Photograph by Patrick R. Benesh-Liu

Dear Ornament Reader,

We are constantly reminded about the perilous state of the economy; many of our largest corporations are continually outsourcing, cutting personnel and costs to survive, challenged by the growing might of China, and even Germany, out-exports us. Not long ago, the United States was the manufacturing giant of the world and the foremost originator of ideas. While we are by no means equating the following observations as a solution, yet they could provide some meaningful comparisons. In the few days we spent this summer in Salida, at the Colorado Metalsmithing Association, and visiting with the artists and galleries of this town of less than six thousand population, it was so refreshing and inspiring to see the concentration of talent, technology and hard work.

Since we were at a metalsmithing conference, most of those we met were naturally jewelers and/or gallery owners, many of whom we have known and covered in past issues of Ornament. Economy defined Salida; when the nearby molybdenum mine closed, house prices plunged, attracting artists. Determination and hard work, aided by a town that supports the arts, made this city and its galleries destinations for visitors. But with such a small population and seasonal tourists, many of the working artists have to expand beyond this beautiful and attractive area for their livelihood. We toured the homes of jewelers who either live in Salida, or had a gallery or workshop there: Hannelore Gabriel and Harold O’Connor, well-known and longtime jewelers who sell, teach or exhibit; Michael Boyd, another well-established jeweler, who with partner Geraldine Alexander own Cultureclash, a leading Salida gallery; Susan Bethany and Jerry Scavezze, both jewelers and owners of Gallery 150; and newcomers Don McCoy, a jeweler, and his wife, Jennifer Charles, a maker of wearable art. Some had well-equipped, traditional studios, but with innovations, while other workshops were dazzling in their sophistication and comprehensive equipment. Each of these studios, along with their workers, produce jewelry or other art that ranks among the best and often at the leading edge of their media. The galleries display art that enriches both the town and its visitors.

Our readers know the trials and joys of the working artist, expressed clearly by the artists presented in this current and our past issues. It is a life of self-reliance and self-imposed work discipline, tempered by the stresses and demands of any job, but also enabling one to meld mental and physical skills, in the process of making objects that embody intellectual, emotional and aesthetic qualities. These reward both the maker and the recipient.

The well-made craft object provides the means to live the kind of productive life that is at least now relatively immune to pressures of globalization. The hours may be long, laborious and stressful, but most craftspeople must feel their lives are meaningful and that rigorous application of their mental and manual skills can still obtain tangible improvements. A sense of control and satisfaction in one’s work are very powerful impetuses for the continuation of the craftsperson lifestyle

 

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