Reflections from ANJSC Finalists

a group interview with past finalists of L.A. Pai Gallery’s Annual national jewellery student competition

By: Lindsay MacDonald
Published: 2023/03/15

Since 2004, L.A. Pai Gallery has inspired students across the country to surpass their graduation requirements and endeavour to earn a spot as a finalist in their Annual National Jewellery Student Competition. For two decades, the gallery has facilitated the opportunity to show jewellery and jewellery-adjacent work to a jury of international and national professionals in craft and design. As the 20th anniversary for the Annual National Jewellery Student competition approaches, MetalAid had the opportunity to speak with seven former finalists from across the country to find out where they are now.

These artists represent a broad range of jewellery categories, however they all agree on one point. If you are an up-and-coming graduate and you are reading this, you should apply.

Click here for further information: Annual National Jewellery Student Competition

1) The Annual National Jewellery Student Exhibition highlights the work of recent graduates all across the country. It's an annual exhibition (starting in 2004) which awards a handful of finalists and then ultimately a winner. In which year were you a finalist? 

Aleena Derohanian: I was a finalist twice. The first time in 2020, and again in 2022.  

Anthia Barboutsis: I was a finalist in 2020.

Audrée H. St-Amour: I was a finalist in 2011; it was the 8th annual National Jewellery Student Competition by L.A Pai Gallery. What an honour it was to be selected for this competition alongside talented jewellers and metalsmiths from across the country! I remember the intense pride I felt when I heard of the news.

Erica Leal: I was a finalist in 2010. Yikes, so long ago!

Gabriel Normandeau: Year 2022.

Jess Bischoff: 2021

Louis-Vincent Parent: I was a finalist during the 2017 exhibition.

2) What comes to mind when you reflect upon the work you submitted? How has your work evolved since then?

Aleena: I love looking back and seeing the progression of my work between the two years that I was a finalist. In 2020, I was starting to explore the use of non-metal materials in my work at school, until we had to close due to COVID. I had a bucket of concrete at home and spent a lot of time making concrete jewellery with the tools and materials that I had on hand. Over the next two years, I moved away from working with concrete into working with mould making techniques and resin casting alongside metal. The work that I had submitted in 2022 was also more sculptural. I had moved away from wearables into more home goods-style objects like containers, lamps, and clocks.

Anthia: Looking back at the work I submitted, I feel proud to see where I started. Those first few ideas and designs have created an overflowing catalogue of inspiration for me and my work going forward. I am also proud to say my photography skills have improved since then.

Audrée: I remember being really proud of the piece I submitted. It was a hinged bracelet that demonstrated the culmination of the learning I did at the New Brunswick College of Craft and Design. The piece featured forms created with the hydraulic press, reticulated sterling silver, tiny tube set faceted stones in pearls and a really well thought out clasp. My work has evolved tremendously in a more daring way. I remember back then thinking of the conceptual meaning of the piece, yet when I think of it now, it was clear I had strong esthetical concerns. Now my conceptual work does not pay as much attention to “looking cute” and pleasing the masses.

Erica: My work has changed substantially, and this transition actually began right around the time of my submission. That body of work was more within the realm of installation art, and at the time of the awards I was in New York, participating in a production internship with a fashion designer so my work was moving away from the art gallery and more towards production. In a nutshell, the work I submitted explores how we present to others, the creation of social capital and the relationship between wearer and viewer. I’m interested in the semiotics of jewellery and find it to be a great medium to discuss the creation and expression of value.

It’s weird to think that I made those pieces just years before Instagram hit the masses. The performance of self is much more elaborate and wide reaching now. It seems like every facet of our lives is assessed according to how it will be consumed by others and then projected through this app. Those original pieces came from the questions “How much of what I value comes from me and how much is influenced by others/society? How does that affect how I present myself in this world?” Honestly, those questions sometimes feel a bit overwhelming.

