as career successful a on embarked and University Washington George from art in degree a earned had she earlier, Years Art. of College Institute she of when 1990s, of began attending late classes in jewelrymaking at compositions the Maryland the stream since the a brooches McAllister’s by characterized smoothed and variables—has warped unsettled, life.” of stresses the with interacted by get would has that geometry it’s ruler; and a compass you with drawing that perfection the not It’s soil. the from nutrients or sunlight, or water, enough get didn’t perfectly. are followed plant a maybe because not variations, there be to going are There They’re everything growth. of Underneath patterns nature. in there This kind of worldly geometry—one slightly slightly geometry—one worldly of kind This out math “there’s observes, McAllister Wendy As

copper forms coated in gritty monochromatic fields fields monochromatic gritty in raised coated slightly forms prong-set, copper for backings as served that producing shapes silver cut sterling of and crisply flat was compositions she MICA metalsmith. at time a her of as end the skills Near her brooches—“stand-alone” perfected on she objects—as vessel, naturally functional focused the she than forms sculptural toward more work ceramic her in Oriented under-fired. when acquires it that texture sugary the particularly qualities, of range its exploit to begun and enamel of attractions the to succumbed had McAllister 2006 in certificate her That feeling proved prescient. Before completing completing Before prescient. proved feeling That glass, adjustable 40.6 – 48.3 centimeters centimeters 2014. 48.3 length, – 40.6 adjustable silver, glass, sterling copper, enamel, vitreous of NECKLACE SUMMER ARCTIC page: Opposite Sakwa. 2013. Hap 7.6 centimeters, x 2.5 10.2 x silver, sterling copper, enamel, Left: Left: 1.9 x noted. where except 10.2 Wolansky x 9.5 2013. centimeters, silver, sterling copper, Top: Top: AA BROOCH LAVA LE CHARIOT BLUE Photographs by Victor Victor by Photographs

of vitreous enamel, enamel, vitreous of BROOCH Photograph by by Photograph of vitreous vitreous of

33 ORNAMENT 38.2.2015 34 ORNAMENT 38.2.2015 drawn hundreds of flowers, over and over, as loosely loosely as over, and over flowers, have of must I hundreds drawing. drawn started just I There when point things. a of was clusters were there shape; single five-sided the have using just she didn’t flowers,” brooches started like “The of remembers. “I sort looked parts. that forms similar multiple single- but her smaller of of addition individualized the complexity through the compositions the shape drawing. increased for freehand also of She drafting imperfection and balanced compass-and-ruler asymmetry in the late of abandoned she experiment precision MICA, to at begun studies had her she technique a which mesh, with copper-wire a over enameling by irregularity of possibilities the exploiting to addition In recalls, she up.” loosening start to wanted I forms,” them. from away break to needed I that decided I geometric “and those overworked had I that “After felt I where point nature. a to got of I school, finished those I to closer shapes her nudge to and McAllister spurred doubt no analogies Such stars. sea of precise were varieties or five-armed flowers to five-petaled compared pentagon, be could a they morphologically of around although non-objective, compass points a with five the circles drawing shapes by lobed-star created forms, The enamel. under-fired of The means of doing so were already at her disposal. disposal. her at already were so doing of means The all together creating an environment unique to that time and place.” and time that to unique environment an creating together all forms. natural all of design the for basis geometric complex a is “There Each unique individual form affects adjacent forms, and so on; on; so and forms, adjacent affects form individual unique Each

