SilverWorks Studio & Gallery and Studio 2

 

Learn More About Silversmithing Classes & Workshops!

Find out more here>>

 

 

 

SilverWorks is the studio of metal artist Blair Anderson. The studio introduces the public to

the art of Silversmithing through classes and workshops.

 

Blair Anderson’s SilverWorks Studio & Gallery opened in Glen Echo Park in December 2009. Making the art form accessible with a very hands-on approach, Blair loves to see someone launched into their creative journey. She introduces silversmithing to others by sharing her knowledge and her studio. Her classes at Glen Echo Park are informal and fun and include basic silversmithing techniques, intermediate learning, and advanced jewelry making – as well as career development in this time-honored craft.

 

 

 

  Resident Artists/Instructors & Classes:

Blair Anderson

Blair Anderson brings twenty years' experience in silversmithing to the Park.  While earning her BA she studied under metal artist Vesta Ward in Southern California.  An award-winning artist who has supplied over thirty galleries throughout North America, she has shown her work in one-woman shows as well as juried shoes like Circle Craft Vancouver.  Prior to the SilverWorks Studio at the Park, she opened Blair Originals Gallery and founded a silversmith guild in western Canada, where she was the primary instructor.

 

 

Mawadda Aswaldi

Mawadda brings her experience to SilverWorks as a jewelry artist with a BFA from UMass Dartmouth. Her signature style uses sweeping architectural forms while incorporating found objects and cast items. Comfortable in the studio setting, her talent may only be eclipsed by her smile and her helpful spirit. My fascination with the way people decorated their bodies with wearable art began as a child. I knew I wanted to become a jewelry designer the first time I held a torch and heard the sound of hot metal quench on the water. My designs are mainly inspired by shapes and textures found in nature and by clean lines found in architecture.

 

 

Ruth Beer Bletzinger

Ruth joins the SilverWorks team offering her finely tuned skill as both a silversmith but especially as a beadsmith. Her eye for color combination and fine detail culminates in nuanced works of wearable art. Her skill is only rivaled by her gracious and encouraging spirit.

 
 
 
 
 
As a metal artist, Vincent works mostly in steel, silver and copper. As a blacksmith, he forges artistic and functional items ranging from jewelry to furniture. Vincent's silversmithing and coppersmithing activities involve jewelry, bowls and plaques.
Vincent is co-writing the text for the 12-month Certificate Program In Blacksmithing with the master blacksmith at the Virginia Institute of Blacksmithing (VIB). His efforts with VIB focus on teaching blacksmithing in a way that is clear, concise and easy to understand. Vincent writes about metal working techniques, the purpose and use of manual and powered tools, the properties of various steel alloys, and forge etiquette and safety.
 
 
 

 

Helena Liden

Introduced to the craft in 2006 Helena studied under artist Sonja Ekman in Lund, Sweden where her contemporary sense of design was first ignited. Moving then to South Africa to study at Novus Jewellery Design Studio with Sunette van den Berg, she gained an appreciation for a purist approach by mixing her own alloy and milling her own metal. 

 

 

 

 

 

Nichelle Shaw

Born and raised in the South, Nichelle became a chainmaille artist in a very interesting way.....she went to business school.

While working in corporate America has its share of thrills, Nichelle needed something else productive to do.  And then one day, Nichelle came across a local bead shop and knew that she had found a true calling -- making jewelry by hand.

Nichelle has always been an avid crafter - knitting, painting, sewing  -- you could say it was in her blood as she was taught most of these crafts by the women in her family. 

 

 

 

 

 

Robert Shaw

My artwork draws heavily on the past in referencing motifs of other cultures and times, building upon my professional career in archaeology.  Cross cultural referencing and appropriation is a well worn path among artists, otherwise “art history” would not hold an appropriately ubiquitous place in every art school curriculum.  I deal mostly with prehistory, only occasionally reaching into the ethnographic period for inspiration.  In looking at my body of art work, critically astute viewers will find a visually subtle second level of cross-cultural borrowing underlying the readily apparent forms and motifs.  That second level originates in purposeful digression from the chronological, sequential development of materials and technology.  I often make tools required to produce my objects.  Using tool forms from the past brings a differing ethic and aesthetic.  Occasionally the tools and their embellishment simply become the product.  They are good and sufficient unto themselves.