Right now, art enthusiasts and collectors alike could certainly use a moment of respite and a well-deserved treat. There is a distinct, grounding pleasure in acquiring a terrific piece of contemporary art jewelry for oneself while simultaneously celebrating and actively supporting the visionary artists and the dedicated galleries that showcase their works. To fulfill this desire, the Art Jewelry Forum has launched the latest installment of its international gallery supporters showcase, highlighting an exceptional array of wearable art from around the globe.
The Art Jewelry Forum’s extensive network of international gallery supporters is dedicated to celebrating and exhibiting contemporary art jewelry at the highest level. Through the organization’s bi-monthly On Offer series, this global network of galleries is given a platform to showcase extraordinary pieces that have been personally selected to tempt, provoke, and inspire collectors. Viewers are invited to browse the curated selection, with the assurance that they are bound to find a fantastic piece they simply cannot live without. For acquisitions and inquiries, prospective buyers are encouraged to contact the respective galleries directly.
Among the highlights of the September 2026 showcase is a striking neckpiece by artist Linda van Niekerk, presented by Zu design in Adelaide, Australia. Titled Silver Cloud Burst and crafted in 2025, the sterling silver and silk piece measures 19 inches long with an 8-inch chenier diameter. Available for AU$1,750 through gallerist Jane, the work stems from van Niekerk’s Clouds series, which draws deep inspiration from the vast, cinematic skies of Tasmania. The piece captures not only the physical shapes of clouds but also their constantly shifting and evolving forms, translating atmospheric ephemera into a permanent metal sculpture for the body.
Moving to Lisbon, Portugal, Galeria Tereza Seabra presents a poignant brooch by Catarina Silva, titled Untitled and created in 2026. Fabricated from oxidized silver, lapis lazuli, and tinted agate, the piece measures 2 by 2 by 5/16 inches with a 9-inch chain, and is offered at €750 plus shipping through gallerist Tereza Seabra. This brooch represents Silva’s most recent work for her solo exhibition Jardin d’agrément, a component of the official program for the third Lisbon Jewellery Biennial.
The Jardin d’agrément exhibition imagines a lush, utopian garden inspired by the paradisiacal gardens of the gods found across various human cultures. In this conceptual landscape, humans, animals, and plants coexist beyond hierarchy within a shared ecology of reciprocity and wonder. Jewelry functions here as a living constellation of symbols: apples, unicorns, flowers, birds, and Marian imagery evoke knowledge, care, fertility, and transformation. At the conceptual heart of the exhibition, the snake emerges as a guardian rather than a traditional tempter, serving instead as a symbol of wisdom, regeneration, and the continuous cycle of life. Rather than lamenting a lost Eden, Silva’s work offers a poetic fiction that invites viewers to imagine new ways of inhabiting the world, where coexistence is practiced as a living reality rather than a distant ideal.
In the United States, the Heidi Lowe Gallery in Lewes, Delaware, is featuring the work of Carin Jones. Represented by Kassadi Williams, Jones has contributed a 2026 brooch titled On a Whim Tattoo, fabricated from vintage tin, sterling silver, acrylic, and signature brass and stainless steel bolts, measuring 2 ½ by 2 ¼ inches and priced at US$350. Jones focuses heavily on historical specimens, such as vintage tins, choosing to replace traditional precious gemstones with found objects set securely within finely crafted precious metals. This deliberate juxtaposition challenges conventional notions of value and grandeur, inviting viewers to reconsider the often arbitrary relationship between material worth and true artistic merit.
Expanding the geographic reach to Scandinavia, Four Gallery in Umeå, Sweden, represented by Karin Roy Andersson, is showcasing a brooch by Alexander Blank titled Bones & All, crafted in 2025 from Corian and silver and measuring 2 3/8 by 2 by ½ inches. Available for €460 excluding VAT, the piece engages with a philosophical inquiry into the nature of the human hand. Hands are fundamental tools that make things happen—they cook, build, clap rhythms, make fires, kill, heal, and, in the modern era, swipe and press digital buttons. While society traditionally views hands as instruments obediently carrying out the brain’s plans, Blank’s work asks a different question: What if the hands had enough? What if they wanted to break free and create an entirely new reality? In this latest body of work, viewers are granted a speculative glimpse into an evolutionary path where hands and fingers become independent, liberated, and truly themselves.
Back in the United States, In the Gallery at Brooklyn Metal Works in Brooklyn, New York, offers a substantial piece by Kerianne Quick. Represented by Brian Weissman, Quick presents .223 Remington (Oh Well), a 2026 brooch constructed from titanium, vegetable-tanned leather, and cotton, measuring 6 ½ by 17 by 1 inches and priced at US$1,750. Oh Well is part of a broader collection of leather and titanium necklaces and brooches that draws directly from historical and contemporary forms of body armor, including bibs, utility wear, aprons, and tactical vests. By incorporating titanium "wound" inserts—informed directly by slow-motion projectile testing and forensic images of high-caliber bullet wounds—Quick transforms the harsh evidence of bodily trauma into intricate objects of adornment, thereby examining the complex psychological constructs of manufactured protection and false security.
In London, United Kingdom, Objects Beautiful, represented by Yael Reisner, is featuring an innovative ear stud by Gitte Nygaard. Crafted from silver, bronze, sponge, and porcelain in variable sizes, the piece is priced at £270 GBP excluding tax. Nygaard’s porcelain ear stud explores porosity as both a physical form and a deeper meaning—something permeable and changeable that serves as an imprint of relations in constant transformation. Through her work, inner structures surface sensuously, shaped organically by the materials’ own individual capacities to absorb, resist, and release. Porosity becomes both a method of making and a way of thinking, reflecting a cautious hope that jewelry can echo the fragile, ongoing process of world-making itself. Nygaard is widely recognized as one of the most important European art jewelers working today.