Today I’ve moved away from installation art entirely. The art world can feel quite insular at times, and I was keen to strike out. In 2017 I created my namesake jewellery line; with which I blend new material making technologies with traditional metalsmithing, the result is a collection with both a futuristic and ancient feel. I also make custom fine jewellery and enjoy the challenge of working within certain parameters, it oddly reminds me of college assignments.

Gabriel: I was pleased to see the public’s positive feedback of the graffiti thematic used in my work and was inspired to keep going in that direction. I am now trying new ways to exploit graffiti with the use of gemstones in my work.

Jess: I’m very proud of the work that I submitted, and that I completed in my final year of studies. Since then, I’m still making production pieces related to that same series, but I’m in the process of completely realigning my focus. The question is: do I embark on creating this entirely new body of work that I’ve been researching and planning for several months now, or do I focus on creating a much more business oriented jewellery brand with my partner? Currently, I’m putting in the work on both, and it’s hard to know what to prioritize, and when. Insofar as my art jewellery is concerned, the work I’ve been planning is a lot darker than my previous stuff, and much more personal. Truly though, it depends. As an artist, I’m relying heavily on grants in order to be able to create this new work. If I don’t receive them, it’s likely I’ll prioritize working on my jewellery brand instead. I’m leaving it up to the universe to decide.

Louis-Vincent: The work I submitted was heavily based on the caribou, with a touch of Cree cultural or nature inspired elements from the boreal forest. It was inspired by the community I grew up in, Chisasibi. A small Cree village in Northern Quebec. I don’t think it was for everyone, but people noticed it. I think I tried something unique by using an actual caribou antler as the centerpiece for my necklace. I would say the ring I made was the most popular. It was fun, bold and quite the statement piece! Since then, I have taken a step back from those projects and see a lot of things that could’ve been improved upon or that I might have done differently, so in a sense, it did help me grow and understand a lot of things. I wouldn’t say it is necessarily the direction I would keep heading in, but it was fun to give it a try, nonetheless. I don’t think I have settled on any particular style yet, I’m still exploring, and I think it may be that way for a long time. One thing is for sure, I really like working with gemstones. I will probably push into advanced lapidary techniques eventually and incorporate that into my work. Making your own cabs and shapes really opens possibilities that you cannot get by simply buying pre-defined shapes.

3) The deadline for applying usually falls in early summer after the culmination of a busy final semester. How do you feel when you reflect on your time as a graduating student?

Aleena: I really loved being a student at OCAD! It was a time where I felt like making work was one of my only priorities and it was special to have a few years where learning and making took up most of my time. Graduating was bittersweet since I got to see the culmination of my undergrad come together, but it also meant that I was going to be moving on away from the comfort of school and the studios.  

Anthia: Reflecting on my time as a student, I can say that any sort of exhibition or competition was the last thing on my mind. School was, and understandably so, very hectic. My ideas were usually two steps ahead of my hands and I was doing my best to learn and explore everything at once. However, after the semester ended and I had time to relax and reflect on what I’d made, I’d also become aware of the student competition. The timing of the competition was, and still is, just right to me. I had a chance to reflect and see my work through a different lens, and see where my work for different classes and assignments overlapped and my style pulled through to create a cohesive body of work to submit.

Audrée: That time of the year was always a blur for me. I would always leave a couple weeks before the end of the semester too to go work in BC for reforestation companies. I did not have kids back then so I would stay in the studio until very late and frankly have thought many times how I could sleep there while going unnoticed by the security guard. I was always the first one in the studio in the morning, turning on everything in the studio so I could get to work before everyone showed up. I basically rented an apartment just to have a bed where to sleep.

Erica: We had 24-hour access to the studio back then so I remember a lot of late nights and early mornings in the NSCAD metal studio. I knew that I would likely never have access to such a broad range of tools and equipment again, so I did my best to make the most of it. I don’t think it set me up for a great work-life balance though - it’s probably best that they make students go home now and start building those healthy habits early! I remember being tired a lot, there was a lot to learn, and little did I know those school years were just the beginning.  

