I thoroughly enjoy “long form” journalism. Articles that require months of research and endless hours of writing. Followed by editing, re-writing, sending to the proof reader, grammar checks, spell checks, font checks etc. It is the reason I’m still a journalist. The same applies to jewellery and watches. After years and years of time, effort and resources, it is incredible to see the end product and the people behind the pieces.
In our world of mindless scrolling we – as content creators, journalists, writers and media boffins – have 1.2-1.5 seconds to capture the audience’s attention.
Yet, there still exists a ‘slow and steady wins the race’ style of transformer. By transformer, I’m referring to those that transform the simple to the beautiful. From words (writers) to gems/metals (jewellers) and canvas/paint (artists).
Much to my surprise (and delight) yesterday afternoon @levi_higgs treated his 57,500 followers (@TheCaratSoup included) to accompany him on a tour of Daniel Brush’s atelier.
For the 1st time after almost a century (99 years) Siegelson, a New York City based jewellery and art gallery, shall be representing Brush in Maastricht later this month. During TEFAF Maastricht from 16-24 March 2019. The art-jeweller has spent up to 15 years in seclusion and often works alongside his wife in their atelier.
Adopting a slower pace and not pandering to 21st century high speed and high scrolling universe, I think, is an enormous contributing factor to the magnificent jewels created by Daniel Brush.
“Over the course of forty years, working in virtual seclusion from the mainstream, Daniel Brush has created an unparalleled body of work. His career includes international painting exhibitions, a fifteen-year period of seclusion and study, and an intense immersion into the mysteries of gold. His large-scale canvases and drawings—inspired by the expressive, disciplined gestures of the Noh theatre—integrate the artist’s profound understanding of Asian thought with the removed drama in modernist painting. Brush’s three-dimensional works—products of solitary thought, study and experimentation—are included in many public, private and royal collections. These works include delicate granulated gold domes in the traditions of the ancient goldsmiths, jewel-encrusted objects of virtue and fantasy and gold and steel sculptures, some only a few inches high. Imbued with a timeless quality and mesmerizing in the intricacy and daring of the fabrication, Brush’s objects bear comparison with the work of historical masters. His current wall pieces in blued steel and pure gold engage the ambient light. Brush’s table works in stainless steel and pure gold, hand-engraved with thousands of rhythmic lines, are visual poems that record the passage of time. Daniel Brush has developed a rigorous personal aesthetic marked by its intellectual force, mastery of techniques and the science of materials. His idiosyncratic, contemplative work marks a journey of evolving mastery, and bodies forth a deeply expressive voice in American art.” *