Right now, art lovers around the world could use a treat. There is a distinct, grounding pleasure to be found in acquiring a terrific piece of contemporary art jewelry for oneself while simultaneously celebrating and supporting the visionary artists and the dedicated galleries that showcase their work.
The Art Jewelry Forum’s international network of gallery supporters continuously celebrates, promotes, and exhibits groundbreaking art jewelry. To connect collectors with these exceptional works, the organization’s bi-monthly On Offer series allows this extensive global network of galleries to showcase extraordinary pieces personally selected to tempt and inspire enthusiasts. A quick look through the current selections reveals an array of fantastic creations that span geography, material, and conceptual depth. Art enthusiasts are bound to find a phenomenal piece that speaks directly to them, with interested buyers encouraged to contact the participating galleries directly for inquiries and acquisitions.
Mélanie Denis at Pistachios Contemporary Art Jewelry
Kicking off the September showcase, Pistachios Contemporary Art Jewelry, located in Chicago, Illinois, presents a striking brooch by artist Mélanie Denis titled J’Aime Hydro. Priced at US$1,595 and available through gallery contact Meg Nash, the piece is constructed from sterling silver, Plexiglas, photographic paper, ink, gold leaf, acetate, cotton, acrylic, and steel, measuring approximately 3 x 3 inches.
This unique brooch addresses profound themes of memory, loss, and grief. Denis’s solo exhibition at Pistachios, titled Transition, presents a powerful body of work created over three years, crossing three territories, three inner states, and three defining moments of the artist’s life. Elaborating on the creative genesis of the collection, the artist explains that the works were largely created in Mont Bélair, a vast forested territory on the outskirts of Quebec City, Canada. The initial pieces bear witness to a deep, abiding attachment to a place of refuge that eventually became the setting of a rupture and a necessary departure. The dark and silent winter landscapes gradually give way to a vibrant palette where the signs of a transition toward a new territory begin to emerge. The final phase, Renaissance, marks the arrival in an urban environment chosen in accordance with the artist’s personal values and reclaimed freedom, where the colors soften, landscapes become more human, and creation rediscovers a space of trust, gentleness, and free expression.
John Ecuyer at Fingers Gallery
Traveling to Auckland, New Zealand, Fingers Gallery features the work of artisan John Ecuyer through gallery contact Lisa Higgins. The featured piece is a pendant from the Kina/Abundant series, created in 2026 from jarrah burl wood sourced from Western Australia. Measuring 4 1/8 x 2 1/2 inches, the pendant is available for NZ$320.
Born and now living in Whangarei, New Zealand, Ecuyer began creating turned wooden objects in 1988, a pursuit that naturally led to his exploration of alternative techniques and materials, including stone, bone, and cast glass. Throughout his career, he has maintained a special interest in the complex relationship between his work and the art of healing, spanning both past and present contexts. Collections of Ecuyer’s work are housed in prestigious institutions across New Zealand, including the Auckland War Memorial Museum, the Dowse Art Museum, and the Whangarei Art Museum. Internationally, his work is held in the collections of the Detroit Institute of Art and the Maoli Wood Art Museum in Taiwan, reflecting a robust exhibition history spanning Los Angeles, Detroit, Korea, and Australia.
Marty Ornish at Wearable Art Museum
At the Wearable Art Museum, directed by Lisa M. Berman, artist Marty Ornish presents Fringe Benefits from the On the Fringe collection. Priced at US$1,200, this ambitious collar is constructed from historical 100-year-old cotton quilt material, batting, letterpress ink, and fringe, measuring 24 x 20 x 22 inches.
Operating under daily mantras such as "Zero waste," "Loved to death," and "Nothing is new," Ornish works out of a busy sewing-machine studio, establishing a reputation as a politically charged, thought-provoking maker. She utilizes fabric as a primary material and meaning as substance, a philosophy brilliantly demonstrated in her 2021 Social Security exhibition at the Oceanside Museum of Art in California. Recognized by her lavender hair and distinctive spectacles, the artist applies her clear intentions to make "examples" of other people’s waste, transforming discarded items into new wearable sculptures. This ethos is vividly embodied in the On the Fringe collar series, which forms part of the California Fibers exhibition titled The Languages of Fiber at the Huntington Beach Art Center through October 24, 2026.
Géisine Hackenberg at Galeria Reverso
In Lisbon, Portugal, Galeria Reverso—represented by Paula Crespo—highlights the work of Dutch artist Géisine Hackenberg. The featured piece, Precious Fluids #1, is a 2012 brooch crafted from silver-plated glass and red brass, priced at €940.
