Kathleen Maley

 

Why are you an artist?

 

I have always been making art and art objects.  My family is very creative, and I had a lot of encouragement early on to make and build things, to draw and to paint.  When I am making jewelry, I am totally absorbed.  When I am doing anything else, it is always in the back of my mind.  I figure this must be what I am meant to be doing.

 

Could you tell us some more about the jewelry you make?

 

My work is very playful.  I enjoy the process of making jewelry, and I think that comes through in my designs.  My jewelry is hand-fabricated: built from silver wire, sheet, and solder, and formed with hammers and steel mandrels.  I use primarily traditional metalsmithing techniques and tools, but the effect is very contemporary.

Currently I am interested in exploring how jewelry forms relate to the body.  I challenge myself to create work that is fresh and unexpected in its relationship to the body of the wearer.

 

What made you decide to create jewelry?

 

In college I was a bit rudderless as an art major.  I never felt the pull towards any particular medium until I took an applied design course taught by the metalsmithing instructor.  I was hooked.  I didn’t want to do anything else.  I changed my emphasis to Applied Design in Metal, and shortly after graduation and some painful retail jobs, I moved to San Francisco.  Initially, I had no plans to be a jeweler professionally, just to work enough so that I could make jewelry on the side.  That didn’t last long--I just loved it too much.  So the office job had to go.

 

What artists have influenced you, and how? 

 

I was fortunate to have the opportunity to learn the basics of jewelry fabrication from Arline Fisch.  Her broad knowledge and experimental approach to contemporary jewelry design was inspirational, and her instruction generous.

 

Aesthetically, Danish and American Modernist jewelers have had the biggest impact on my work.  Not knowing much about modern jewelry history, it took me a while to recognize it—and now I can appreciate it even more. The clean, minimal shapes resonate with me.  It’s a head-clearing, rational organization of form.  There is also a historical resonance, since several of the pioneers of modernist jewelry had their studios in the Bay Area.

 

What inspires you to make art and how do you keep motivated when things get tough in the studio? 

 

Everyday functional objects inspire me.  I enjoy exploring thrift stores and antique malls, because I like to be around objects that have been owned and have a story.  It helps me to think about where I want to go with my work—to make things that will last and be treasured and enjoyed.

When I’m really not feeling motivated, I stop and take a break, or I work on another project.  Sometimes I’ll stay away from the studio for a couple days.  After a while, I find I am itching to get back.

 

How have you handled the business side of being an artist?  

 

Organization and time management have been the biggest challenges of being a production/studio jeweler.  Last year, I had nearly 30 shows:  Big, small, indoor, outdoor, wholesale, and retail.  I keep a calendar and plan far in advance. There are so many emails to return, materials to order, production deadlines and application slides to mail. And the expense!  Sometimes it can be overwhelming. Luckily, I have a network of fellow artists that help me to keep some perspective.

 

One business aspect I am good about is sending postcards and emails to keep clients posted on my upcoming shows and exhibitions.  They are a very loyal bunch, and their support and appreciation of my work has helped me to continue down this creative path.

 

What do you do for fun (besides making art)?

 

Truthfully, I spend most of my time making art (or selling it), and I am trying hard to strike a balance.  I love to travel and take road trips, and enjoy having the flexibility to take a leisurely lunch or see a movie in the middle of the day.  That’s when I really feel like I’m living the life of Riley.