My small nature-based sculptures are made to be worn. When I see a heron fly, a squirrel standing upright on my doorstep, or a tiger at a zoo, I am amazed by their grace, agility and strength. I try to capture the essence of each living being in metal. The images are sculpted directly into precious metal using an ancient technique called repoussé. This process allows my personality to be embedded into the sculpture. The metal forms are then combined with minerals, crystals and precious stones to create an environment for the particular life form I have sculpted. Stones have become extremely important in my work over the years. The color, pattern, surfaces, and textures of each stone complete the statement in each of my sculptures. I hunt down rocks and crystals to find the perfect thing that will precisely fit a particular piece. I studied lapidary—the art of stonecutting—so I could achieve this, allowing for total integration into my designs, thus achieving a greater harmony among the components of my pieces. My small sculptures are a balance of imagery, materials, color and form.
ABOUT LINDA KINDLER-PRIEST
Inspiration
Embedding personality into my pieces, implying emotion such as happiness or being scared is a challenge in small scale. It requires a steady hand and small tools. In “Trouble Brewing” the rabbit is standing on its haunches looking around sensing something is amiss. It actually looks concerned, for underfoot is a storm is about to break loose implied by the deep, swirling patterned stone. The smiling toad of “Happiness Is” is sitting on a moss agate with several glistening diamonds bubbling around him. A stone or a gesture of a particular animal attracts my attention and intrigues me enough to create a new piece. Recently, I created a two-part brooch after placing two purple stones on my workbench. The impact of the two stones together was spectacular! There was energy and excitement between the two purple stones and the shapes looked very much like stylized wings. They were perfect for a Violet Backed Starling, which has the same rich tones of the stones.
Process
Color and texture of stones and crystals have been a major interest and important part on my work. It was necessary to learn how to cut stones so I could achieve the desired affect in my pieces. I prefer to use that natural surface of crystals and to keep the material rough when I can. Plotting out just the right sections from gemstone slabs allows me to develop the feeling I want to express as well as create the perfect environment for my creatures. The two-part brooch format often enables me to illustrate my intentions two different ways: the sculpted repoussé image; the contrasting or complementary expression abstracted by using colors, textures, and patterns in large stones. These are framed so that people can enjoy them when not being worn. The perfect example of this is “Flower Growing on the Green.” The flower is shown in high relief and the metal is finished to accentuate the strong shadows. The colorful pink and green faceted sapphires nestled around the stalk represent its color. The second component represents the verdant earth out of which the flower springs. Much of my work is similarly expressed though complementary or contrasting elements.
In Print
Books
2013 Showcase 500 Necklaces, Lark Crafts, Sterling Publishing Co., Inc.
2012 Color and Form: The Sculpture of Morton C. Bradley Jr., Lynn Gamwell, Indiana University Press
2011 Artful Adornments: Jewelry from the Museum of Fine Arts, Boston
2011 21st Century Jewelry, Lark Craft, Sterling Publishing Co.
2010 Celebrating 70, Facere Gallery, Lorene Publications
2010 Pendants, Lark Books Studios Series, Sterling Publications
2009 Best of American Jewelry Artist, Kennedy Publishing
2009 Masters Gold: 1 of 41 Goldsmiths from Around the World, Lark Books, Sterling Publication
2009 Chasing and Repousse, by Nancy Megan Corwin, Brynmorgen Press
2009 500 Gemstone Jewelry, Lark Book, Sterling Publication
2008 500 Pendants and Lockets, Lark Book, Sterling Publication
Magazine Articles
2018 MetalSmith Magazine Vol.38 No.2
2013 “Art Jewelry” Magazine Sept 2013, volume 9 issue 6
2010 “Art Jewelry” Magazine vol.7, no.1
2008 “Ornament” Magazine vol.52, no. 4
2008 “Ornament” Magazine vol.31 no.3
2007 “Ornament” Magazine vol. 30, no. 4
1999 “Ornament” Magazine vol. 30, no. 1
1998 “Lapidary Journal” vol. 52 no.4
Privately Published
2014 “Genius of Nature: Randomness & Pattern” Aaron Faber Gallery, Cover, exhibition catalogue
2009 “SOFA” New York catalogue Aaron Faber Gallery
2007 “Signs of Life” Poetry and Jewelry’ Facere Jewelry Art Gallery
2003 “SOFA” New York catalogue Aaron Faber Gallery
Awards
2014 Best of Show, American Crafts Expo, Evanston, IL
2014 First Prize Award, Palm Beach Fine Craft Show, West Palm Beach
2013 Best of Show, CraftBoston: Spring Show, Boston, MA
2010 Excellence Award, American Craft Council Show, Baltimore, MD
2010 Excellence in Jewelry Award, CraftBoston Spring Show, Boston, MA
2008 Excellence in Jewelry Award, Smithsonian Craft Show, Washington, DC
2008 Faculty Enrichment Award, SMFA, Boston