Gabriel: It was indeed a very busy period but that’s the reality of being an artist, artisan and self-employed. It is how you manage the workload and the stress that determines how you will evolve. I think I’ve learned to manage that a lot in the months that followed my graduation, but it will always be a continuous learning. You must adapt to what life throws at you.

Jess: Due to government safety protocols surrounding the pandemic and restricted access to campus, my final year of studies actually ran from January to August of 2021. For me, this meant applying to the competition while I was about two-thirds through my final year. It was definitely stressful, but incredibly rewarding. Looking back, I am reminded as to how much I enjoy being a student. It's such an amazing experience to be surrounded by so many creative people, and to have daily in-person access to professors who are there to critique your work and mentor you. I also really miss having time... Having an abundance of time to be able to develop a cohesive body of work, and to truly devote myself to it for hours and hours and hours every single day. I suppose then, when I look back on my time as a graduating student, it feels a little bittersweet.

Louis-Vincent: It was a stressful time, time management is not my forte and as the most ambitious project I had tackled at the time, it didn’t help. We also had the Salon des Métiers d’Arts (SMAQ) to plan shortly after. It was a very good learning experience all-in-all and I’m happy to have gone through it.

4) If you could communicate with your former self, what advice would you impart about a professional future in jewellery?

Anthia: Go for it. Explore the ideas that speak to you, every step forwards and backwards is a learning opportunity. Starting over can feel daunting, if you hit a snag in your work, pivot your ideas and tweak your designs, the beginning doesn’t have to be perfect, it just has to start for you to keep going. And apply to every opportunity you’re able to, put your name out there.

Audrée: I would say: “to hell what you think will sell, your work will start selling when you’ll make what you truly love making, what is truly you.” I would also say that: “good time management is key: make a plan and keep to it, and that, even if you are extra good at working under pressure, sometimes life and family hurdles will get in the way when you least expect it and the pressure will just become explosive. It’s best to make the most of every 30 minutes you can get in the studio and stop procrastinating when there are no deadlines to reach.”

Erica: I would say don’t be afraid of gold. Start working with it sooner. It’s a dream to solder, file, sand and polish. If you can work in silver, you can work in gold. Also, learn QuickBooks sooner.

Gabriel: Trust your instinct, there are many ways to achieve a goal. Even if people around you are well intentioned, their advice might not apply best in your situation. That being said, you can still learn a lot from talking to people, don’t overlook that.

Jess: It’s not going to be easy. No, really. It’s not.

Louis-Vincent: I would tell myself to settle down on a particular style! I’m too curious and like to explore the vast techniques we have at our disposal. There are so many specialties and subspecialties to choose from. I would say finding out the direction you really want to push in, can simplify your learning process and make you more specialized as opposed to knowing a bit of everything. As it stands, there are still so many techniques I want to explore. I wish I could tell myself to stick on a path but my curiosity wins. Eventually I will settle on what I prefer doing and what I would rather outsource. Investing in the proper equipment for various techniques also takes a lot of money as opposed to sticking to a select few.

5) In your professional life has it been feasible to continue to produce competition level work?

Anthia: For me, it is feasible to continue to produce competition level work as a compliment to my limited production work.

Audrée: It has been difficult and I have had to rely on grant money to be able to explore this aspect of my practice. Being part of a collective that I can connect with and that can keep me accountable has been a huge help. otherwise the work would never leave my studio and what is it worth if it is not shared with the world and the arts community?

Erica: I’d love to, but materials are expensive and creating pieces for specific competitions takes a lot of time. It can be a bit of a gamble. I often have a bad gauge on what competition level work is though. A few years ago, a friend suggested I enter my jewellery into a competition and I assumed I wouldn’t get a second look because my work is less conceptual than it used to be, then I won in a few categories. I suppose if you have some work that fits the criteria, it doesn’t hurt to apply but it hasn’t been my focus lately.

