About

Made by hand. Made to last. Made on an island.

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I make jewelry for people who know who they are.

Not jewelry that announces you when you walk into a room — jewelry that rewards the people who look closely. A one-of-a-kind silver with glass enamel fired into it by hand, torch in my studio on Vashon Island, that catches the light in a way a mass-produced piece simply cannot. Something you reach for every morning because it fits the life you've built — office, weekend, everything in between — without asking you to be anyone other than yourself.

I've been a maker my whole adult life. What I've learned is that the right object, chosen carefully, carries meaning in a way that a dozen forgettable ones never will. That's the kind of jewelry I'm trying to make.

THE WORK — technique and philosophy

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Every piece begins in wax — carved by hand, shaped, refined. From there it's cast into solid silver using the lost wax method, a process unchanged for thousands of years. For pieces with enamel inlay, finely ground glass is packed into the recesses of the silver by hand, then fired with a jeweler's torch until it melts and fuses — glowing briefly, then cooling into something permanent.

No two pieces come out of that process exactly the same. The glass shifts, the color deepens, the light catches differently depending on how you hold it. That variability isn't a flaw. It's the whole point.

The result is jewelry that sits at the intersection of modern minimalism and traditional craft — organic in form, architectural in feel, built with techniques that have been refined over centuries. Botanical without being floral. Feminine without being soft.

THE STUDIO — place and process

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I work from a studio on Vashon Island — a small, ferry-accessed island off the coast of Seattle, surrounded by the forest and Puget Sound.

I took my first metalsmithing class in 2005. Since then I've trained through workshops, craft schools, and mentors — but mostly through years of making things, seeing what works, understanding why, and starting again. I have a background in art history and museum studies, which means I've spent a lot of time thinking about why objects matter and what makes something worth keeping.

Collections are released in small batches — limited numbers, named drops, available for a window of time. When a piece is gone, it's gone. I'd rather make fewer things carefully than more things quickly.

THE PHILOSOPHY — values and aesthetic

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I design around what I think of as the aesthetics of joy — curved lines, color, organic movement, the visual language of things growing and changing. Not decoration for its own sake, but a considered point of view about what it means to move through the world with intention.

I believe in quality over quantity, in supporting independent makers, and in owning fewer things that mean more. If that sounds like the way you already shop — for clothing, for objects, for art — then I think you'll find something here that fits.

The jewelry I make is not for everyone. It's for the person who wants to be seen for who they are, not what they're wearing. Who wants something with a story, a place, and a process behind it. Who understands that handmade means imperfect in all the right ways.

If that's you — welcome.

NOTE ON THE OTHER CREATIVE WORK

Beyond jewelry, my creative practice includes painted metal works on copper and the Tacoma Playing Cards — a collaborative illustrated deck featuring original artwork by Tacoma artists.   Information and images about these other projects can be found here.