RINGS
Porcelain rings, hand carved
People have worn rings for as long as they have made things. To mark a promise, a rank, a faith, a grief. To change what the hand means, as the body adorned is never quite the same body.
These rings are made from French Limoges porcelain. Think of the porcelain of a good demitasse, the kind that is thin, white, and rings slightly when you tap it. That same whiteness, that same density. A cup is thin and delicate by design. These rings are not cups. Strong enough for daily use, light in the hand, but not indestructible. Not metal. Not stone. Something that asks a little attention, and rewards it.
The shape of each ring is carved by hand with a scalpel and a small cutter. Some are left unglazed: matte, slightly porous, the kind of surface that warms against the skin and slowly takes on the small traces of being worn. Others carry gold, platinum, and other fired metals, catching the light differently as the years go by. Others carry silver, melted onto the surface, which will tarnish and shift the way silver does. None of this is finished when it leaves my hands. A ring keeps changing once it’s on someone’s hand, slowly.
Four collections, each starting somewhere different. There will be more.
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· Echoes of Corals · Hollow · Brooklyn Threads ·
Echoes of Corals
textured crowns · Mediterranean palette
The rings in this collection began as an echo, not a replica. The porous, branching structure of Mediterranean coral translated into porcelain crowns: textured, uneven, alive-looking. The palette runs from white and cream to deep blue and gray, from coral pink to near-black. Some pieces carry small pearls of melted silver, fused into the surface like the tiny creatures that shelter inside a reef. All sold in limited batches. The collection is named in the plural because no two pieces are the same, and because the corals aren’t either. More on why this started, in the journal.
Hollow
matte porcelain · luster
Each ring in this collection starts as a simple volume, hand-sculpted in colored porcelain, matte and unglazed. White, olive green, charcoal, royal blue, black. The surface has no glaze, no stone, no setting. What it has is a hollow: an off-center recess, carved into the body of the ring, pooled with metallic luster, gold, platinum, violet. The contrast is the point, matte body, bright recess. It catches light the way a small, private thing does.
Brooklyn Threads
pressed impression · East Williamsburg
There are scrap yards in East Williamsburg, piles of bolts, cut metal, industrial fittings that catch the sun in a way that looks almost decorative. These rings started there. The pattern comes from pressing hardware directly into soft clay: threads, ridges, fittings, the impressions left by things designed for function rather than surface. Most are left unglazed, the color held only in the recesses. What comes out the other side is precise, repeated, delicate. Part jewelry, part record of a neighborhood. Made in Brooklyn, from what the neighborhood leaves behind.
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