Patty Bolz Designer Goldsmith

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Meet the Artist


  • About This Artist

    Working as a studio goldsmith and designer for the past several decades, my high karat gold jewelry stylistically embodies both a classical and a contemporary aesthetic. Originally trained at the Center for Crafts in Worcester, Massachusetts, I exhibit my work at national juried shows throughout the country and images of my jewelry have been featured in various publications over the years. I also teach small group classes in my Maine studio along with occasional weekend workshops.

  • Q&A With This Artist

    A: My work is handcrafted in high karat gold with traditional gold-smithing techniques. Some begin as models which I either carve in wax or fabricate in silver with sheet and wire which is cut, sawn, formed, filed and soldered. The silver models are molded and then cast in gold to create the final setting. Other pieces are one-of-a-kind and are fabricated directly in gold in a similar manner. Regardless of the specific approach, I find infinite reward in the creative processes involved.

    A: I love the materials of jewelry making, metal that can be rigid or malleable, abrasive or smooth, soft edged or sharp; and the stones, subtle or brilliant. And I love the making itself, the interplay of patterns, texture, forms and even the exacting and often frustrating construction of mechanics. I love the mesmerizing flame of the torch, the stroke of the file, the striking of the hammer and the forming and fitting of elements together in a way that is beautiful and functional.

    A: It was never my intention to become a jeweler; that came about, as is often the case, completely by accident. While living in Maine and pursuing a career in education, I found myself wanting a creative outlet and signed up for a nighttime jewelry class at a local arts center. That class changed the course of both my career and my life and after two years of study in Massachusetts I began working full time as a goldsmith and artist.

    A: When I first finish a piece, I am often too close to it to appreciate what I have just created. It generally takes a bit of time and mental distance before I can perceive the piece itself, separate from the actual making of it. This is when the moment of wonder sets in… the awe of the beauty of the materials themselves, hewn from the earth, and the awareness of how grateful I am to have had a hand in their transformation.

    A: I think the person who has had the most influence on my work is Tim McCreight with whom I studied for two years at the onset of my career in jewelry making. His influence was not so much in the area of engendering a specific design sense or technical approach, but in his openness to the exploration of a multitude of techniques, design directions, mediums and materials. He encouraged me to approach jewelry with an open mind and a playful sense of exploration.



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