In this month's feature, we had the pleasure of talking to Eileen O'Shea, a jeweller crafting contemporary, wearable art pieces from silver, semi-precious gems and enamel.
Your work is deeply inspired by the natural world, especially the Pacific Northwest. How has this connection to nature shaped your jewellery-making journey?
Spending time outside in western Washington means being surrounded by organisms growing on virtually every surface. Fungi, slimemold, moss, and lichen are all right outside the door on the ground, rocks, logs and trees. Taking close up photographs of these organisms and their environments allows me to see them in more detail and inspire my work.
You describe your pieces as 'wearable art sculptures.' At what point did you begin to see your jewellery as art rather than just adornment?
At some point, I realized that I was not good at guessing what others would like to wear for adornment. I committed to exploring ways to create what I found to be beautiful and interesting. This meant making things that could not be replicated (due to the materials used) and not necessarily appealing to a wide audience.
Many of your collections include lichens, sea life, and even microscopic cells, drawing from organic and scientific forms. What draws you to these particular subjects?
There is something about the richness and depth of color and forms in these subjects that fascinates me. Maybe not knowing what I am seeing, but feeling that it is both familiar and strange at the same time. That connection to what is beautiful and strange is what I strive for in my work.
Can you walk us through your creative process from initial inspiration to finished piece?
I so admire artists that have a completed vision for what they want to create. Maybe they draw it out, and then execute their vision. I find that I work more in an organic way, finding things that seem to want to be put together. Maybe a piece of enamel I created weeks ago fits well with a silver form I just created. In some ways it’s more like assembling components. Giving myself permission to ‘just try it’ and that I can take it apart if I am not happy helps me to move forward without fear of making mistakes.
You mention that photography plays an important role in your work. How does taking photos influence your designs and compositions?
Photography makes me slow down, empty my mind and focus on what it is in front of me. It pushes the outside world into the background of my focus. It is an excellent way to get in the creative headspace to transition to studio work. Secondarily, photography provides context for my work. With photos I am able to show what I am curious about, what world I am looking to belong to with my work. Finally, it is a way to capture a subject to better analyze later with more time.
Enamel plays an important role in your work. Can you walk us through your enamelling process and what makes it unique in your practice?
I use enamel for color and texture. Looking for ways to create the feeling of lichen with their lobes and fruiting bodies I spent a lot of time exploring crackle enamel. This process can create an organic fractal effect. Not all colors of enamel play nicely with each other in this process so I continue to look for combinations that work well together to incorporate into my pieces. This has been my primary studio focus for some time now.
Your statement pieces are described as one-of-a-kind and impossible to duplicate. What is the appeal of creating truly unique works in a world of mass production?
The nature of enamel and the processes I use, ensure the enamel will never turn out the same way. I can use the same colors, on the same shape, on the same day and the glass will still make different forms. This automatically creates one of a kind pieces. There is value in work that cannot be replicated and some people appreciate it and are drawn to it. My work is for people that are not paticularly interested in owning or wearing what someone else might have.
How has working from your home studio influenced your practice and daily creative rhythm?
There is no commute so I can patch together time I have available in the day. Checking a patina while brushing my teeth has happened multiple times. Or doing a quick check if an idea in my head would work even if I don’t have much time. This allows me to focus on art everyday even if for just a few minutes. I am very lucky to have the space to create.
You’ve exhibited in a number of shows and galleries. How has showcasing your work in different contexts shaped your artistic identity?
I spent time applying for shows and galleries thinking this was important in order to be considered a “legitimate” artist. I was often declined which made me question both myself and the work I was doing. At some point, I decided that I was no longer going to look for shows to apply to. If my work is wanted, I would be asked. This way my work is desired and appropriate for where it is shown and I don’t have to think about why it wasn’t good enough to be accepted. This works for me, I am not saying it is the way it should be done. Everyone must do what works best for their art practice
What have been some of the biggest challenges in your journey as an independent jewellery artist, and how have you overcome them?
We have actually touched on some of the challenges already. I share many of the same challenges of all artists. Questions around the meaning and value of the effort put into the art, the cost of materials and other financial considerations, questions of being “good enough”, and protecting time to be creative from the creep of everyday life tasks. There is also the role of social media in getting the work seen, and the impact of A.I. I think like much of life, there is constant change and we must adjust. There is no formula for success and realizing that I needed to do it the way it works best for me has been liberating.
What advice would you give to emerging jewellers who are interested in experimenting with enamel?
Just that, experiment. Put in the time to know the material and how it works. The more time spent and mistakes made the farther down that path you will be. It is the same for any skill you wish to have. Practice and the willingness to try new things.
Looking ahead, are there new materials, themes, or techniques you’re excited to explore in your future collections?
I keep looking for new and better ways to bring out the beauty of the world around us. Experimenting with alternative materials such as fiber or alternative enameling techniques is always part of the practice. In general, I try to stay focused on the path of getting deeper in skill and knowledge with enameling and metals to evolve and improve as an artist. Thank you for your interest in my work!
Thank you so much to Eileen for chatting to us about your work! Please visit Eileen's website here to browse and shop her latest collections and find out more about each piece.
Plus, keep up-to-date with Eileen's latest photography and creative process by following on Instagram here.
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