An exhibition traveling to the following locations:  

  • Pop-Up during SNAG Conference, Boston - May 20-23, 2015 (details to follow)
  • Crafthaus, online exhibition (excerpts from core exhibition) - June 15 - July 15, 2015
  • Velvet da Vinci, San Francisco, CA - Aug 19 - Sept 20, 2015
  • Equinox Gallery, San Antonio, TX - Oct 16 - Nov 15, 2015
  • Baltimore Jewelry Center, Baltimore, MD - Dec 11, 2015 - Jan 08, 2016
  • Brooklyn Metal Works, Brooklyn, NY - Feb 5 - Mar 4, 2016

Additional venues currently under deliberation.


A garnish can be anything from an adornment that adds or enhances the body (human or animal) to a functional or nonfunctional object that decorates and spices up a room. This exhibition will ask viewers and participants to examine the idea of a garnish made by 2 different subsets of makers who have come together to create an embellishment that satisfies both. We are looking for an element of surprise in the resulting work. Display of humor is encouraged.

1. To provide or supply with something ornamental; adorn; decorate.
2.  To provide (a food) with something that adds flavor, decorative color, etc.
3.  Law
a.  to attach (as money due or property belonging to a debtor) by garnishment; garnishee.
b.  to summon in, so as to take part in litigation already pending between others.

4.  Something placed around or on a food or in a beverage to add flavor, decorative color, etc.
5. Adornment or decoration.
6.  Chiefly British: a fee formerly demanded of a new convict or worker by the warden, boss, or fellow prisoners or workers.

Middle English (in the sense ‘equip, arm’): from Old French garnir, probably of Germanic origin and related to warn.  Sense 1 of the verb dates from the late 17th century.  

2. What are we looking for?
Metalsmith and jewelry artists are asked to form two-person working partnerships.  

Each pairing should consist of a maker who self-describes as “traditional,” the other self-describing as using nontraditional materials and/or decidedly current techniques. In essence: 2 diverse approaches should be clearly evident in the resulting work.

Some artists may find it difficult to fit their work within a predefined category, in those cases we suggest they aim to cooperate with an artist whose material choices are decidedly different from their own, i.e. someone works in metals mostly, how about teaming up with an artist who works with fibers predominantly,  enamels - CAD, functional - nonfunctional... The combination possibilities are endless if you are open to new possibilities and experiences.

While the exhibition organizers have their own opinions on what they feel classifies as "traditional" or nontraditional, other people view things differently, some of our opinions may match up, and some not. In the end it's not the organizers' call to put work into categories. We hope that folks will genuinely stretch themselves to pick a partner whose work is outside their own comfort zone, someone they would typically never consider working with (simply based on the differences listed above) under any other circumstances. As an example: Brigitte (classically trained goldsmith) and Rachel (maker of strange mixed media adornments) will also collaboratively create a piece as an example of a possible partnership. They are excited about the opportunity and you can follow their progress along in this blog once they get started.

3. Documentation
An important part of any collaboration is the communication/work phase itself. The organizers are interested to receive a joint statement from the makers as to how the collaborative process worked out. If there is enough room at the exhibition locale, that information will accompany the exhibited pieces.

4. How to find a partner:
This is meant to be a FUN project. If you ever wanted to work with someone whose work is completely different from yours: This is your chance !

Option 1: Artists are invited to self-select their partners based on prior knowledge and interest.

Option 2: Artists can register with the exhibition organizers and be paired with someone who works on the opposite end of the making spectrum.  

5. Exhibition Details:

a. Core Group
The Core Exhibition Group will travel to every exhibiting venue.

Core Group Jurors:
Brigitte Martin and Rachel Timmins

b. Gallery Choice Group
The Gallery Choice Group will be chosen by the participating galleries and shown in addition to the “Core Exhibition Group” at the specific gallery’s location. Each gallery determines the final scope of their own exhibition.

Gallery Choice Jurors:
Velvet da Vinci: Mike Holmes
Equinox Gallery: Alejandro Sifuentes
Baltimore Jewelry: April Wood

As additional venues are secured, additional jurors will be added to the list.

The jurying process ensures that the work submitted is of the highest quality and follows the curatorial mission outlined in the proposal. Craftsmanship, dedication to the concept of the show, diversity, intrigue, and interpretation of the call will be considered.

This exhibition is an open call to all metals and/or jewelry artists. If there are questions as to whether artist teams are sufficiently different in background, style, material choice, and/or expression, please contact the exhibition organizers via before you embark on creating a collaborative object for inclusion.

7. Application Fee:  
$30 per submitted piece sent via paypal to

8. Submission Entry Form

9. Ownership/Sale:
Finished work is owned jointly by the artists.
All work must be for sale.

In case of a sale during the exhibition cycle, the following split of proceeds applies to all venues:

50% of retail sale goes to artists. Artists split their proceeds between each other in whichever way seems appropriate based on material cost and other factors.

50% of retail sale goes to exhibiting venue.

10. Insurance:
All venues will provide insurance coverage at wholesale value of the work.

11. Shipping

Core Group Shipping:
The artists pay for the shipping of their work to the initial location (Boston conference). Artists attending the conference are encouraged to transport their work to the conference and to pick it up after the pop up exhibition. Artists unable to attend the conference will receive a shipping address closer to the conference date and the work will be sent on to the next venue at the artists’ expense.

Shipment and insurance from gallery-to-gallery will be paid by the gallery organizing the shipment to the next location. All returned artwork will be shipped back to the artists at the gallery's expense, and insured at wholesale during the transport.

Notice SNAG Pop-Up Exhibition:  Core Group artists attending the conference are asked to take their Garnish Object with them and turn it in to Brigitte Martin or Rachel Timmins for the Pop-Up Garnish Exhibition. The work will be returned to the artists after the conference event.  Artists unable to attend the conference will receive a shipping address closer to the conference date and the work will be sent on to the next venue at the artists’ expense.

Gallery Choice Shipping:
Incoming artists pay for the shipping and insurance of their work to the gallery. All returned artwork will be shipped back to the artists at the gallery’s expense, and insured at wholesale.

12. Exhibition Contracts
Each gallery is responsible for their own contractual agreements with artists exhibiting at their venues.

Deadline for submission entry: Feb 15, 2015
(via DropBox to )

Artist Notification (Core Group): March 1, 2015
Artist Notification (Gallery Choice Groups): April 15, 2015.
Artists chosen for the gallery choice group will be notified separately and directly by the galleries.

Delivery to first location: On or before May 1, 2015
Address to be confirmed with participating artists.

14. Initial Exhibition Opening during SNAG conference:
Exact date to be confirmed with participating artists.

15. Contact Information:
Please do NOT contact individual galleries for questions regarding your entry.
Please direct all questions to Rachel Timmins or Brigitte Martin via:

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