It would be an understatement to say that I have been struggling to work in the studio after Italy.
First, it was because we moved over the summer, and I have a hard time getting motivated when my life is in upheaval. The other part of my problem is that I don't have a proper work space at the moment; I'm working out of our bedroom, which is not ideal.
But really the problem was not knowing what to make. I'm tired of my old work and really don't want to work with plastic for a while, so I've been searching for a new source of inspiration. The most inspiring thing I've seen this past year was the amulet collection at the National Archeological Museum in Perugia, Italy, which I mentioned on this blog in March.
You'd be hard-pressed to find the jeweler or metalsmith who isn't at least partially interested in amulets, but contemporary versions are often so cliché that I have typically avoided them like the plague.
And I'm still avoiding them. I am not making amulets.
I have finally started a project partially inspired by the sense of fragility and vulnerability of those amulets, however. My goal is to make at least 100 copper quatrefoil charms that will be altered using some simple, straight-forward method. I plan to enamel them and hang them on a handmade safety-pin.
Time will tell if these pins have the feeling I want, but so far, I'm enjoying it and keeping busy. Which is good.