Right now, art lovers and collectors alike could certainly use a moment of tactile indulgence. There is a distinct, grounding satisfaction in acquiring a terrific piece of art jewelry for oneself while simultaneously celebrating and actively supporting the visionary artists and dedicated galleries that bring these works to light. Art Jewelry Forum’s international network of gallery supporters consistently champions the depth, breadth, and innovation of contemporary art jewelry. Through the organization’s bi-monthly On Offer series, this extensive global network is given a platform to showcase extraordinary, hand-selected pieces designed to captivate, tempt, and inspire discerning audiences. A careful survey of this latest curation reveals a diverse landscape of wearable art, with creations so compelling that collectors are bound to find a standout piece they simply cannot live without. For those wishing to pursue a purchase or learn more, inquiries can be directed straight to the representing galleries.
Kicking off the October 2026 showcase is a striking piece by artist Melanie Denis, presented by the Heidi Lowe Gallery located in Lewes, Delaware, United States. Inquiries for this work can be directed to Kassadi Williams. Fabricated specifically for the 2026 ReJewelry exhibition—a project hosted by the gallery and organized by Radical Jewelry Makeover—Denis has crafted a brooch titled Vierge Reliquary for an Impossible Mother II. Priced at a retail value of US$350, the 180 x 80 x 20 mm brooch is an intricate assemblage constructed from sterling silver, steel, brass, plastic, Plexiglas, photography, ink, silk, a recycled fantasy jewel, and a physical relic.
Across the Atlantic in Lisbon, Portugal, Galeria Tereza Seabra features the recent work of artist Catarina Silva, with inquiries handled by gallerist Tereza Seabra. Silva’s untitled pendant, priced at €650 plus shipping, measures 50 x 35 x 8 mm with a 250-mm chain and is crafted from oxidized silver, coralline, and agate. This piece was created for Silva’s solo exhibition, Jardin d’agrément, which forms part of the official program for the third Lisbon Jewellery Biennial. The exhibition envisions a lush, utopian sanctuary inspired by paradise and divine gardens from various cultural traditions, where humans, animals, and plants exist beyond hierarchy in a shared ecology of reciprocity and wonder. Within this conceptual ecosystem, jewelry transforms into a living constellation of symbols—including apples, unicorns, flowers, birds, and Marian imagery—evoking knowledge, care, fertility, and transformation. At the core of the conceptual narrative, the snake emerges not as a tempter, but as a guardian of wisdom, regeneration, and the perpetual cycle of life. Rather than functioning as a lost Eden, the exhibition offers a poetic fiction urging viewers to inhabit the world through active coexistence rather than distant ideals.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works—represented by Brian Weissman—presents the work of artist Kerianne Quick. Titled A Denial, Quick’s brooch is priced at US$550 and measures 5 x 3 ¼ x ¾ inches, fabricated from vegetable-tanned leather, Plexiglas, and a nickel alloy pin. Quick’s academic and creative research is deeply grounded in craft practice as an expression of culture, with a sharp focus on material specificity—a term defined in the artist’s master’s thesis that acknowledges materials as active collaborators in meaning-making. Through object-making, Quick unearths hidden and overlooked stories by drawing on the embedded histories of materials. The black-shrouded mirrors of the Nevermind series utilize leather and Plexiglas to reference historical mourning customs of covering household mirrors after a death. Rather than protecting a deceased spirit from catching its own reflection, these obscured mirrors intentionally redirect the gaze back toward the living, materializing complex emotional states such as shame, culpability, despair, and helplessness.
