Εach spring the announcement of the Saul Bell Design Award never fails to amaze. Ornament looks forward to the results and by 2009 began regularly covering the juried competition. First held in 2001, the award has been a vibrant showcase for diverse and fascinating works by established, well-recognized artists like Barbara Berk, Valerie Jo Coulson, Genevieve Flynn, David Freda, Mary Hicklin, Amy Roper Lyons, Wayne Meeten, Kent Raible, Jayne Redman, Kathleen Nowak Tucci, and Robin Waynee. Initially and primarily domestic, the award has become increasingly international, and this year finalists from Australia, Canada, China, India, and the Netherlands have infused it with a decidedly global spirit.
Enamel has always been a potent force in the competition and Best of Show for 2019 was awarded to Debbie Sheezel from Melbourne, Australia. A felicitous embarrassment of riches, other winning artists in the medium included Sandra McEwen, Sydney Scheer, Garen Garibian, and Lillian Jones.
Rio Grande sponsors the Saul Bell Design Award, named in honor of its founder. Known by professionals who make jewelry or aspire to the craft, the company, since 1944, has been identified with its jewelrymaking products. Bell’s legacy, and reflected in the company’s mission today, is one that understands the importance of learning and mastery as integral to the creative life. To that end Rio Grande established its Emerging Jewelry Artist Awards for young artists eighteen years or younger and twenty-two years of age or younger. One of them, Timo Krapf, won First Place with Open Spiculum Cuff with Black Diamond, an eighteen karat gold cuff stimulated by his exploration of anticlastic knots. Krapf is a recent graduate of the Rochester Institute of Technology and says that he was inspired by his mother, noted jeweler Barbara Heinrich, and her studio, where she designs and makes her jewelry; additionally he has served apprenticeships with Michael Good, known for his anticlastic raising.
Best of Show winner Debbie Sheezel began working with enamels on large format paintings and murals. She studied gold and silversmithing at RMIT University in Melbourne and later taught enameling there. Sheezel is on the council of the Gold & Silversmiths Guild of Australia and recently won the Australian Jewellery Design Award for 2019. This is her second Saul Bell Design Award.
Lineal Alchemy, her neckpiece was inspired by tribal implements and other cultural artifacts. In her artist statement Sheezel writes: “The continuous exploration of the medium of enamel on precious metal is an ongoing adventure for me as an artist/enameler/jeweler. On discovering enamel I marveled at the brilliance and intensity of color. The opportunity of using these colors in a palette was unlimited, with the added choices of transparency, opacity and opalescence.” The artist has been practicing her craft for more than forty-five years and undoubtedly speaks to many fellow practitioners about the power of passionate involvement in this artform and, as she says, “constantly trying to push the boundaries of this very difficult” medium.
The Saul Bell Design Award for 2020 is now open to submissions until October 25, 2019, with detailed information on its website, www.saulbellaward.com.
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Carolyn L. E. Benesh is Coeditor of Ornament and our in-house expert on contemporary wearable art. As Ornament’s resident itinerant, she moves to and fro across the USA in search of inspiring craft, great experiences and, of course, excellent food. The next shows she is looking forward to attending are the American Craft Exposition at the Chicago Botanic Garden and Smithsonian Craft2Wear at the National Building Museum in Washington, D.C., as well as the American Craft Council Conference in Philadelphia. In this issue she discusses awards for this year’s Saul Bell Design Award competition sponsored by Rio Grande.