I know it’s Spring, but today I want to tell you the story of “Autumn Goddess.” You see her work every Autumn; the affect of her dance through the woods changing green foliage to golds, oranges, reds and deep burnished purples. After her passing, the changed leaves flutter down to carpet the ground in rich hues obrowns, reds, oranges, and yellows. She whistles to the forest birds reminding the migrators of their long trips to warmer climes; reminding those that stay behind to start getting their winter nests in shape. At the start, the days are still warm, even as the nights are crisp.
Winter demands early entry even as Summer refuses to let up her hold. These two came to a compromise leaving Autumn rushing about a much curtailed region.
The whole world is changing. Summer hotter and drier and more widespread. Winter contained but more furious than ever. Plants and animals react, but not always successfully. What will the future bring? Who will survive it?
Are you asking how pale orange, pale green, and rich purple equate to Autumn? The answer goes back to my experiences doing conservation and restoration of works of art on paper. I’ve repaired and restored works by such artists as Jules Cheret, Henri Toulouse-Lautrec, Theophile Steinlein and many others. One of the most well known of these, Alphonse Maria Mucha, made the greatest impression on me with his use of ornament and curvature apparent in every one of his posters and non-religious prints. His use of color could be quite subtle even if when least one color was much richer than the rest.
That’s the effect I explore with this necklace with a choice of colors reminiscent of the late 1800s or early 1900s (the Art Nouveau period). Like Mucha I include subtle colors countered by a splash of something richer.