Moving north to Umeå, Sweden, Four Gallery, represented by Karin Roy Andersson, showcases the work of German-born artist Karin Seufert. Priced at €700 excluding VAT, Seufert’s brooch, titled Brooch 534.24 l, measures 69 x 56 x 24 mm and is constructed from PVC, silver, and steel. Much like emptiness itself, the concept of time remains notoriously difficult to depict visually; it is layered, fluid, and fundamentally immaterial. Throughout human history, the sky has functioned as a primary instrument for spatial and temporal orientation, with the sun regulating the passage of days, the moon charting broader phases, and the stars allowing for navigation across space. Seufert’s latest creations directly engage with these celestial bodies, rendering the sun as a flickering yellow circle, tracking the moon through its shifting phases, and translating the stars into multifaceted physical forms.
In London, United Kingdom, Objects Beautiful gallery, directed by Yael Reisner, exhibits the work of Mei Fang Chiang, an acclaimed art jeweler based in Tainan, Taiwan. Priced at £760 excluding tax, Chiang’s brooch, The Other Shore #17, measures 80 x 65 x 28 mm and is fabricated entirely from aluminum and stainless steel wire. Chiang possesses a rare technical mastery of anodized aluminum, utilizing proprietary studio techniques developed over years of research to achieve remarkable, vibrant color applications. Deeply engaged with narratives surrounding the coexistence of nature and industrial human intervention, Chiang’s work is held in prestigious public collections, including Taiwan’s Gold Museum. Her pieces are celebrated for being thoroughly original, visually captivating, exceptionally lightweight, and remarkably comfortable to wear.
Turning to Philadelphia, Pennsylvania, Gravers Lane Gallery—with contact managed by Mia Chen—highlights the work of Naomi Kurita. The Silver Link Necklace, priced at US$3,080, is a 26-inch layered sterling silver chain crafted in 2025. A simple chain offers no place to hide artistic flaws; every individual link demands rigorous attention regarding its proportion, joinery, and the fluid way it rests against its neighbor. This quiet, unyielding precision has defined Kurita’s career over three decades. Alongside her primary collections, Kurita specializes in redesigning settings around clients’ heirloom stones, granting long-held or inherited gems an entirely refreshed visual vocabulary. Her overarching philosophy remains steadfast: jewelry should feel natural, maintain simplicity, and be built to accompany the wearer for a lifetime.
At the Wearable Art Museum, directed by Lisa M. Berman, the spotlight turns to Colombian artist Andrea Ortiz. Offered at US$1,200, the necklace Offering a Gem was originally created in 2001 as part of Ortiz’s graduate thesis series, Linking Realm, completed at the Savannah College of Art and Design. The piece addresses the harsh, disparaging conditions faced by coffee bean workers in her native Colombia, highlighting ongoing human rights struggles and labor standards. Curated by Berman, this necklace was famously paired with Max Alexander’s Coffee Bean dress for a New York Times feature in 2024. Ortiz has earned four prestigious International Design Awards (IDA) since her graduation, and the museum’s owner has committed to making the piece available for international exhibition loan requests.
Pistachios Contemporary Art Jewelry in Chicago, Illinois, represented by Meg Nash, features the work of Esteban Erosky, a Mexican jeweler, enameling specialist, and researcher currently residing in Madrid, Spain. Priced at US$1,495, Erosky’s hand-painted enamel on copper brooch, titled And I Dreamed That I Would Be Happy, incorporates glass beads, nickel silver, and steel wire, measuring approximately 3 ¾ x 1 ½ inches. Having trained across multiple countries, Erosky adapts classical, time-honored enameling traditions to contemporary narratives that explore social, human, and gender dynamics while passionately asserting individual freedom. Despite addressing heavy or painful societal themes, his works read like miniature short stories conveyed through an inherently playful, engaging visual language.
