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Sum & Substance: Caroline Gore

Sum & Substance: Caroline Gore

Sum & Substance: Caroline Gore

October/November 2015 issue of American Craft magazine
Author Staff
Mediums Jewelry
Caroline Gore Herma Brooch Chatelaine

Herma brooch (chatelaine), 2014, 24k gold, 18k gold, oxidized sterling silver, spinel, jet, hematite, horsehair, silk, 7.3 x 3.2 x .5 in.; Photo:  Caroline Gore and Anthony Faranda

In her open-ended practice, Caroline Gore makes a striking range of work – from wearable jewelry to sweeping installations. But she invariably draws from her everyday observations. Her “jewelry tropes,” as Michael Gayk terms them, explore the meaning of adornment – as communication, as culture, as experience.

How she got started: In 1994, I went to school to study painting at Virginia Commonwealth University. After the first year, I decided to explore the crafts department and enrolled in jewelry and metalsmithing courses. I was soon spending all of my time fabricating and raising metal. Jim Meyer showed me the work of Tone Vigeland near the end of my first semester; I was awestruck by the possibilities.

Her training: I studied with numerous people at various institutions, the most significant being Meyer for my fabrication skills and Robert Ebendorf, who was exactly the person I needed as I started to make larger sculptural work. In addition to studying with Ruudt Peters in the Netherlands in 2009, I have taken numerous workshops at places such as Penland School of Crafts since 1996. This all speaks to my formal training. I have a long list of mentors and colleagues who have helped me along the way; Don Friedlich has always been an encouraging champion of my work.

How she describes her work: Put simply, I am always chasing beauty.

Why she makes jewelry: Jewelry is a cultural messenger and a vehicle for communicative and personal exchange.

Her biggest reward: The biggest reward is the conversation that occurs after the work is installed or tried on for the first time. What I make is always in service to the communicative effect of the work as an object, jewel, installation, etc., and ultimately is what I can give to others.

Her artistic influences: Observing the everyday is my greatest influence – my environment, the people I surround myself with, and everything else that filters through. What sticks is what I end up making my work about.

Her heroes: John Baldessari, Manfred Bischoff, Ann Hamilton, Eva Hesse, Hermann Jünger, Cy Twombly, and Tone Vigeland. There are more.

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