The assemblage necklaces occupy a design area for me that is really satisfied by sounds and motion. They are long necklaces that I have been creating - by collection - for a long time. Now that I finally have all the pieces (OK, too many) I have started to build them. Here's what I use: To start, there has to be a brass skeleton key - these I find at a local antique architectural salvage store or sometimes at a local antique haunt. While there are a lot of similar keys to be found, often they are of a cheap quality and not at ornamental - so I am picky. I prefer the ones that are a little shorter (otherwise I think you risk looking more like a janitor than a maven of chic) and with good patina and heft; you know, that solid weight that only attributable to vintage stock. To these I like to add a piece of glass - either an interesting vintage glass or 'twinkle' button with some ornamentation, or a wired piece of Czech glass. Then from there I always add a locket, some other ornament and then step back and ask "What is his piece about?" From there I usually add another charm or design element to finish it, sometimes it is a piece of vintage flower, a carving, a vintage brass charm or sometimes just a gemstone and pearls...These are always hung on a long length of vintage brass or copper chain - at least 24 inches and often up to 30". Many of my chains are pieces that are thrifted, and chain is a huge part of the design. It has to add to the assemblage but not overpower it.
These assemblages are at their best when I make them for an individual who tells me what fills their skies and sings in their nights...then I get to work out what fits their style. That is the best part of designing jewelry - because it's so much more than frivolity, it's a representation of a moment, and a person, and a connection. Being a
part of that - as an artist - is very humbling.
