• 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, Yale University Art Museum, Arkansas Museum of Fine Arts, Crocker Art Museum 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 the traditional craft processes of metalsmithing, textile lacemaking and enamel with digital applications by using non-traditional approaches to wearable adornment and small-scale sculpture. Using both precious and non-precious metal wire, I meticulously hand weave very fine gauges of wire using the textile technique of bobbin lace. Using digital software, I then manipulate and distort traditional/historical graphic patterns of lace and their dotted “pricking patterns” for either etching or engraving in metal or creating graphic glass decals for vitreous enamel, combining both processes often within fabricated geometric frameworks.

    I find beautiful and understanding between art, nature and science through pattern. In my work I explore how both handmade and technology can alter what we perceive as perfect forms through the process of experimentation and exploration with pattern.
    We often think of patterns in the traditional sense through the decorative arts and high fashion with elements of patterns that can be random, organic, geometric, abstract, and symmetrical. With my work I'm extracting recurring patterns and adding an obvious and sudden glitch or distortion to their elements to create new patterns. As reminders of both the smallest neuron mappings of the brain or the largest cosmic structure in the observable universe my work also exists as dichotomies of formal and conceptual tension, whether that contrast is the handmade vs digital methods, micro vs macro, resilience vs fragility or metal/enamel vs lace.