by Cynthia Eid Every piece needs to go through an ‘ugly’ stage. If that doesn’t happen, then I haven’t taken enough risk with the piece. It’s not appealing to make a piece unless I am doing something new, which means taking a chance. It would be easier and faster to simply make a variation of…
I continued my explorations of combining techniques in unexpected ways through the use of mokume gane and Eastern repoussé bound artist books of my calligraphic and collage work. My filigree increased in yet more dimension as I pushed those pesky limits of physics. I had given myself one big edge: producing and selling my Russian…
by Rauni Higson Victoria Lansford’s striking use of filigree to create complex sculptural forms evokes ethereal forces of nature, cosmic storms, and manifestations of the invisible threads holding together the universe. While I grew up knowing the Nordic tradition of filigree well and was drawn in by its details – domed shapes filled with endless,…
Books are wildly intimate things. Books can be funnels: small openings that lead into larger spaces. From the moment I open one, I sense an unfolding that draws me into a portal that expands my sense of time.
Creating books, however, has an opposite effect. Imagine starting at the open end of the funnel and having to compress all the information that narrows to the opening…
Enter the gallery room for highlights of the artwork I created between 2005 and 2009, when the familiar spirals began to get a new twist with increasing dimension in both form and style. These were years of continued experimentation when I pioneered Eastern repoussé cuff bracelets and began measuring filigree wire in miles instead of feet.
Victoria Lansford’s Prospera collection (1991-2024) is comprised of nearly forty works and includes rings, cuffs, pendants, brooches, amulets, chains and other objets d’art including a Venetian Carnival mask. Lansford’s endless ability to conjure up so many different-but-related objects invites the wearer and viewer into her captivating and wondrous world.
Showcases the artist’s journey through over three decades of ground-breaking applications of historical metalsmithing techniques. With essays by Kate Bonansinga, Cynthia Eid, Rauni Higson, Elyse Zorn Karlin, Victoria Lansford, and Jane Milosch, with consulting editor Emily Zilber.