indulges a desire for precise order and predictability predictability and order precise for desire a these a of as One indulges studio tendencies. the distinct two in of method combination her that surprise describes no such perhaps McAllister is in it Fibonacci other, the the interest on as her sequence patterns and consistent hand one mathematically the on forms directions.” different at of lot a from brooch. coming me a influence of about amount tremendous think a There’s sometimes I take, the they in up form growing says. grasses she seeing and pictures,” along take “Walking and camera I’ll my outside bring walk I often “When outings. research informal the are there Then tanks. tide-pool and coral-reef the in echinoderms, spiny and anemones colorful particularly life, sea the observes frequently and forest rain enclosed glass- institution’s the of plants exotic the among hours the at influential spends she Baltimore, assistant in Aquarium National horticultural volunteer growing a forms As flowery it.” tiny from the a and moss during and at ground looking established the on life “lying frequently plant spent childhood for affinity an do to with much had work McAllister’s in features organic compass.” and protractor a using by drawn were that forms rigid onto those get to tried I then and could, I as Given her deep attraction to variation in natural natural in variation to attraction deep her Given more into geometry of softening the doubt No sterling silver, 10.8 x 8.2 x 3.4 centimeters, 2010. BROOCH AMPLUS of vitreous enamel, copper, copper, enamel, vitreous of

things together. I think of that process as collage collage as process that of putting think with I playing belong together. and it things to through going seem “and start says, she I’ll just stuff,” various of box big this trying things have “I of together. until matter a combinations often from is leftovers her effective be compositions determining for may Consequently, projects. others parts earlier been but have of created, parts these newly of work some arrangements to Generally, intuition brooches. begins when clustered McAllister when out necessary, for—as even called is working appropriate, they’re spontaneity is that Nevertheless, feel people.” different “they two with step-by-step that owners comment defined, gallery some to led sharply has This construction a of spontaneity. method from through process departure her need enliven the feels to McAllister often but respects, many in wouldn’t havetoreinventthewheel.” I series a continue to wanted or similar something doing of idea the had I if but works, earlier reproduce don’t “I lot of notes so that I can refer back to them,” she explains. with her brooches have been designed and fabricated. “I take a multiples has notebooks detailing the produce precise steps through which McAllister kept 2009 to Since might consistency. as used assembly-line such be blueprints drafting conceivably to akin is mode this in Drawing end.” “working to beginning of from through possibility right the up sets cases some in and Working according to plan can be advantageous advantageous be can plan to according Working 10.2 x8.92.5centimeters,2011.PhotographsbyHapSakwa. copper, sterling silver, 7.6 x 10.2 x 2.5 centimeters, 2013. 2013. centimeters, 2.5 x 10.2 x 7.6 silver, sterling copper, BROOCH ATOLL of vitreous enamel, copper, sterling silver, 10.2 x 8.9 x 3.8 centimeters, 2013. 2013. centimeters, 3.8 x 8.9 x 10.2 silver, sterling copper, enamel, vitreous of SAMBA

BROOCH ity: the play of reflection and shadow created as light light as created unpredictabil shadow aspect and and reflection another of variation play to the adds ity: a that crucial work than is her rather itself of spiral mesh a The on for grid. mesh based own perhaps her enamel. weaving grounds, in considered it irregular, also coating has into She before mesh shapes the “blob” bending organic from arise possibilities that the explored has she squares, year past simple the for and but shapes dome to mesh enameled point.” build that to to them up get to tricky so It’s firings. eighty that’s each, for layers eight If takes it and section. sections ten next are the there to on go then and inch an half inch by an half only base that’s part a on work glossy might I time. a the at section small over one done nine it’s “but to enamel explains. she up layer,” be under-fired could of “There layers consuming. time and tediou be can work surface the and irregular methodical, are softly created is this which through steps Ironically, the flocking. of reminiscent form to surface up granular built a be can enamel successive under-fired many of she which layers over mesh, coat wire gloss a with working with or begins planes Whether copper smooth enameling. with of her process through is brooches complex her to unpredictability and lay progress.” to in be things of can bunch a out working of method My assemblage. or In her early brooches McAllister limited the use of of use the limited McAllister brooches early her In variation adds McAllister in which way key Another of vitreous enamel, copper, fine silver, and sterling silver, silver, sterling and silver, fine copper, enamel, vitreous of LSU BROOCH ELYSIUM of vitreous enamel, enamel, vitreous of -

