Deborah Lozier at Velvet da Vinci Art Jewelry and Sculpture Gallery, San Francisco

Deborah Lozier

COUNTRY OF RESIDENCE

USA

EDUCATION

BFA, Crafts, Magna cum Laude, Arizona State University, Tempe, Arizona,1984

SELECTED EXHIBITIONS

SELECTED SOLO EXHIBITIONS

Deborah Lozier & Suzanne Hesh, Obsidian Gallery, Tuscon, AZ, 2003

Diane Komater & Deborah Lozier, Velvet da Vinci, San Francisco, CA, 2002

1 + 1 = one, Pacific University, Forest Grove, OR, 2001

Pound for Pound, Facere Jewelry Art, Seattle, WA, 2001

Featured Artists, Studio Fusion, London, England, 1998

Natural Interpretations, Susan Cummins Gallery, Mill Valley, CA, 1996

Deborah Lozier & Sydney Lynch: New Jewelry, Obsidian Galler, Tuscon, AZ, 1995

Lozier & Arneson, Velvet da Vinci, San Francisco, CA, 1995

SELECTED GROUP EXHIBITIONS

New West Coast Design, Velvet da Vinci, San Francisco, CA, 2008

Metal Works North, Grace Hudson Museum. Ukiah, CA, 2007

Metalisms: Signature Works in Jewelry & Metalsmithing, Metropolitan State College of Denver, CO, 2006

The Art of Enameling, Gallery of Art & Design, North Carolina State University, 2006

In Print /In Person, a Continuing Examination of Contemporary Enamels, Thomas R. Riley Gallery, Cleveland, OH, 2005

Multiple Pallettes/Varied Vision: 30 Artists Explore Color, White Lotus Gallery, Eugene, OR, 2005

The Art of Enamel, Taboo Studio, San Diego, CA, 2005

Spice Box Invitational, The Jewish Museum, San Francisco, CA, 2005

100 Brooches, Group Exhibition, Velvet da Vinci, 2005, traveling through 2006

Pill Box Show, SOFA Chicago,YAW Gallery, Chicago, IL, 2004

West Goes East - SOFA New York, YAW Gallery, New York, NY, 2004

Epicenter CCA: Focus on Bay Area Metalwork, California College of the Arts, Oakland, CA, 2004

200 Rings, Group Exhibition, Velvet da Vinci, 2004, traveling through 2005

Chess, Velvet da Vinci, San Francisco, CA, 2003, traveling through 2005.

Brilliant! Masters of Fired Enamels, The Palo Alto Art Center, Palo Alto, CA, 2003

The Art of California Gold, Crocker Art Museum, Sacramento, CA, 2003

ANTI-WAR MEDALS, Artists Respond to the War, Velvet da Vinci, 2003, traveling through 2005

Metal Under Glass, Southwest Missouri State University Art & Design Gallery, Springfield, MO and National Ornamental Metal Museum, Memphis, TN, 2002

Paper, Rock Scissors, group show, Velvet da Vinci, 2001

Color + Reflection: International Enamels 2001, Sandra J. Blain Gallery, Arrowmont School of Crafts, Gatlinburg, TN, 2001

Color and Light: International Indian Enamel Exhibition, National Handicraft Museum, New Delhi, India, 2001

Tiaras Will Be Worn, Traveling exhibition of contemporary tiaras, Velvet da Vinci, Sam Shaw Gallery, Northeast Harbor, ME, Thomas Mann Gallery, New Orleans, LA, 2000-2001

Glass/Metal Connection, Facere Jewelry Art Gallery, Seattle, WA, 2000

NCEG 5th International Enamel Exhibition, Velvet da Vinci, 2000

Boston Tea: A Party, mixed media teapot exhibition, Mobilia Gallery, Cambridge, MA, 2000

Sweden + USA, Group Exhibition, Velvet da Vinci, touring to Galleri Metallum, Stockholm, Sweden, 2000

Self-Portraits: Postures in Metal, Center for Contemporary Arts, University City, MO, 1999

Kos Chaim - A Cup of Life, Contemporary interpretation of the kiddush cup, Margolis Gallery of Congregation Beth Israel, Houston, TX, 1999

Containment, Interpretations of Containers by Metalsmiths, Morris University Center Art Gallery, Champaigne, IL, 1999

ARTwear, the Body Adorned, Textiles and jewelry exhibition, Berkeley Art Center, Berkeley, CA, 1998

Studio Fusion: Featured Artist, Two-person exhibit in featured artist series, Studio Fusion, London, England, 1998

L'CHAIM! A Kiddush Cup Invitational, The Jewish Museum San Francisco, 1997

National Summer Faculty Invitational, Arrowmont School of Arts and Crafts, Gatlinburg, TN, 1997

18th Annual Yuma Symposium Exhibition, Yuma Fine Arts Association, Yuma, Arizona, 1997

Enamelist Society's Enamels '97 International Juried Exhibition, Exhibition of contemporary enamels, Arrowmont School of Arts and Crafts, Gatlinburg, TN, 1997

Functional Metal, National group exhibition of contemporary metalwork, Virginia Breier Gallery, San Francisco, 1996

Glass on Metal: Contemporary Enamels, International group exhibition, Tempe Arts Center, Tempe, AZ, 1996

Chromatic Essays, National exhibition exploring color in contemporary jewelry, Craft Alliance, St. Louis, MO, 1996

PROFESSIONAL EXPERIENCE

Food for Thought, Monteray Bay Metals Guild, Demonstration & lecture, 2006.