Gabriel: It’s been feasible but not easy. It involves a lot of time and effort, and the money isn’t always there in the beginning. You must do it for the passion long enough before it becomes profitable. That’s why you need a plan and a strategy to help you persevere and not give up. It also means making sacrifices but they’re worth doing in my opinion.

Jess: Currently, I am a full-time Artist-in-Residence at Harbourfront Centre, located in downtown Toronto. As such, I am incredibly fortunate to have access to a subsidized studio space, and to share that space with so many talented and creative makers. I wish that my answer to this question could be a resounding, “yes, of course!” but unfortunately, it’s a little more complicated than that. This is not to say that it has not been feasible, but more so that everything now just takes so much longer. If you’re a single individual supporting yourself by yourself in this city (and in this economy) and also trying to be an artist, and also trying to make money from your art, while also working on your production pieces, while also working many days a week, while also taking on repairs… it can feel a little… chaotic. With jewellery, in my experience, it can seem as if you’re being pulled in many directions all at once, and sometimes it’s hard to know which direction or path you should prioritize at any given moment. That being said, I do definitely have a few things on-the-go, but, the short answer is: no, in my professional life, it has not been as feasible to continue to produce competition level work.

Louis-Vincent: It has not been. I miss it but the pandemic really slowed down my progress. I used to frequent the EJM to use their facilities and equipment, which had to close during the pandemic. I started an unrelated full-time job right before the pandemic, which allowed me to start my own workshop and get some equipment. I am slowly getting back to it, and I do intend on continuing and I would like to enter competitions once again. One thing at a time.

6) Do you think art jewellery and production jewellery can intersect - if so how?

Aleena: I think so, to me art jewellery is about what you’re making- the materials you’re using, the forms you’re creating; and production jewellery is about streamlining the production methods to maximize productivity/profit for you and your business.

Anthia: Absolutely I think art jewellery and production jewellery can intersect, but I think it is up to the maker to decide where and how. The way I approach this in my own work is to take note of my designs, scale them up or down, and/or multiply them to go to either the art jewellery side or the production side. Personally, I only do limited production work because I dislike doing production work in general. However, logically I know I need it to compliment my art jewellery work. After that, it is about finding an outlet. Once I have an art piece or a production piece I will look to where I can put it to get it out to the public, either for viewing or for sale.

Audrée: I absolutely think so. I think that the technical challenges and explorations that we undertake in a piece of art jewellery ultimately feed the other aspect of our practice, it does in my case anyways.

Erica: Definitely! I think the divide comes mainly from art institutions and suspect it might have something to do with that age-old question "Is craft art?” It seems like we have landed upon the answer that craft is art as long it walks and talks like art, that craft is art if it is being made for an art setting. This ignores how craft exists in the world though and leaves out most people that I know who are practicing jewellers, many of whom I graduated art school with. I don’t think craft’s induction into the art world is complete here in Canada. We still don’t fully accept craft as it is, as an art form with a history and connection to production and industry. This is most obvious in the grant application literature. Mentorship grants specifically exclude commercial/production/fashion jewellery even though historically many techniques like stone setting and engraving aren’t mastered in BFA programs, but rather through apprenticeships. This gap is causing our community to lose valuable learning opportunities as engravers and stone setters retire without passing on their knowledge. I believe that if the focus was on creating the best craftspeople as possible, no matter who their audience is, the creativity and quality of work across the board would go up, art jewellery and production jewellery would naturally intersect, and we’d stop losing craftspeople between the gaps.

Gabriel: Absolutely! Just like any other art form whether it’s visual art or music, you can have derived products. You make some masterpieces and you can very well sell other pieces that go along and fit your style (in this case production jewelry). People who love your work will definitely be interested in them, and just like that, you’ve opened up to a new market. Again, it’s best if you have a strategy, you need to be smart about it in order to preserve your status, reputation and value as an artist.

