[9781600590405] Golden Dreams: An Interview with Marthe Le Van

by Ray Hemachandra, Senior Editor

Marthe Le Van, Lark Books’ jewelry and metals editor, is the curator of Masters: Gold, the latest release in Lark’s esteemed Masters series. In the book, the work of forty-one master goldsmiths is showcased in eight-page surveys of the artists. Masters: Gold features smiths from all around the world who specialize in working with — and who are inspired by — this precious, sought-after material.

Marthe, what is it that makes gold so special a material for artistic expression?

If you asked all 41 jewelers, you’d likely get 41 diverse and captivating answers. In my opinion, the luminosity of gold is unmatched. I like to think of it as the embodiment of sunlight that you can touch and hold and wear on your body. That this radiance is inherent in any natural substance, much less one that can be handcrafted, is staggering.

As long as history has been recorded, and very likely before, gold has been worked into objects of significance. Its use spans most geographies and cultures. Golden objects are some of the world’s most treasured artifacts. For jewelers, choosing to join and contribute to this lineage is intense and exciting.

How do you think the economic climate impacts people’s perception of jewelry made with gold?

I’m not sure people’s perception of gold is altered so much by traditional, monetary economics as it is by a sea change in social awareness and environmental policy. Gold, like oil, is a finite natural resource, and the practice of mining is being scrutinized.

How does mining gold affect our planet? What are the most responsible and sustainable ways of working with gold? How can fair and ethical labor practices be implemented and enforced? These are tough, political questions that require critical thinking, creative solutions, and a wholesale cultural shift.




What are some of the techniques used to make the work featured in Masters: Gold that most impress you?

All of the masters possess an extensive and impressive skill set. Some stand-out techniques include granulation, weaving, mokume parquetry, repoussé, niello, anticlastic raising, engraving, fusing, forging, and marriage of metal. It is a significant accomplishment simply to execute these advanced processes well. Expanding their potential, pushing them in new directions, and developing a distinguished artistic vocabulary with them are what make these jewelers extraordinary.

What do you think the material brings out in metalsmiths? What distinguishes artists who work in gold?

These artists have an intense dedication to their material. I doubt many artists would freely choose to work with one of the most expensive supplies on earth if they did not have a strong and solid calling to do so. Due to the cost of the supplies, most goldsmiths I know tend to plan their pieces with care. These preparations can range from intricate technical drawings to setting improvisational objectives.

Whose work will readers find most surprising in a book focused on gold, and why?

Bruno Martinazzi’s compelling figurative works show that he is a sculptor first and foremost. One could easily imagine his pieces as monumental objects rather than wearable art. Lisa Gralnick uses gold in conceptual works that comment on materialism, consumerism, and value. Claus Bjerring and Stuart Golder fabricate functional objects from gold — cutlery, spice boxes, cups — as well as wearable ones.





The roster of goldsmiths in Masters: Gold is markedly international in character. Are certain characteristics of goldsmiths associated with nationality, or has this work become so internationalized that such distinctions have lost their weight and clarity?

I definitely think that there is a certain “look” to jewelry from different parts of the world. I think this is the result of jewelers using different materials and techniques, receiving different training and funding, and being stimulated by different forces. Countries such as Germany, Italy, and the Netherlands have a longer history with jewelry as art, and their cultures are more receptive to it and support it more actively than in North America. Such environments allow jewelers to explore their medium further.