35 ORNAMENT 38.2.2015 36 ORNAMENT 38.2.2015 backplate. They get more complex as you watch watch you as complex angles.” more different from them get They backplate. the of center the in out cut shape star a there’s that see all might changes you way certain it a it hits light So the When time. the side. golden the see you’ll and it, hit suddenly will light the moves, it as mesh brooch you the and colored watch around the moving person’s just the is when from but see it form, at you look what you angles “If some leaf says. gold she metal there’s backplate,” bright the brooches on the strikes of some and “In holes surfaces. the through passes WENDY MCALLISTER WENDY sterling silver,glass, 12x13.34.5centimeters,2014. BROOCH VORTEX POLAR weather patternknownasthe‘polar vortex’ intheEasternUnitedStates, “During anunusuallyharshArctic sticking upthroughitscrystalline snow coveredeverythingexcept surface. PolarVortexreflected for thetrunksandbranches this winterlandscape.” of vitreous enamel, copper, copper, enamel, vitreous of

directions I didn’t plan on.” down plan me didn’t I taken It’s directions forms. the of rest the of matt with the surfaces shiny the of about contrast way the that love I think enamels. usually don’t I thought, pretty. they I so when glossy. that’s became time and a maturity was to fired there were that doing and was cups, I these while on enamel under-fired the with some tests made had “I confesses. she them enamel,” for shiny be to intend for didn’t “I appropriate grounds. concave seemed small it the enamels, under-fired with her custom broke surfaces these of gloss the nest. Though a of periphery circular the around scattered eggs robins’ of blue fragments of sky numerous appearance the smooth them a gives that included in enameled have forms, cuplike atolls. brooches small coral these to of likened has Some she that of rings form the undulant in sometimes are asymmetrically, works structured recent general. most in her of work many Compositionally, McAllister’s of characteristic been The move from simplicity to complexity has has complexity to simplicity from move The Generally McAllister’s explorations of these unplanned directions are consistent with the persuasive murmurings of nature, even when those initially go unrecognized. In a recent brooch composed of powdery white enamel, edged in red, over cupped, lobed forms—geometrically precise but reminiscent of flowers—she added protruding wires on which she strung a series of cylindrical silver beads alternating with small petal-like forms and ending with four clear-glass seed beads at each tip. “When I started it, I was thinking vaguely of coral and sea forms,” she remembers, “and then one day I was upstairs and looked out at the snow-covered hill. Branches were coming up through it, and I realized that was what I was making! I thought I was making coral but I was responding to the landscape outside my window, which I was looking at constantly. So I called the brooch Polar Vortex. Sometimes I think I’m doing one thing when I’m actually being inspired by something else.” LAVA PILLOW BROOCH of vitreous enamel, copper mesh, This confession of subconscious persuasion over sterling silver, eighteen karat gold, twenty-four karat gold leaf, 7.6 x 7.6 x 1.9 centimeters, 2009. forms, despite McAllister’s interest in and frequent ROBIN EGGS BROOCH of vitreous enamel, copper, sterling reliance on geometry in her compositions, is silver, 9.5 x 7.6 x 2.5 centimeters, 2013. Photograph by not unexpected, since the prevailing impression Hap Sakwa. produced by her brooches is one of order softened by an intuitive feeling for the effects of variables on living organisms. For McAllister the origin in, but loosening of, mathematical predictability is what manifests in her brooches a close connection to nature. “There is a complex geometric basis for the design of all natural forms,” she asserts. “However, individual life forms are unique. They’re influenced by outside interference—for good and bad. The combination of available light, water, nutrients, climate, age, disease, and injuries affects growth in infinite variations. Each unique individual form affects adjacent forms, and so on; all together creating an environment unique to that time and place. In some small way, this is the process I’m engaged in as I combine elements in the composition of each brooch.” 015 SUGGESTED READING 2 Satok-Wolman, Ezra and Wendy McAllister. Genesis, Life And Form Through Different Lenses. Klimt02 Gallery exhibition catalog, 64 pages. Barcelona: Klimt02 Gallery and Blub Publishing, 2014. Le Van, Martha. 21st Century Jewelry: The Best of the 500 Series. New York: Sterling Publishing and Lark Books, 2011. 218, 411. 37 ORNAMENT 38.2.