Jess: This is a really complex question… and one that gets some people really worked up (and, I get it). In short, yes, I do believe that art jewellery and production jewellery can intersect, but I also very much respect the opinion that it can’t, or shouldn’t, as well. Honestly, the answer depends on a myriad of factors. First, I have to ask myself: what are the characteristics that both define and delineate these types of jewellery? Do I view their relationship as complementary and harmonious, or is it more so antagonistic? It also depends on how I view myself as a maker. Maybe I don’t like that word. Maybe I prefer ‘artist’, or maybe I’d rather be called a goldsmith, instead. Or maybe none of those things. The answer depends on how you define yourself. Like, why do I create? What is my intention, or rather, the intended function of what I’m making? Ultimately, how do I want my work to be perceived? How do I want to be perceived? In my experience, the tension between these terms is absolutely palpable within the craft community, and there is certainly a tendency to maintain a somewhat rigid distinction between them.

For what it’s worth, I do understand this distinction, and for me and my work, there is absolutely an intersection of both. On my website for example, I display some of my production jewellery on the very same page as my art jewellery. Gasp! Even in the same collection. If people think that this takes away from, or serves to discredit my work as a whole, that’s on them. I can do whatever I want. I believe it all has to do with this idea that production jewellery, by its very nature, is more sellable (and therefore… icky). A true artist shouldn’t be motivated by money, right? The reality, for me, is that my production pieces sell far better than my art jewellery pieces, but my art jewellery gets me into shows. So it’s this constant, but necessary, negotiation… and, I like making both.

Louis-Vincent: I believe they can meet somewhere in the middle. You will never have all the characteristics that make both what they are. One is aimed towards uniqueness and money is not the focus, more of a showcase if you will. The other is geared towards making volume as cheap and fast as possible. Making limited releases can make it more manageable to work on while keeping the quality and exclusivity up. I think this is the direction I will be going. My aim is not to push for quantity, but I also do not have time to make very long and ambitious pieces, at the moment.

7) Is there an artist, or technique, or style, or platform which you would identify as being at the forefront of the jewellery horizon? Can you please describe why?

Aleena: It's tough to pinpoint one style or technique. One of the great things about the Annual National Student Competition is that all finalists always have such distinct styles and bodies of work. The competition really does speak to the diversity of work being made by up-and-coming Canadian jewellers.

Anthia: I’m not sure I can say there are any, and that’s not necessarily a bad thing. I’m not 100% sure there should be a technique or style at the forefront of the jewellery world right now. We are creating in a time with so much possibility, I’d rather not limit it that way. In terms of an artist, personally, it’s not something I see clearly right now, and that will and should change going forward. Lastly, for a platform, I’d love for there to be one, but so far I am not aware of one.

Audrée: I have been following the Klimt02 platform for several years now and what I see always blows my mind! In general, I find that what is made in Europe in the field of contemporary art jewellery is at another level altogether. I have a lot of appreciation for the traditional craft techniques but I am blushing in amazement when I see materials being pushed beyond their boundaries and media use that I did not even think was possible! The stuff I see on there is so humbling and so far ahead from what I can ever imagine creating.

Erica: Pat McGrath covering Doja Cat in 30000 Swarovski crystal for Schiaparelli was the last thing I saw that blew my mind.  Schiaparelli’s designer Daniel Roseberry is following in the legacy of Elsa Schiaparelli with wildly fantastical, surreal work. It’s a great example of that intersection between art jewellery and production. Pat McGrath is technically a make-up artist, but I think her work blurs the lines between makeup, jewellery and fashion. She’s creating a category of her own on the main stage which I think is going to inspire a lot of others to push the envelope too.