The Kitchen Glass Brooches are a compelling component of Hackenberg’s broader Still-lives Collection. Describing the conceptual framework behind these pieces, the artist notes that the collection can be seen as a contemporary interpretation of 17th- and 18th-century Dutch still-lifes. Those historic paintings traditionally depicted items of everyday life that held substantial economic and emotional significance for the people of that era. By cutting vintage glassware and rearranging the pieces into new compositions and modern still-lifes, Hackenberg creates a seamless translation from three-dimensional objects to two-dimensional visual shapes, elevating down-to-earth glasses and bowls into precious jewelry. In this collection, the body of the wearer effectively assumes the role of a canvas, while the artist simultaneously pays homage to the rich history of European glass manufacture and its historic designers, particularly those working in the Netherlands, Germany, and Scandinavia.
Linda van Niekerk at Zu design
Adelaide, Australia-based gallery Zu design, with contact Jane, features the work of Linda van Niekerk. The SOS Graffiti neckpiece, created in 2026 as part of the Just Saying series, is crafted from sterling silver, oxidized sterling silver, and silk. Measuring 47 1/4 inches long with a chenier diameter of 2.2 millimeters, the neckpiece is available for AU$1,360.
Reflecting on the turbulent inspiration behind the work, van Niekerk notes that in a world that has seemingly gone mad—where political, social, financial, and environmental aspects of life no longer make rational sense—she began producing works designed to vent, to rage, and to poke fun at widespread insanity, effectively creating a form of protest delivered with a smile.
Märta Mattsson at Galerie Noel Guyomarc’h
In Montreal, Quebec, Galerie Noel Guyomarc’h, bijoux et objets contemporains—led by gallery founder Noel Guyomarc’h—showcases the work of Märta Mattsson. Titled Goliath, this 2026 brooch is priced at €3,200 and incorporates a genuine Goliath beetle, cicada wings, lacquer, resin, pigments, silver, gold-plated silver, and stainless steel, with physical dimensions of 6 1/4 x 6 1/2 x 1 3/4 inches. Through her collection Glow against the Dark, Mattsson continues her ongoing, meticulous exploration of insects and the complex philosophical and aesthetic ideas they can convey, resulting in vibrant, colorful pieces that assert their distinctiveness with unwavering confidence.
Ameli Dévé at Platina
Platina gallery in Stockholm, Sweden, represented by Sofia Björkman, presents an untitled 2024 necklace by Ameli Dévé. Crafted entirely from oxidized fine silver and measuring 14 x 6 1/4 x 3/4 inches, the piece is priced at US$3,600.
Dévé frequently draws upon universal symbolism and familiar, traditional forms such as the braid. In this specific work, she utilizes pure fine silver, taking advantage of the metal’s natural softness to manipulate it into shapes that would otherwise be exceedingly difficult to achieve. By stretching and pushing the material to its absolute structural limits, the resulting forms allude to traditional craftsmanship while simultaneously pushing past its established boundaries to re-examine classic architectural structures. Born in the north of Sweden and currently based in Gothenburg, the artist completed a rigorous three-year apprenticeship in Tibet making traditional jewelry before pursuing further studies in Sweden, New Zealand, and France, ultimately earning an MFA degree in jewelry art from the Academy of Design and Crafts in Sweden.
Gitte Nygaard at Objects Beautiful
In London, United Kingdom, Objects Beautiful—directed by Yael Reisner—features the brooch Dogger Bank II by Danish-Dutch artist Gitte Nygaard, priced at £1,930 GBP excluding tax. The expansive brooch, measuring 7 x 3 1/2 x 1/2 inches, is constructed from organic wool, plant-dyed silk with weld, cotton, Japanese washi and gampi paper, indigo-dyed denim and hemp denim, Nakachu silk thread, silver, and a stainless steel pin.
Designed to be worn with either side facing outward, the brooch consists of various textiles elegantly clasped together by a silver oval ring. The work is named after the large, shallow sandbank in the North Sea; much like the sea itself, the piece remains porous, carrying memory not merely as a direct image, but as a tangible material presence. Gallerist Yael Reisner notes that Nygaard is widely regarded as one of the most important European art jewelers working in the contemporary field, though she has largely remained unrecognized internationally, an oversight likely attributable to her deliberate choice not to maintain an Instagram account, reflecting her profoundly talented yet modest and serene artistic persona.
Kerianne Quick at In the Gallery at Brooklyn Metal Works
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works—represented by Brian Weissman—presents the work of Kerianne Quick. The featured necklace, 7.62 x 39 (Oh Well), is priced at US$1,500 and is constructed from titanium, vegetable-tanned leather, and cotton, measuring 26 x 11 x 1 inches.
The piece belongs to Oh Well, a collection of leather and titanium necklaces and brooches that draws direct inspiration from historical and contemporary forms of body armor, including utility wear, bibs, aprons, and tactical vests. The central titanium "wound" inserts are informed by slow-motion projectile testing and forensic images of high-caliber bullet wounds, transforming stark evidence of bodily trauma into sophisticated objects of adornment while critically exploring notions of manufactured protection and false security.