Pistachios Contemporary Art Jewelry in Chicago, Illinois, presents a remarkable statement ring by artist Sowon Joo, represented by Meg Nash. Priced at US$16,795, the ring is meticulously crafted from solid 18-karat gold that has been intricately crocheted by Joo and subsequently adorned with diamonds throughout. Joo’s overarching artistic practice focuses deeply on the universal rites of passage that all living creatures experience, encompassing birth, death, and the ongoing growth and development that occurs between those milestones, utilizing nature as a rich metaphor to articulate these profound moments.
In Lisbon, Portugal, Galeria Reverso, represented by Paula Crespo, is offering Precious Fluids #1, a 2012 brooch by Géisine Hackenberg crafted from silver-plated glass and red brass, priced at €940. This piece forms part of Hackenberg’s broader Kitchen Glass Brooches and Still-lives Collection. Describing her conceptual approach, Hackenberg notes that the Still-lives Collection acts as a contemporary interpretation of 17th- and 18th-century Dutch still-life paintings. Those historical paintings typically depicted everyday household items that carried deep economic and emotional significance for the people of that era. By cutting vintage glassware and rearranging the fragments into entirely new compositional still-lives, Hackenberg achieves a direct translation from three-dimensional domestic objects into two-dimensional pictorial shapes, elevating down-to-earth glasses and bowls into precious jewelry where the wearer’s body functions as a living canvas. The collection also pays homage to the rich history of European glass manufactures and their master designers, particularly those rooted in the Netherlands, Germany, and Scandinavia.
The Wearable Art Museum features the work of American artist Marty Ornish, known professionally as MartyO. Represented by museum director Lisa M. Berman, Ornish presents Fringe Benefits from the On the Fringe collection, a 2026 collar created from a historical 100-year-old cotton quilt, batting, letterpress ink, and fringe, measuring 24 by 20 by 22 inches and priced at $1,200. Operating under daily studio mantras such as "zero waste," "loved to death," and "nothing is new," Ornish is an established maker celebrated for her politically charged, thought-provoking museum exhibitions that utilize fabric as primary material and conceptual meaning as substance. Her work exemplifies an intentional practice of taking the waste generated by others and transforming it into striking new wearable sculpture. This particular collar series forms part of the California Fibers The Languages of Fiber exhibition at the Huntington Beach Art Center in Huntington Beach, California, scheduled through October 24, 2026.
Fingers Gallery in Auckland, New Zealand, represented by Lisa Higgins, is showcasing a 9-karat yellow gold ring titled Huia, created in 2025 by Aaron Brown and priced at NZ$2,370. Raised in a creative, entrepreneurial household, Brown embraced a fearless curiosity that continues to drive his evolving craft. Whether through a delicate gold Huia ring or a bold bronze sculpture, his work carries a distinct spirit of exploration, celebrating the natural world of Aotearoa and transforming it into wearable art. Balancing cultural resonance with refined craftsmanship, Brown notes that he loves the challenge of representational carving and the goal of capturing a small slice of a subject’s personality.
In Baltimore, Maryland, the Baltimore Jewelry Center, represented by J Diamond, presents Best Bud, a 2022 single sterling silver earring by artist and sculptor Cindy Cheng, measuring 1 ½ by ¾ by ½ inches and priced at US$150. Before dedicating herself fully to her studio practice, Cheng served as a faculty member at the Maryland Institute College of Art (MICA), teaching in the Drawing and General Fine Arts departments, and has completed prestigious residencies at the Joan Mitchell Center NOLA, Anderson Ranch, Arrowmont School of Art’s Pentaculum, and most recently at the Baltimore Jewelry Center in the fall of 2025.
Galerie Noel Guyomarc’h in Montreal, Canada, represented by Noel Guyomarc’h, features Suspended Gravity, a 2026 brooch by Carina Shoshtary priced at €3,000. Crafted from snail shells, hinoki splints gifted by mask maker Hideta Kitazawa, seeds of the Japanese anemone, PLA, silver, stainless steel, and lacquer, the piece measures 7 1/8 by 4 ¾ by 2 3/8 inches. Shoshtary incorporates these natural elements into her new series, Forms of Holding, utilizing a 3D pen to wrap and bind the materials as a physical manifestation of protection.
In Stockholm, Sweden, Platina, represented by Sofia Björkman, offers Braid, a 2024 oxidized silver brooch by Ameli Dévé, measuring 7 7/8 by ¾ by 3/8 inches and priced at US$550. Dévé frequently draws upon universal symbolism and familiar forms like the braid, utilizing pure fine silver whose inherent softness allows her to shape the metal into configurations that would otherwise be difficult to achieve. By pushing the material to its absolute limit, her results reference traditional craftsmanship while simultaneously expanding its boundaries. Dévé, who completed a three-year apprenticeship making traditional Tibetan jewelry in Tibet before earning an MFA in jewelry art from the Academy of Design and Crafts in Sweden, brings a truly international perspective to her sculptural practice.
Finally, Gravers Lane Gallery in Philadelphia, Pennsylvania, represented by Mia Chen, presents the Green Pod Necklace, a 2021 piece by Teresa Shields crafted from felted wool, wool roving, and a hidden magnetic clasp, measuring 6 by 25 ½ by 1 inches and priced at US$5,800. Based conceptually on the maple seed rather than acting as a direct replica, Shields’s pods capture the essence of the natural specimen. From a distance, the components read as a repeating mass of organic shapes fanned into a collar, while up close, no two match. Having learned to felt during an intensive at Penland in 2016, Shields reverse-engineers her sculptural visions, calculating shrinkage to build forms backward toward her desired outcome.
