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ANAISE CANDYSTORE COLLECTIVE 3153 16th St San Francisco, CA 94103 t:+1.415.863.8143 CASTOR+POLLUX 238 West 10th Street New York, NY 10014 t:+1.212.645.6572 DUO 337 East 9th Street New York, NY 10003 t:+1.212.777.7044 EWANIKA 1083 Bathurst Street Toronto, Canada m5r 3g8 t:+.416.927.9699 FRANCES MAY 1013 SW WASHINGTON PORTLAND, OR 97205 t:+1.503.227.3402 JUMELLE 148 Bedford Avenue Brooklyn, NY 11211 t:+1.718.388.9525 LOVE ADORNED 269 Elizabeth Street New York, NY, 10012 t:+1.212.431.5683 |
POUR PORTER RELIQUARY 537 Octavia Street San Francisco, CA 94102 t:+1.415.431.4000 SPARTAN 215 South Lamar Suite D Austin, TX 78704 t:+1.512.579.0303 TOTOKAELO 913 Western Ave Seattle, WA 98104 TREASURY 1843 14th Street NW Washington DC 20009 t:+1.202.506.6908 UNA 2802 SE Ankeny Portland, OR 97214 t:+1.503.235.2326 |
New York-based artist and third-generation craftsperson Erin Considine was first exposed to the art of metalwork in 2001 at North Carolina's Penland School of Craft. Intrigued by the seemingly endless possibilities of the material, Considine went on to focus on Metals, Small Scale Sculpture and Sustainability at the Evergreen State College in Olympia, Washington. After re-locating to New York, she launched her sustainably-minded line in 2009, merging her skill as a metalsmith and a life-long passion for fiber.
By marrying two such diverse materials, Erin is able to continuously experiment with technique and form. Her natural-dye baths make use of ingredients like turmeric, hibiscus, logwood, and onion skin. She tests new textile construction methods with every collection, incorporating weaving, crocheting, and the Japanese braiding style of kumihimo into an ever-expanding roster of creation tools. Her metal forms are mined from the dregs of industrialism- whether it by repurposing dead-stock jewelry findings or sculpting models inspired by the antique metier. Her commitment sustainability to ensures that almost every step of the production process is completed by hand in New York, primarily by Erin herself.
By marrying two such diverse materials, Erin is able to continuously experiment with technique and form. Her natural-dye baths make use of ingredients like turmeric, hibiscus, logwood, and onion skin. She tests new textile construction methods with every collection, incorporating weaving, crocheting, and the Japanese braiding style of kumihimo into an ever-expanding roster of creation tools. Her metal forms are mined from the dregs of industrialism- whether it by repurposing dead-stock jewelry findings or sculpting models inspired by the antique metier. Her commitment sustainability to ensures that almost every step of the production process is completed by hand in New York, primarily by Erin herself.