In Adelaide, Australia, Zu design, led by Jane, presents the work of Angela Giuliani. The ring, titled Sapphire and Diamond, is priced at AUS$7,300 and is constructed from sapphires, a cognac diamond, nine-karat yellow gold, and sterling silver. Designed to fit finger size N, the top of the ring measures 16 x 23 mm, standing 32 mm high from the base. This piece is part of stateMEANT, a contemporary jewelry exhibition that tasked participating artists with accompanying their physical works with written statements reflecting on their practices and processes. The exhibition gathers bold, thoughtful works that carry a distinct voice, addressing everything from socio-political and environmental commentary to quieter inquiries into material honesty, sustainability, the boundaries of art and craft, and the realities of daily life. Giuliani’s statement notes that her creations investigate structure, form, and geometry through precious metals and gemstones, drawing deep inspiration from clean lines, balanced geometric compositions, and the rigorous, mindful execution of craftsmanship.
Nijmegen, Netherlands-based Galerie Door, represented by Doreen Timmers, features an untitled 2025 necklace by renowned artist Daniel Kruger, priced at €4,200 and measuring 94 x 94 x 18 mm. Constructed from glass vials holding Hindu ritual pigments, pearls, glass flowers, and silver, the piece exemplifies Kruger’s eclectic approach. By questioning what disparate elements—such as a seashell, a gemstone, a piece of industrial plastic, a relic, or a fetish—might share, Kruger merges them into unified, exuberant, mischievous, and seductive ornaments. Drawing the eye directly to the neck, chest, hand, or ear, Kruger’s jewelry operates simultaneously as personal adornment, cultural talisman, sharp statement, and joyful object.
At Fingers Gallery in Auckland, New Zealand, Lisa Higgins presents the work of Dunedin-based jeweler Jane Dodd. Titled A Night Out and priced at NZ$1,750, the 2026 brooch measures 73 x 33 x 22 mm and is fabricated from ebony, bone, sterling silver, marcasite, and spessartite garnet. Dodd is widely recognized for her exceptional technical mastery across diverse media, including various gold alloys, silver, bone, wood, and shell. In recent years, her creative focus has centered heavily on the animal kingdom, using fauna as a vehicle to examine human impact, interaction, species extinction, ecological infestation, cruelty, and conflict. Heavily influenced by historic European craft traditions while remaining sharply critical of the environmental exploitation that originally funded such luxury, Dodd channels these conflicting realities into works charged with tension, dark humor, and quiet intrigue.
In Baltimore, Maryland, the Baltimore Jewelry Center, represented by J Diamond, showcases the Circle Fern Hoops by metalsmith, sculptor, and educator April Wood. Priced at US$1,650, the earrings are crafted from steel and sterling silver. Wood earned her BFA from Texas State University and her MFA from Towson University, subsequently co-founding the Baltimore Jewelry Center, where she maintains an active teaching role. Having taught at institutions including the Maryland Institute College of Art, the Corcoran College of Art and Design, and the Penland School of Crafts, Wood has exhibited her sculpture and metalwork nationally and internationally, including notable solo exhibitions and appearances at the SIERAAD International Art Jewelry Fair in Amsterdam.
Galeria Reverso in Lisbon, Portugal, managed by Paula Crespo, presents an untitled 2026 brooch by Manuel Vilhena, priced at €2,730 and measuring 150 x 120 x 30 mm. Fabricated from juniper wood, tourmaline, 18-karat gold, steel, and cotton, the work addresses the fundamental human duality of life and death. Vilhena reflects on the theme by looking to historical figures who walked a perpetual tightrope between mortality and survival, noting that the piece explores the precarious dance of existence through the lens of notorious pirates who defied death on a daily basis.
Finally, Thereza Pedrosa Gallery presents an untitled 2025 brooch by artist Ela Bauer, priced at €1,340 and measuring 125 mm in diameter. Constructed from resin, pigments, organic material, and an aluminum pin, this brooch marks a pivotal turning point in Bauer’s artistic trajectory. The piece signals a distinct departure from the powerful two-dimensional works that initially defined her career, stepping boldly into a new, sculptural three-dimensional language. This spatial and material evolution earned international acclaim when Bauer was awarded the prestigious Herbert Hofmann Prize at Schmuck 2026, solidifying the importance of this new direction within her ongoing research.