Gabriel: There are definitely a lot of talented and inspiring jewellery artists I look up to. In terms of technique, I think the best horizon for the jewellery world would be to embrace new technologies as they allow us to make more elaborate and complex pieces. Though, I think it’s required that we combine that with the ancient and more traditional techniques and savoir-faire. This way, we make sure to preserve the quality standards and beauty of our craftsmanship.

Jess: If I had to choose an artist of the moment, it would be Lucy Pearl Petts who just won Klimt02’s New Talent Award for 2022, and who just graduated from the Glasgow School of Art. Her work is a brilliant intersection of art, jewellery, technology, and science.

Louis-Vincent: There are plenty of talented artists out there so I will not name anyone, but I think as far as technique, 3D printing and modeling will need to be adopted by jewellers who wish to stay competitive. I think there is a place for everything, and it is still much more satisfying to make a nice piece entirely by hand, but the truth of the matter is, you can do everything in 3D much faster. It should merely be seen as a shortcut. It might open the door for people who have never worked on jewellery in their life, but I also believe a bench jeweller will have the advantage since he/she will have already had some real-life experience and will be able to know what works and doesn’t. You can do extremely fancy stuff on the computer, which might not translate well into a physical piece. There are so many advantages to the medium that I cannot really mention it all, but a good example would be losing a master of a wax at the caster. You’re now out of hours of work with no compensation. If you use 3D, no problem, just print another one. If you don’t like a small detail, remove, and modify it. With 3D it’s easy to go back and modify everything. In wax or metal, you can only do so much fixing. Adding material back can be a hassle and is less than ideal.

8) Do you have a notable experience to share about your jewellery being worn by someone out in the world (or of yourself wearing a jewellery piece).

Aleena: I have recently come to terms with the fact that I don’t like selling my work! My relationship to the objects I make are deeply personal and I love seeing the objects I make exist in the same spaces as I do, in my home. Perhaps one day I will feel differently about this, but for now, being able to exist alongside my work is more important to me than selling it.  

Anthia: Not of my own work, but last December I was at the L.A Pai Holiday Party, and as I was speaking to someone who was interested in one of my rings. I saw his wife was wearing a pair of earrings my friend and former classmate Melody Juthamongkol had made. I remember so clearly when she was working on the design of those earrings and when she showed me the finished piece, and then to see them worn by this lady, I’m not sure how to describe the feeling, but it was wonderful.

Erica: I honestly love seeing any of my pieces out in the world. It was great to have my work in Vogue though, that came about through an internet friendship. Social media has its pitfalls, but it has also brought a lot of wonderful people into my life and given me the opportunity to collaborate with creative people from all over the place.

Gabriel: I’ve had the chance to work with a few well-known artists in Quebec that wore some of my personal custom jewellery to galas and red carpets (like Ludivine Reding, 2019. Antoine Olivier Pilon 2022). In 2022, my life partner and business partner Maeva and I started our online commercial brand called MAE Piercing, which specialises in 14K professional grade piercings. A few months ago, we had the pleasure of having the American actress and singer Vanessa Hudgens wear our skull head piercing (photos coming soon to Instagram).

Jess: I’d say most likely having my Coring Drill Sample Ring selected to be photographed on a model at MAD (Museum of Art and Design) Home of Creators in Belgium, as part of Brussels Jewellery Week 2022. That was pretty cool.

Louis-Vincent: I do not have any interesting anecdotes to add but I do know that my custom commissions were appreciated.  In the future, I plan on getting more involved in certain communities.

9) What advice would you give to a student who may be considering applying for the competition?

Aleena: Go for it! Unlike a lot of opportunities, there is no cost associated with this call so really there is no downside to applying. Even if your work isn’t selected, it gets to be seen by a jury of professionals working in the industry.  

Anthia: Go for it. Your ideas and skills are good, do not doubt yourself. If nothing feels like it fits, take a step back and pivot your thinking. An opportunity like this competition is a simple and wonderful first step into the professional world of art jewellery that is more valuable than you know.

Audrée: Do it! Don’t doubt yourself or your work, just applying to something is a meaningful experience in itself.

