Nick Thompson photo
“When you hold a mug made by hand, you’re connected to the person who made it. I like to think there is that sensibility in my jewelry. More and more I think about the arts being lost to computers and AI, with no hands involved. We’re losing touch with how things are made. But art is a piece of you that you’re sharing. It makes that human connection.”
demonstration, tapping with a rawhide hammer and progressing through the process to describe her many hammers (chasing, riveting, planishing, raising), each designed to form metal in a different way. “You can Zen out doing this. I love to work with my hands and let my hands do the work more than relying on machines. There is something very empowering and satisfying about moving metal, something that you can’t just move with your fingers. To be able to bend it and transform it.” Karen Eisenberg’s jewelry is most recognizable for its surface patterns and textures. She uses a lot of silver clay, a material that is actually fine silver powder suspended in an organic clay matter. When fired in the kiln, the organic material burns away, leaving nothing behind but the pure silver. The resulting porous nature of this metal creates a wonderful bright white matte finish that beautifully lends itself to Karen’s textures and patterns. She sometimes enhances the contrast of these textures with an an cient Korean technique called Keum Boo, in which 24k gold foil is heat-bonded to the silver. Other times she uses a patina to blacken the silver, or simply burnishes the top surfaces to make them gleam. Many of her designs include circle themes that she calls “mandalas,” and ab stract leaf textures that have a somewhat tribal sensibility. Her work also has some Japanese influence, retaining an under stated delicacy even in its boldness, along with her decisions to leave some sponta neity—some evidence of a moment, just as her teacher had once encouraged. There are subtleties of Karen’s work that point directly back to her roots in ceramics. Just as a good piece of pottery has the right weight and feel in the hand, each element of her jewelry has similarly been thoughtfully considered. Often her finishing process takes longer than the actual building of a piece. To be worn on the body, it needs to be smooth, comfort able, durable, and fully functional. She is also very much interested in the philoso phy of hand-crafted work. Similarly, Karen enjoys making cus tom-jewelry pieces for people. She loves the community connection that draws people to find her and her work, and the personal connection that develops throughout the design process for a set of custom wedding bands, or a necklace commissioned to mark a special occasion. The jewelry becomes more meaningful because the connection is also shared with the maker. “Jewelry has to have a spark. I try to make it mine, not to imitate someone else’s. It’s difficult not to be influenced by your surroundings. Sometimes in the design process, I just let my hands do what they do. It is like your unique fingerprint. Everyone’s hands move in a different way.” We are all connected and touch each other in an infinite number of ways. Even if you haven’t met Karen Eisenberg in person, you’ve probably been in close proximity with her, or her beautiful jewel ry, here in our small town. And similarly, Karen’s contribution and influence as an art teacher has touched the lives of hun dreds of creative people in our community.
Karen Eisenberg’s work can be found at the League of NH Craftsmen Gallery, 2526 White Mountain Highway, North Conway Village. www.nhcraftsmen.com (603) 356-2441 www.kareneisenberg.com
Karissa Masse is owner and curator of the historical League of NH Craftsmen Fine Craft Gallery in North Conway Village, representing over 250 NH artists and craftsmen in the non-profit organization. She is also an artist in her own right, with a BFA in ceramics and sculpture from RIT. In addition to making pottery and managing the gallery, Karissa developed the craft education program there, and teaches alongside numerous pottery and craft educators in the community-based Creative Studios. Karissa’s work at the North Conway League of NH Craftsmen Gallery continues to provide economic support to hundreds of New Hampshire’s craftsmen, and enriches the Mt. Washing ton Valley community with art, culture, and craft education.
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