In times that call for creative respite and meaningful personal appreciation, the latest edition of Art Jewelry Forum’s international showcase arrives as a welcome celebration of contemporary design. The bi-monthly On Offer series continues to connect collectors and enthusiasts with an extensive network of international galleries, presenting extraordinary pieces personally selected by gallerists to inspire, challenge, and captivate audiences worldwide.
This October installment spans galleries across the United States, Europe, New Zealand, and Australia, highlighting works that interrogate material specificity, cultural memory, environmental consciousness, and the tactile boundaries of wearable art. Through these curated selections, AJF reaffirms its commitment to supporting the artists and exhibition spaces that keep the international art jewelry community vibrant.
Among the standout offerings featured in this exhibition cycle is a striking brooch and necklace combination by artist Heather Guidero, presented by Pistachios Contemporary Art Jewelry in Chicago. Priced at US$1,695, the piece features a lilac-colored druzy gemstone that sparkles with exceptional brilliance, complemented by handmade oxidized sterling silver tassels that introduce fluidity and movement to the structure. Designed with versatility in mind, the piece includes an integrated bail, allowing it to transition seamlessly from a statement brooch to an elegant pendant.
In a similar exploration of dynamic form and spatial interaction, the Wearable Art Museum presents Perch, a 2026 brooch by the collaborative duo 2Roses. Available for US$750, the piece functions as a small, wearable sculpture constructed from polymer clay and stainless steel, measuring 4 by 4 by 1.5 inches. Perch comprises two hollow forms covered in meticulously cut and finished polymer clay tesserae, creating a shimmering surface that catches the light with the wearer’s movement. One form appears dark and closed, while the other is pale and open, tipped against its counterpart in a state of permanent tension and balance. The composition is ultimately completed by the wearer, who determines the placement and angle on the body, actively recomposing the work with every wear.
Expanding the dialogue into conceptual play and developmental history, Auckland’s Fingers Gallery showcases Play Time, a 2024 series of pendants by Becky Bliss. Trained originally as a graphic designer before transitioning to contemporary jewelry, Bliss has exhibited widely, including selections in the prestigious Schmuck special exhibition in Munich in 2015 and 2020. Priced at NZ$750 each, the pendants in mild steel, sterling silver, paint, and cord draw inspiration from the foundational building blocks established by kindergarten system pioneer Friedrich Froebel in the early 19th century. By anthropomorphizing shapes from Froebel’s "gift #2"—specifically circles, squares, and triangles—Bliss uses color, form, and gender subversion to explore the fluidity of youth and the boundless expression inherent in play.
European galleries also contribute deeply textural and provocative works to the October lineup. At Galerie Door in Nijmegen, Netherlands, Daniel Kruger’s Untitled 2026 brooch in copper and cornelian is available for 2,000€. Kruger’s practice bridges seemingly disparate realms, effortlessly combining shells, gemstones, plastics, relics, and everyday objects with traditional textile techniques and refined metalwork. The resulting pieces challenge traditional hierarchies, where the sublime meets the mundane and the precious intersects with kitsch. Designed to draw the eye toward the neck, chest, hand, or ear, Kruger’s jewelry operates simultaneously as an ornament, a talisman, and a joyful personal statement.
In Australia, Adelaide-based Zu design features Angela Giuliani’s Parti Sapphire ring, priced at AUS$8,615. The piece is part of stateMEANT, an exhibition that challenges artists to articulate the conceptual underpinnings of their practices. Crafted from parti sapphires, nine-karat gold, and sterling silver, Giuliani’s ring exemplifies her fascination with structure, geometry, and clean lines. Emphasizing the meticulous nature of the making process, Giuliani works primarily with precious metals and carefully selected gemstones to create timeless, thoughtful objects designed for enduring personal connection.
Karin Seufert’s Necklace 539, exhibited by Four Gallery in Umeå, Sweden, confronts the immateriality and complexity of time. Priced at 1,700€ excluding VAT, the 2026 piece constructed from PVC and thread is part of a body of work exploring celestial orientation. Drawing on the sun, moon, and stars as celestial markers of time and space, Seufert translates these cosmic elements into tangible, multifaceted forms through her distinctive use of synthetic materials.
In the United States, Gravers Lane Gallery in Philadelphia presents an 18-karat yellow gold and sterling silver necklace by Naomi Kurita. Priced at US$4,752, the 15-inch piece reflects Kurita’s three-decade commitment to natural, simple, and wearable design. Having trained across Japan, Denver, and the Rhode Island School of Design, Kurita employs material restraint, contrasting the warm tones of yellow gold against silver to create a timeless piece that sits close to the base of the neck.
Meanwhile, the Baltimore Jewelry Center highlights the work of Liz Clark with her 2023 Petite Wreath Studs, priced at US$1,75. Fabricated in sterling silver, these delicate earrings reflect Clark’s ongoing studio practice based in Providence, Rhode Island, following her BFA from Virginia Commonwealth University.
London’s Objects Beautiful gallery features Mei Fang Chiang’s The Other Shore #2, a 2022 brooch in anodized aluminum and stainless steel wire priced at £760 excluding tax. Based in Tainan, Taiwan, Chiang is celebrated for her mastery of color through proprietary anodized aluminum techniques, creating feather-light, comfortable works that engage with narratives of coexistence between nature and the man-made.
At Brooklyn Metal Works in New York, Kerianne Quick presents Well, It’s Not Up to Us, a 2026 brooch created from vegetable-tanned leather, Plexiglas, and a nickel alloy pin, available for US$650. Quick’s research investigates material specificity, treating materials as active agents in communicating cultural history. The brooch belongs to the Nevermind series, which references the historical mourning tradition of covering mirrors after a death. Instead of shielding a spirit, these darkened leather and Plexiglas mirrors turn their reflective gaze back toward the living, materializing complex emotional states including shame, despair, and culpability.
Galeria Tereza Seabra in Lisbon showcases Catarina Silva’s Sugar Rush, a 2026 necklace created in painted tin, leather, glass seed beads, glass flowers, embroidery, zinc, silver, and pearls, priced at 1,500€ plus shipping. Debuted during the artist’s solo exhibition Jardin d’agrément as part of the third Lisbon Jewellery Biennial, the work envisions a utopian garden where humans, animals, and plants coexist harmoniously beyond hierarchy, utilizing rich symbolic imagery to invoke renewal and ecological reciprocity.
In Delaware, the Heidi Lowe Gallery features Emily Cobb’s Floppy Flower, a 2026 sculptural work priced at US$1,480. Fabricated for the ReJewelry exhibition hosted by the Radical Jewelry Makeover, the piece utilizes discarded components including gold-plated and surgical steel ear nuts, assorted deadstock stud earrings, and brass and silver jump rings, transforming industrial waste into an intricate botanical form.
Rounding out the selection, Galeria Reverso in Lisbon presents an Untitled 2026 necklace by Manuel Vilhena, crafted from juniper, ebony, fine silver, cotton, coral, and steel, priced at 2,220€. Addressing the perpetual dichotomy between life and death, Vilhena looks to the daring existence of historical pirates, translating their defiance of mortality into a complex wearable narrative of survival and partnership.
Inquiries regarding any of the featured works can be directed to the respective galleries.
