About
About
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Photo Credit - Iliana Lawrence
Christopher earned his Studio Art BFA in Jewelry Design and Metalsmithing from Texas Tech University under nationally accredited artists Professors Robly Glover and Nancy Slagle. Under Andrew Kuebeck, he is pursuing his Studio Art MFA in Jewelry/Metals/Enameling with a Graduate Teaching Assistantship at Kent State University. He studied under award-winning metalsmith John Garrott at Allen High School where he developed designs such as Midnight and Zephyr - winning first place at the Saul Bell Design Awards in the Emerging Artist categories in consecutive years.
He was awarded the Ohio Designer Craftsmen Board of Trustees Emerging Artist Award for Strata II -Under Heaven & Over Hell in the "Best of 2025" ODC Museum Juried Exhibition, 1st Place Carol Tyler Memorial Award and Technical Award in the 2024 New England Chapter, International Precious Metals Institute Jewelry Design Competition for his piece, Strata, and has exhibited in Craftforms 2023, the Bristol Art Museum's Miniature Monumental and the Craft Council of British Columbia Earring Show. He is also the recipient of the 2020 and 2023 MJSA Education Foundation Scholarship, the 2020 Clare Hart DeGolyer Memorial Fund Award presented by the Dallas Museum of Art, and the 2022 SNAG Educational Endowment.
He takes on fine jewelry commissions, and is developing a jewelry design studio with an express focus on fabricating one-of-a-kind pieces. Christopher spends his summers teaching silversmithing at Camp Fernwood, a seven-week sleepaway camp in Poland, Maine where students ages 13-15 can learn and apply the fundamentals of metalsmithing and jewelry making.
He was awarded the Ohio Designer Craftsmen Board of Trustees Emerging Artist Award for Strata II -Under Heaven & Over Hell in the "Best of 2025" ODC Museum Juried Exhibition, 1st Place Carol Tyler Memorial Award and Technical Award in the 2024 New England Chapter, International Precious Metals Institute Jewelry Design Competition for his piece, Strata, and has exhibited in Craftforms 2023, the Bristol Art Museum's Miniature Monumental and the Craft Council of British Columbia Earring Show. He is also the recipient of the 2020 and 2023 MJSA Education Foundation Scholarship, the 2020 Clare Hart DeGolyer Memorial Fund Award presented by the Dallas Museum of Art, and the 2022 SNAG Educational Endowment.
He takes on fine jewelry commissions, and is developing a jewelry design studio with an express focus on fabricating one-of-a-kind pieces. Christopher spends his summers teaching silversmithing at Camp Fernwood, a seven-week sleepaway camp in Poland, Maine where students ages 13-15 can learn and apply the fundamentals of metalsmithing and jewelry making.
Photo Credit - Justin Rex
"I use volumes of wire, their projections, stone setting, and light, combined with the conceptualization of the infinitely small and vast, to depict hidden interspatial phenomena as metaphorical parallels for how I interact with the world
My work is a hunger to manifest something, someone, not there. It is the passing moment. The liminal, in-between. The ephemeral. It is ever-present, haunting. Its gravity constant, its pull and my repulsion; forces of nature that are undefined, where the answers lie in extremities.
We define the things we cannot see with the forces and structures surrounding them. Only then can one subjectively measure and understand it. Jewelry and adornment begin to define these feelings by using the innate material and tangible qualities of metal and jewelry, to render the immaterial so that in a way, myself and the wearer can intimately confront and adorn these unfathomable and formless abstractions. "
My work is a hunger to manifest something, someone, not there. It is the passing moment. The liminal, in-between. The ephemeral. It is ever-present, haunting. Its gravity constant, its pull and my repulsion; forces of nature that are undefined, where the answers lie in extremities.
We define the things we cannot see with the forces and structures surrounding them. Only then can one subjectively measure and understand it. Jewelry and adornment begin to define these feelings by using the innate material and tangible qualities of metal and jewelry, to render the immaterial so that in a way, myself and the wearer can intimately confront and adorn these unfathomable and formless abstractions. "
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