During the last quarter of the 20th century, fine craft had a revival, not only among rural denizens, but also among artists. Crafts considered dead for decades, done in by mechanization and technology, became conduits for artistic expression. While some artisans prided themselves on their adherence to tradition, others moved forward and incorporated modern technology. Artisans who were blacksmithing settled somewhere in the middle with some smiths arguing for strict traditional techniques and others incorporating more modern methods. Jennifer Gilbert entered this revival near the turn of the millennium after having worked in related fields for several years. In no way could she be considered an adherent to the strict traditional school, but rather she chooses to use whatever technique suits her purposes. For her, the combination of techniques enhanced her work as much as the combination of different metals.

Gilbert began her career in the early 1980’s making display furniture for corporate showrooms and props for theater and film. That was all more mechanical than artistic, but it was necessary to help her learn the beginnings of her craft. Along with the fall of the artisan and the rise of the artist, the guilds as training grounds for technique were gone. So to learn, it was necessary to find a way “to do.” These early years allowed Ms. Gilbert to begin to realize the possibilities of the medium of metal and to begin a lifelong quest to master her craft. By 1990 she had opened her own custom furniture business in New York and had begun to work with established designers making furniture and hardware. As she worked, she was able to refine her designs as well as her technique, but at this point relied mainly on cutting and welding. As her design work matured and her customer’s expectations grew, she began to realize the need to expand her assortment of techniques. In turn this led to experiments in machining, casting and blacksmithing. For several years, Ms. Gilbert was tied to function and created an array of furnishings and hardware in her studio and, although she still makes functional objects, she has begun to let go of function as a requirement for her work.

Ms. Gilbert started to consider herself an artist in the late 1990’s when she first made objects that were more explorations of form, line, and texture. She wasn’t able to completely escape function though and many of her early post furniture works are vessels. Delicate Balance (2000) is a steel bowl perched between three curves tapered legs. This work dramatically marks her departure from furnishings but retains some of the elevated form of that style. By contrast Bob (2001), another early piece, is grounded and solid. The name is a whimsical response to the question “what would I put in it?”. Both of these early pieces along with Fortress (2003) and Economy (2001) are compact and dense with detail.

The attention to detail is an overriding characteristic of all of Ms. Gilbert’s work, but form whether graceful or abrupt and texture also influences the perception of her work and increases the visual interest and excitement. On Tiled Table (2000) the combination of pewter and steel, and rough and smooth surfaces creates a dynamic whole. The table looks grounded and airy at the same time. Visual lift and lightness is evident in much of Ms. Gilberts work. She often seems determined to defy the logic of her medium, creating work that seems to float while weighted to the ground. Prosperity (2000) is one of Ms. Gilbert’s most striking works. It’s weight floats on four softly curved legs and it is crowned with another curved piece that is the handle. The overall effect is remarkably soothing. A similar combination of elements generates a similar effect with Blue Lotus (2002). In a review in the SF Weekly by Silke Tudor this vessel was called “utterly imperial” and the reviewer said it “rises out of a flower base like a Viking goblet crowned by a steel horn”. Weather soothing or imperial the work is engaging and reminiscent of far off lands and times. Still Temple (2003) is another vessel that calls to mind ancient times and people. Seemingly more grounded than some of the other works it still inverts convention. The delicate flowing curves perfectly contrast the angular weight and the carved stone detail. The juxtaposition of steel and stainless steel adds a striking element as well. Much of Ms. Gilberts work incorporates contrasting themes and materials. Combining curved elements with angular planes, textured surfaces with glossy ones, and rough joinery with refined joints acknowledges the deliberate nature of each element. Possibly the most interestingly deliberate choice is the lack of color. Form, line and texture are paramount and, as with black and white photography, color is not a distraction. The element we normally see first is absent leaving us to see all that remains.

Eden (2004), Visionaerie (2003), Not One of Us (2004) and Nest (2003) demonstrate the artist’s flair for combining metals and techniques to striking effect. It is impossible not to have a tactile response to these works. They beg to be caressed and at the same time they threaten danger. It is the yin and yang of the artist’s personality, as well as the choice of materials and methods, made manifest in the work that provokes the viewer to a layered response. In fact, all of the works by this artist are an intriguing combination of pull and push. The pull often involves the desire to further inspect the detail to understand the underpinnings of the thought process and the push is often a visceral reaction to that understanding. Resurrection (2005) is far more off putting than most of Ms. Gilberts work. It sits solidly on two legs while being barely held up by the third. This idea is perpetually at odds with itself and on the brink of collapse. It reminds us that anything can be made fragile, any idea, any material, any form. Strength is a choice not a given and we must consciously make that choice.

Occasionally Ms. Gilbert allows her lighter side to shine through, and this is a relief. Oops (2005) is a direct response to criticism, but with a dark sense of humor. A realistic severed finger perched on a post, Oops gives the finger to those who believe that this artist doesn’t do figurative work because she incapable of it. At the same time it pays tribute to one of the dangers of working in many of the crafts. Like Beethoven going deaf, the artisan without her hands is at a loss. And yet the possibility hangs over the head of everyone who works with tools. There is a certain poetry to this piece and it shows that figurative work need not be large scale to be effective. Nor is the head the only possible subject of a portrait.

Two other lighthearted pieces are Night Stand (2004) and Bandy (2006). In these two pieces we are exposed to the playful use of the medium and to the possibilities of it as well. The legs bend and curve and sprawl yet the vessels on top are solid and seemingly content. Raised and held by somewhat unconvincing means, the bowls are unmoving. Hovering silently over the precipice. Here there is no question that our expectations of line and form are being toyed with. The exploration of form, line and texture inevitably led to a series of plates that allowed the artist to confine the canvas while expressing her visual ideas.

Ms. Gilbert called the works Geoplates and numbered them in languages and ways both obscure and intimate. The first Ena (2006) begins the series. Raised and layered it’s body hovers over the ground like and offering. The triangular base juts out at odd angles and holds the plate as if it were doing a pushup. ol (2006) is a complex layering of materials and forms that hangs vertically. It is vaguely eastern in its overall effect. Ter (2006) is a simple yet striking composition. It is held aloft by three different shaped and colored ball feet and is slightly off balance. Ios (2006) is remarkably alien in its feel. Seemingly created with outer space in mind. The next three plates Ashdla’ (2006), Six (2006), and Septem (2006) exude raw energy from the tension between line and texture. The final plate 3 bits (2007) is striking for its complexity and verve.

It isn’t often that this artist expresses herself using mediums other than metals but on one notable occasion she did. Resistance is Silent (2006) has many of the elements of her metal sculpture, the repetitive patterns, the attentions to form, the use of texture, but the piece is half made of stick pins soldered together and half of plastic credit cards molded to the same form as the pins. The form is that of the torso of a prepubescent girl and it seems clear that the artist was making a pointed statement about societies expectations and dangers.

As she progresses through her career, Ms. Gilbert will certainly begin to alter the scale of her work, and integrate other materials on occasion as she has shown these tendencies in the past. This will surely only enhance the viewing experience.