Liz Wallace knows exactly what she wants with her jewelry: “I want to fill the world with razzle dazzle,” she says without hesitation. “When I was a kid, [my] childhood was very chaotic and stressful. So being out in nature was one of the ways that I could feel calm and safe. And so that’s why I use a lot of insects and fish in my work. I loved going to the ocean, especially the tidal pools as a kid. Then, there’s also leaves and flowers, both of which I love. Both of my grandmothers loved gardening, and so I use a lot of flowers because of them. All of this finds its way into my jewelry. It’s all about nature.”
Plique-à-jour cicada pin/pendant on a stand, fine silver, 24k gold, vitreous enamel and rubies
The California-born artist who now lives in Santa Fe, is an accomplished and highly educated jeweler who is not afraid to find inspiration in French and Japanese jewelry techniques. She speaks of her love of plique-à-jour, an enamelling technique similar to cloisonné, both of which will seem foreign to more typical collectors of Southwest jewelry. These techniques allow her to expand her jewelry language, which in turn allows her to shape colorful insect wings, hand-crafted flower petals and other elaborate designs.
Lady Slipper orchid pin/pendant on stand, fine silver, copper, 24k gold and San Carlos peridot
Miniature basket, sterling silver, fine silver, natural turquoise (inside) and Japanese glass beads
Wallace uses her art to add beauty to a world that has been so violent, particularly for Native Americans in California in its early history. The artist draws attention to the outright genocide of many of the California tribes. “My work is almost medicinal for me in a way. I want to celebrate these natural motifs that are actually a result of thousands of years of stewardship. It’s a celebration of that relationship and how we’re still here.”
See more of Wallace’s work at facebook. She also has a Patreon page where she posts videos of her processes.
Powered by Froala Editor
