ORNAMENT Volume 29 No. 5

Features

Doshi Mindful Creativity. 
Early Navajo Textiles and Silver The First Phase. 
Todd Reed A Rare Accomplishment. 
Ellen Wieske A Cross-Disciplinary Universe. 
Tobias Hoheisel Making Magic in The Magic Flute. 
Lightweight Gold Jewelry From Kerala
Mauritanian Powder-Glass Kiffa Beads Decline. Revival. Imitations. 

Departments

Gallery Showcase Jett Gallery. 
Artist Statement Lauren Van Hemert. 
Marketplace Jacques Carcanagues. 
Exhibition Hatshepsut from Queen to Pharaoh.

 
 

As much as is possible in a post-twentieth-century world, Doshi balances a spontaneous, yet conscious, state of mindful creativity to affirm and inspire her artistic desires. For this, one needs to practice one’s work with a clear heart and mind, united as it were, uncluttered by the impediments we so often bring to our lives.

 

During the first half of the nineteenth century, Navajo weavers created textiles that today are among the most powerful examples of Native American artistic expression. With wool from their own flocks, Navajo women produced blankets and other garments to clothe their families, and engaged in a thriving trade that carried their products to indigenous and European peoples throughout North America. After 1849 when clashes with American occupying forces brought drastic changes to the Navajo, they responded in part by developing a new craft—silversmithing—that not only provided an aesthetic outlet but brought economic opportunity as well.

 

Sparkling—not with crystalline brilliance but with the hard, opaque glitter of pavement after a rain—the majority of gems in Colorado artist Todd Reed’s unique jewelry are as subtle in their attraction as the lustrous gray oxidized silver and coarsely brushed, or even scraped, gold surfaces that surround them. When one notices these stones, each distinct in color, surface and refractive capacity, perfection is not a word that comes immediately to mind. This is, however, precisely Reed’s point.

 

The reminder that behind even our most extravagant dreams and fables lie real human passions illuminates the Santa Fe Opera’s new 2006 production of Wolfgang Amadeus Mozart’s The Magic Flute, thanks in part to the artistry of veteran scenic and costume designer Tobias Hoheisel.

 

It is believed that the manufacture of Kiffa beads commenced during the nineteenth century due to a revival of centuries-old Mauritanian traditions. Although no ancient beads resembling Kiffas have been found at archaeological sites or excavations, the process is said to originate from Tichitt (a village which existed in the eighth to fifteenth centuries in the vicinity of Tegadoust),