• BIO

    Alicia received her MFA In Artisanry—Metalsmithing/Jewelry from the University of Massachusetts Dartmouth and a B.F.A. in Functional Design at Murray State University in KY.

    She has attained positions of visiting professor, sabbatical replacement, adjunct faculty, studio assistant/technician, artist-in-residence, and visiting (workshop) instructor at arts/crafts education centers around the United States and internationally including The Center for Enamel Art, Arrowmont School of Arts & Crafts, the Society of Florida Goldsmiths and The Textile Support Group Pavia Italy/Wollongong Australia.

    Honored in 2013 with an invitation to assist and display her work at the Metropolitan Museum of Art/Ratti Textile Center, which coincided with the exhibition “Gems of European Lace” 1600-1920, Alicia Jane was also invited by the Textile Support Organization in Pavia Italy to exhibit work, lecture and teach a small workshop.

    Having also had the pleasure of participating in SIERAAD the International Jewelry Fair in Amsterdam 2013 and in Art Basel/Miami at Aqua in 2018, Alicia Jane's work can be found in public & private collection including the Enamel Arts Foundation, Los Angeles CA, The Lace Museum, Sunnyvale CA and the honored Mint Museum in Charlotte NC.

    Alicia Jane's studio is located in West Palm Beach Florida at the Armory Art Center, where she is the Jewelry & Metalsmithing Department Director and continues to passionately pursue her studio practice with one-of-a-kind, commissions and limited production work.

    ARTIST STATEMENT

    My work merges handmade with digital technologies by incorporating processes from the history of craft yet are re-contextualized in the contemporary art world. Within the context of traditional craft processes, I use non-traditional approaches to wearable adornment, sculpture and textile lacework. My work is grounded in conceptual dichotomies and dualities in which I utilize materials that have both a visual and tactile tension. Whether that dichotomy is a function of craft/handmade vs technological/digital methods, micro vs macro, resilience vs fragility or metal/glass vs lace, I strive for a delicate balance and equilibrium within my work.

    Utilizing both precious and non-precious metal wire, I meticulously hand weave fine gauges of wire using the textile technique of bobbin lace. Using digital rendering software, I manipulate and distort traditional graphic patterns of historical lace and their dotted “pricking patterns” for etching/engraving in metal or glass decals in vitreous/glass enamel, combining both process within geometric framework.

    This work exists as explorations of perception, meditation and the body as both reminders of neuron mapping of the brain or the largest cosmic structure in the observable universe. They are also metaphors for the human condition, like our fragile skin protecting a seemingly solid skeleton framework underneath, reflecting the way I perceive the body; complex, sinuous, fragile yet simultaneously strong and resilient.