Erica: Apply! And make something that feels honest to you. That always seems to work.

Gabriel: Definitely do apply! If chosen and if possible, attend in person the opening of the exhibition, it’s really worth it!

Jess: I don’t care how busy you are, just do it. It can open a lot of doors. Also, do not underestimate the power of a well-taken photograph. Some people will never see your work in person, but if you’re submitting it to shows, chances are your photos will be seen and shared a lot on social media by many people. Those images exist forever, so they should be good. Take the time now to either learn how to take good photos, or find someone who can do it for you.

Louis-Vincent: I would say to apply for it, you have nothing to lose if you are already making the set for school! It’s a good way to get some recognition and I thank Lisa for hosting it, it’s a great initiative.

10) Can you share some career highlights since your participation in The National Jewellery Student Competition?

Anthia: Since I’ve participated in the student competition, I have been featured in Heusers Magazine, taken part in Milan Jewelry Week, taken part in the Toronto Outdoor Art Fair and won their ArtScape Emerging Artist award, and currently have work on display at the ROM with the Canadian Modern exhibition. 

Audrée: I have been a Niche Award nominee and received the academic Lieutenant Governor’s medal upon graduation, grants from the New Brunswick Arts Board and Canada Council for the Arts, I have exhibited my work nationally and internationally, but the achievement I am the most proud of is to still be actively practicing after raising a family (2 kids: aged 8 and 10!), having a full time job as an arts administrator and making a priority to work 1 day a week in my studio. Consistency is my career highlight!

Erica: Moving into my current studio a couple years ago with my studio mate Ali has been a highlight. We both had been working alone in separate studios, so it was a joy to move into a sunny creative space together.

An unforgettable experience was going to Haystack Mountain School of Craft in Deer Isle, Maine. It’s a beautiful campus on the ocean, and fully equipped with everything you need to create (even an MIT Fab Lab). I met so many inspiring people from all over the world who continue to inspire and support me to this day. I highly recommend trying to go there or somewhere similar, you won’t regret it.

Gabriel: Like mentioned earlier, I think having well-known artists wear my creations is without a doubt a highlight!

Jess: The National Jewellery Student Competition was my first real experience participating in an in-person jewellery exhibition. Since then, I am now represented by L.A. Pai Gallery, and I have participated in exhibitions in Canada, the United States, Belgium and, most recently, Spain, for which I received an Ontario Arts Council Exhibition Assistance Grant. Currently (and until March 19), a few select pieces of mine are on-display as part of the VII Muestra Orfebrería Contemporánea (VII Contemporary Goldsmithing Exhibition) in Madrid, at the Museo Nacional de Artes Decorativas. I have also received several scholarships and awards, including the Milano Jewellery Tour Communication Award at Brussels Jewellery Week, and the Lacy West Supplies Ltd. Jewellery Supply Grant from Craft Ontario. I was accepted as a full-time Artist-in-Residence at Harbourfront Centre in 2022, and was the recipient of their one-year scholarship. Finally, I was taken on as part-time support staff at George Brown College, working as a technician assistant and jewellery lab assistant, which I enjoy very much.

Louis-Vincent: After my graduation, I worked close to a year in the field for two different places. About half a year doing the production for a company and another similar amount of time doing polishing with a professional polisher. This gave me good practice but was not what I wanted. The industry is very different. [It is] aimed towards volume and the pay is not great as a bench jeweller. I needed more freedom and I now know designing limited releases is where I would rather go, instead of mass production. 

I now work in an unrelated field, in the health sector. My job has kept me extremely busy over the pandemic, but I have been able to rent a space for my workshop thanks to it. I have slowly been acquiring equipment for my workshop over the past years and I am currently enrolled in 3D modeling at the EJM. I would like to launch a company soon enough and start back where I left off. 

Banner image: Louis-Vincent Parent, Caribou 2, image by Anthony McLean