Alexander Blank at Four Gallery
Umeå, Sweden-based Four Gallery, managed by Karin Roy Andersson, highlights the latest creation by artist Alexander Blank. Titled Bones & All and created in 2025, this brooch is made from Corian and silver, measuring 3 1/2 x 2 3/4 x 1/2 inches, and is retailed at €680 excluding VAT.
Reflecting on the thematic foundation of the work, the gallery notes that human hands serve as fundamental tools that make things happen: they cook, build, clap rhythms, spark fires, heal, kill, and increasingly swipe and press digital buttons. While hands are generally presumed to carry out what the brain plans, Blank explores an alternate narrative: what if hands reached their breaking point? What if they wanted to break free and forge an entirely new reality? Blank’s latest work offers a glimpse into this speculative evolutionary path, imagining a scenario where hands and fingers become entirely independent, free, and fully realized entities.
Teresa Shields at Gravers Lane Gallery
In Philadelphia, Pennsylvania, Gravers Lane Gallery—with contact Mia Chen—presents Pomponner by artist Teresa Shields, priced at US$6,700. Created in 2022, the large-scale necklace is constructed from felted wool over wood mounts, secured with a hidden magnetic clasp, and measures 40 x 48 x 6 inches.
The title Pomponner derives from the French term for dolling oneself up or preparing oneself to be looked at, forming part of the broader I Feel Seen collection. Shields works primarily in felted wool, a medium and handiwork historically marginalized and assigned to women, turning her critical focus toward the female gaze—specifically the lifelong experience of being watched and judged without ever truly being seen. The piece is structured with sufficient architectural integrity to hold its own form, drawing conceptual and visual touchstones from artist Hilma af Klint, particularly in the realm of color logic where blue represents the feminine, yellow signifies the masculine, and pink embodies love. Designed for functional versatility, the necklace features hidden magnetic clasps for easy wear, alongside specialized magnetic wall-mounts that allow the piece to be elegantly displayed as a wall sculpture when not worn on the body.
Carin Jones at Heidi Lowe Gallery
At the Heidi Lowe Gallery in Lewes, Delaware, gallerist Kassadi Williams represents artist Carin Jones. The featured brooch, On a Whim Tattoo, was created in 2026 and is crafted from vintage tin, sterling silver, acrylic, brass signature bolts, and stainless steel, measuring 2 1/2 x 2 1/4 inches. The piece is available for US$350.
Jones’s ongoing artistic focus centers on historical specimens, such as vintage tins, effectively replacing traditional gemstones with everyday found objects set within finely crafted precious metals. This deliberate juxtaposition challenges conventional societal notions of material value and grandeur, inviting viewers to fundamentally reconsider the relationship between intrinsic material worth and artistic merit.
Evelyn Kline at Baltimore Jewelry Center
The Baltimore Jewelry Center in Baltimore, Maryland, represented by J Diamond, showcases the work of metalsmith and enamelist Evelyn Kline. Originally from the mountains of North Carolina with a BFA from Appalachian State University and completed residencies at the Arrowmont School of Arts and Crafts and the Baltimore Jewelry Center, Kline presents the brooch Time Machine. Created in 2024 from enamel, copper, sterling silver, and fine silver, the piece measures 3 1/2 x 4 1/2 x 1/2 inches and is priced at US$1,450.
Reflecting on the personal nostalgia embedded in the work, Kline shares a formative memory from her final year of college when she discovered that a local grocery store near her apartment had remained unrenovated since the early 2000s. Operating as a portal to memories of her childhood hometown, visiting the store during a turbulent period filled with major life changes provided her with profound comfort and the unique ability to be mentally transported to another time.
Catarina Silva at Galeria Tereza Seabra
Concluding the September showcase, Galeria Tereza Seabra in Lisbon, Portugal, directed by Tereza Seabra, presents a new brooch by Catarina Silva titled Alfinete Original (Original Brooch). Created in 2026 from leather, glass seed beads, silk thread, zinc, silver, and stainless steel, the brooch measures 5 1/8 x 4 x 3/8 inches and is priced at €750 plus shipping.
The piece serves as a recent addition to Silva’s solo exhibition Jardin d’agrément, presented as part of the official program for the third Lisbon Jewellery Biennial. Jardin d’agrément imagines a lush, utopian garden inspired by traditional gardens of paradise and divine gardens found across diverse global cultures. In this conceptual space, humans, animals, and plants coexist harmoniously beyond human hierarchy within a shared ecology of reciprocity and wonder. Within the exhibition, jewelry functions as a living constellation of symbols—including apples, unicorns, flowers, birds, and Marian imagery—invoking knowledge, care, fertility, and transformation. At the very heart of the exhibition, the snake emerges not as a classic tempter, but as a protector and guardian symbolizing wisdom, regeneration, and the continuous cycle of life. Rather than depicting a permanently lost Eden, Jardin d’agrément functions as a poetic fiction inviting viewers to imagine alternative ways of inhabiting the world, where peaceful coexistence is treated not as an abstract ideal, but as an active, living practice.
