Nanz Aalund

From early childhood I pursued the skills of metalsmithing and design with an intensity and dedication that was beyond the intellectual process. I work intuitively experimenting with form, practicing my craft and working at processes until objects materialize. Often, having thoroughly sketched out a concept, I am still surprised by the objects' final physical manifestation.

My observation throughout my 30 years as a goldsmith has been that people telegraph information through the jewelry they wear. Traditional jewelry materials resonate with a rich multi-cultural history of symbolic meaning, yet the metaphors held in these materials are ignored by the Western / U.S. consumer culture. Tracing the unspoken language of symbolism to its origin as it evolved in jewelry is a goal of mine. Working to create jewelry pieces that evoke a commonality of human experience through the application and integration of this symbolic language is part of this goal.

My earliest influences are from the field of dance with the works of Fred Astair being the most pronounced. The elegance of line and seemingly effortless spontaneity in his performance belied his strict adherence to rehearsal and his profound dedication to his craft. Watching his performances staged on movie sets often filled with lavish Art Deco furnishings also informed my sensibilities. The design movements of Art Deco, Bauhaus, Avant Garde, Memphis and the theories behind these movements have provided the underpinnings for my formal investigations. Painters such as Klimnt, Kandinski, Klee and Stella have opened for me a dialogue on color. The contemporary works of post-modern architect/designer Michael Graves and architectural jewelers such as Whitney Boin and William Ritchie are engaging to me because of their use of geometric compositions.

Primarily, I see my work as that of a 21st century alchemist. With a profound dedication to my craft, I combine body movement, the elegant line of geometry and the symbolic metaphors of traditional materials; seeking not to turn "iron into gold" but gold into dance.