Ornament is the leading magazine celebrating wearable art. Explore jewelry, fashion, beads; contemporary, ancient and ethnographic.
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46 ORNAMENT 35.5.2012 PLAYFUL CONSTRUCTIONS Channeling her grandmother's Channeling her grandmother's sartorial influence, she states, sartorial influence, she states, "The jewelry is not static, the same way people are not static." "The jewelry is not static, the same way people are not static." DEBRA LYNN GOLD in her studio, by her rolling mills. Photograph by Anita Edwards. DEBRA LYNN GOLD Ashley Callahan article for Goldsmiths Journal (the predecessor to Metalsmith), she wrote, "At the moment I am nothing I was supposed to be, yet everything I want to be." Despite this sense of surprised satisfaction with her profession, as strong today as it was over three decades ago, Gold is an insider—an organizer, a teacher, a diligent worker, and a maker whose craft is fully integrated into her daily life. Gold works in Atlanta, Georgia, creating distinctive aluminum and silver jewelry, which she describes as "engineered structures with playful components that D ebra Lynn Gold has a genuine reverence for jewelry, and maintains an awe for the field suggestive of an outsider looking in. In 1978, in an autobiographical incorporate movement," and contributing to her field in a multitude of ways. While much of Gold's jewelry has a light-hearted, quirky presence, it is well crafted and made to last. Gold appreciates how jewelry is "human scale" and enjoys its dual nature, the fact that it is one thing on its own and something new when worn. The significance of jewelry, and its piercing intimacy, hit her especially deeply when her mother, Lillian Schildcrout, passed away in 2001. Her mother divested herself of much of her jewelry as her health declined, but when she died she still was wearing—with just a simple hospital gown—her wedding ring and a bracelet with the names of her grandchildren. Gold