Electroforming and Champleve Enameling:
Electroforming involves the use of electrodeposition to build up layers of metal on almost any object. The original object can then be removed, leaving a strong yet very light shell of metal. This process allows the creation of complex three-dimensional forms which either would be much too heavy if cast, or which would be too intricate to create using other metal-working techniques.
In my own work, the original object is often made up of organic materials such as seed pods. Waxes and many other materials may also be used. Once I have created the original object, I coat it with a silver-based conductive paint and place it in a chemical bath along with the copper to be deposited. The object and the copper are hooked up to an electrical circuit and as electrical current is run through the system, the metal in the bath is attracted to the conductive paint, depositing itself on the painted surface. When a sufficient thickness of metal has been built up, the original organic materials are removed, generally by burning them out. The entire process is similar to electroplating, except that in electroforming, the metal deposit is taken to such a thickness that it can exist on its own as a self-supporting structure.
This process produces three-dimensional forms which are light in weight and yet
sturdy. The light weight of these hollow structures is a particular advantage in jewelry. Electroforming can also produce unique surface treatments and textural effects, and it provides an excellent surface for enameling.
Most of my enameled pieces utilize the process of champlevé enameling, in which the surface of the finished work combines metal and enamel. This requires creating recesses in the surface of a metal object, and then firing enamels into these recesses. Recesses can be created in many ways. For my enameled seed pod pieces, I first electroform a piece completely, obtaining the form that I want. Then I paint a resist onto parts of the surface — wherever I want the enamel to be — and continue to electroform the rest of the piece. This results in a pattern of raised copper areas, along with recesses into which I fire enamels.
I also create some mandala pieces, based on cross-sections of roots and stems, which employ champlevé enameling in a different manner. For these I start with a sheet of copper and acid etch the recesses, applying a resist wherever I do not want the copper etched. This is a subtractive process, in contrast to the additive process described above. In these pieces, the surface copper is usually evident as a delicate patterning of very fine dark lines.
All of these processes lend themselves well to my organic subject matter. They are capable of producing fascinating forms, textures, colors and surface treatments, offering extensive artistic possibilities.