Oakland Museum of California, Studio tour and demonstration for Art Guild members, 2004

Colorado Metalsmithing Association Symposium. Salida, Colorado, 2003

Slide lecture entitled Conceptual Craft, Pacific University, Forest Grove, OR, 2001

Studio tour and demonstration, Art Jewelry Forum, San Francisco, CA 1999

Community slide lecture, Southwest Craft Center, San Antonio, TX, 1998

Presenter and Pre-conference workshop instructor, Enamel Society International Conference, Gatlinburg, TN, 1997

Slide lecture and demo, Seeing Red: Heat Patinas on Copper, 18th Yuma Symposium, Yuma, AZ, 1997

Slide lecture, Translations in Metal and the Language of Jewelry, Jewelry/Metals Symposium, University of Washington, Seattle, WA, 1996

Slide lecture, Expressions in Color and Form, Northern California Bead Society, Emeryville, CA, 1995

TEACHING

California College of the Arts, Adjunct Professor, 2003 to present.

Summer extended education, California College of the Arts, 1996 through 2006

Kent State University, Kent, Ohio. Summer session, 2004

Summer workshop program, Arrowmont School of Crafts, Gatlinburg, TN, 1997, 1999, 2001

Richmond Art Center. Richmond, California. Weekend workshop. 1992, 1994, 2000.

Pratt Fine Arts Center, Seattle, Washington, 1998

Cleveland Institute of Art, Cleveland, Ohio, Visiting Artist Program, 1993

SELECTED PUBLICATIONS

500 Vessels, 500 Pendants & Lockets, Lark Publications, 2007

Contemporary Enameling, 2nd Edition, Torch Fired Enamels, pp. 125-28, Lilyan Bachrach, editor, 2005

500 Bracelets, Lark Publications, 2005

500 Brooches, Lark Publications, 2005

Teapots: Makers and Collectors, Dona Meilach, 2005

Enameling with Professionals, 2nd Edition, Lilyan Bachrach, 2005

Art of Enameling: Techniques, Projects and Inspiration, Linda Darty, 2004

1000 Rings, Lark Publications, 2004

Alan Dubois, Metal Under Glass, American Craft Magazine, August/September, 2002

Color on Metal: 50 Exceptional Works from Jewelers and Metal Artists, Tim McCreight and Nicole Bsullak, 2001

Portfolio, American Craft, August/September, 1996

Metalsmith, 1994 Exhibition in Print

GRANTS AND AWARDS

Minority Outreach Grant for High Schools, Society of North American Goldsmiths, 2004

Open Proposals Public Art Grant, City of Oakland Cultural Arts and Marketing Department, 2004

Golden Hammer Award - Volunteer Achievement, Metal Arts Guild, SF Bay Area, 2004

Dorothy Clardy Memorial Award, Playing with Fire: Glass on Metal, San Diego, CA, 2004

The June Schwarcz Award, NCEG 6th International Enamel Exhibition, Richmond, CA, 2002

Juror's Award, Full Circle — Metal Arts Exhibition, Oakland, CA, 2001

The June Schwarcz Award, NCEG 5th International Enamel Exhibition, San Francisco, CA,, 2000

Best of Show, 8th Annual Metalsmiths' Fair, San Francisco, 1995

Jurors' Award, Brooch: The Subject, Tempe, AZ, 1994

Award of Excellence, California Works Exhibition, Sacramento, CA, 1993

Metal Arts Guild Award, California Works Exhibition, Sacramento, CA, 1993

COLLECTIONS

Oakland Museum, Oakland, CA

Kenneth Trapp, Renwick Gallery, Washington D.C.

SPECIAL PROJECTS

McClymonds Mini-Park Gate Project, Oakland, CA. Creating pedestrian gate for High School /park redesign. Collaboration with McClymonds High School, Metal Arts Guild, & the Vocational Machine Shop at San Quentin State Prison, 2004-2005.

Fruitvale Pedestrian Plaza Gateway. Oakland, CA. Vicki Jo Sowell, project leader. Enameled steel sculptural forms for public gateway, 2004

bigLITTLE : Jewelers & Sculptors Making it in Metal, Oakland, CA, Oakland Craft & Cultural Arts Gallery. Organized, designed a curated installation, 2003

PROFESSIONAL AFFILIATIONS

Public Art Advisory Committee. City of Oakland, Public Art Program, 2005-2008

Society of North American Goldsmiths, 1988 to present, Conference Planning Committee, 2002-2003.

Metal Arts Guild, 1990 to present, President, 1994, Board Member, 1991-1995 & 2003 to present, Librarian, 1994 to present, Programs Chair 2004-06.

The Enamelist Society, 1992 to present, Nominating Committee, 1998

Northern California Enamel Guild, 1995 to present

ARTIST'S STATEMENT

My relationship with Craft began rooted in process first, content second. Recently my thinking has shifted, and they are becoming one and the same. This transition was somewhat inevitable as the seduction of a material is all encompassing initially, but by its very nature is short lived. Ideas which used to begin directly in my hands now begin on paper through drawings and words. How long they exist there is always a challenge and the notion of when to actually begin hammering becomes a leap of faith. It is this process of working with my hands, however, which extends my understanding, contributes to my thinking and at its best sheds light on an idea found hidden in a shadow.

I was trained as a metalsmith and began my experiments with fusing enamel on copper in 1986. I initially used a torch to fire the enamel because it was a tool I was familiar with and it seemed a natural way to create the heat. I began simply, with a small palette of colors applied to basic copper forms and have gradually pushed the complexity of this relationship. Metal and glass become a different material when combined. Each has to compromise a bit of its strengths to gather the promise of the other. In pushing one, the other will tolerate only so much before demanding immediate attention. The early pieces will always be my favorites as they are filled with discovery and illustrate the process unfolding, but finding the pressure points and refining this collaboration is my inspiration. I recently started firing my pieces in a kiln, which has opened up a broader range of color and scale. Keeping my options open and flexible allows for a deeper understanding and a greater opportunity to discover something new.

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