BIOGRAPHY
Theresa St. Romain is a metalsmith and designer. Her work explores the concept of landscape and construction elements to fabricate mini-narratives of visual tension. She makes jewelry, wearable narrative pieces, and small sculptures.
Theresa’s work can be seen at Topaz Gallery in Atlanta, GA, Freehand Gallery in Los Angeles, CA, River Gallery in Chattanooga TN, The Piedmont Craftsmen Gallery in Winston Salem, NC, and FRANK Gallery in Carrboro, NC. Theresa is an exhibiting member of the Piedmont Craftsmen Guild.
Theresa also teaches jewelry and metalsmithing classes at the Spruill Center for the Arts in Atlanta.
Theresa has a BS in Science, Technology, and Culture from Georgia Tech and a BS in Criminal Justice from Georgia State University. She studied metalsmithing at the Spruill Center for the Arts and the Pratt Arts Center in Seattle. She learned from talented instructors and metalsmiths, along with playful, yet intense, experimentation and practice.
Theresa lives near Atlanta; she learned from talented instructors and metalsmiths, along with playful, yet intense, experimentation and practice. She teaches others interested in this craft; “I’ve had the pleasure and privilege to be at both ends of the maker spectrum, learning from the best and then later passing on what I know to those ready to learn.”
ARTIST STATEMENT
My work explores the concept of landscape elements to construct mini-narratives that connect to both the wearer and me. I have an urge for straight, clean lines and visual texture – a bumpy, rough, wandering texture, as if the pieces were both grown and fabricated, irregular and planned.
I use the traditional metalsmithing techniques of fabrication, forging, soldering, cold connections, surface texturing, and patinas for my pieces; I work in silver, copper, bronze, brass, and alloy my own shibuichi. These techniques and materials give structure yet allow me to work organically with my designs.
Some pieces are like growths and others like landscapes; and others are signs for wearer. I "peg" the little shapes of metal so that they lift above the back sheet or in their boxes; they look like they are floating. I let them bunch together or tease them apart to add tension. I create the surface textures on the shibuichi with my torch (reticulation) and on the other metals with hammers and the rolling mill.
It is a wonderful dimensionality that requires another look. And I always want things to seem grown or move (or both!), even ones that seem still and structured. This brings a surprise and fun element when a part moves unexpectedly.
At the end, I add a patina then rub it away to highlight the metals and textures.