The Artists Bio

or the lesser ado about nothing.

I was raised by my grandparents on a steady diet of folklore, in the middle of nowhere, Texas. My grandfather was Irish and Weechees, my grandmother, was Numinu (she pronounced it Na Uma) of the Pinaatuka band. From a very young age I saw the beauty of the world through the eyes of an old woman. I learned to listen to the old myths and legends and to see them like a cryptogram rather than a fanciful story. We used to go walking and she would point out the different rocks and herbs, and I was always amazed at how so much knowledge could fit in such a tiny person.

Later on, I moved to the Dallas / Ft. Worth area with my mother to attend grade school. The first thing I noticed about the “big city” was how empty it was. Sure, it was filled with people and things, but it had no culture. I took solace in books and crafts. I was always getting in trouble for taking things apart to make something more interesting, but try as I may I just could not seem to convince my parents of the higher virtue of the new creation, especially when something like, say, the lawnmower or at times parts of the house were cannibalized in its creation.

I soon found what was to become a lifetime addiction, the myth and folklore section of the local library. It contained shelves and shelves of books written about monsters and elves, alchemy and legend. I met the most commonly encountered citizens of the mythic realm, Arthur and his Knights, the Grimm Brother’s entourage, and Baba Yaga. As well as some of its lesser-known inhabitants, stories of the leshy and oni welcomed me into their bit of unreality. Slowly it came to me, poring over these old stories that there were some things they had in common, or that certain cultural references I did not understand made one story or another seem slightly disjointed. This made me want to study the cultures that breathed life into these creatures through the lips of a storyteller. And in the pre-internet world of my youth, I devoured every book I could find, searched every reference I could follow like Theseus and his ball of twine.

Later as I was studying the people who wove the myths, I learned of the runes and Ogham. I continued my studies, and rejoiced whenever I came across a new bit of information, or enticing reference previously unexplored. With the advent of the internet, I could now contact museums and universities for copies and transcripts of manuscripts I had only heard about before. If I had trouble following a reference, or a page just did not match properly, an expert was just an email away.

I learned many trades during my life. In addition to working mundane jobs for major companies (*gasp* I confess, my name is Jeremy and I was a corporate monkey.), I have worked for a perfumer, in a blacksmith’s forge, and even owned my own leather shop for several years before I sold it off to begin to study lapidary and silversmithing. I bring the knowledge I gained in my prior vocations into my creation process, thus it is not uncommon for many of my relics to be of mixed media.

I studied metalworking under Sam Howith, and I brought my love of folklore and the past to my studies and creations, always wanting to know how the smiths of this country or that time period would have worked. Sam, ever patient, explained every process in detail that only one with his background in chemical engineering could have mustered.

My works have enjoyed places in museums and private collections. My creations have brought me recognition among my peers and many awards including the first place ribbon in silversmithing at the South Central Federation of Mineral Societies Conference in 2007. However, I must confess that I am most honored when I see the joy people receive from wearing a family heirloom I have created.

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