Erin Gardner ’08 and Meg Drinkwater ’07

Q and A with Jewelry and Metalsmithing Artists

1. Can you tell us a bit about your experience at the UO?

EG: I am a sixth-generation, rural Oregonian and chose to study at the UO right out of high school, because it is our state's largest public academic institution and offers a liberal education. I did not start college knowing what I was going to study — in fact I started as a general science major. In the spring of my first year, I took a jewelry class for “fun” and spent more time on my projects than my Calc 253 homework, so I changed my major to art. I took several studio classes through the art department as well as other AAA courses, but metalsmithing was always my preferred studio. It is a discipline that encompasses a variety of interests — the program is kind of like a hands-on materials science course mixed with conceptual thinking. I left the program with a technical understanding of not only metals, but also plastics, silicone, rubber, vulcanizing, casting, plaster, wax, enamel, felt, and the conceptual framework in which to develop my practice.

MG: I came to the UO as a nontraditional student. I’m originally from New Hampshire and I had spent one year at a private university on the East Coast. I did well academically but really disliked the environment, so I dropped out. After two years I decided I wanted to come to Oregon to major in art and the UO was the only school I applied to. I never thought about jewelry and never knew it was offered as a major at any university. I took a mandatory lecture class called The Artist Experience that I believe Kate Wagle organized, where each UO art professor lectured for one class. It was a really great class and it is where I learned about the jewelry-metalsmithing program. Taking a jewelry class was a very addictive process for me. The jewelry program was very hands on, even in the beginner classes, and required a lot of conceptual thinking and a lot of research, which was another challenge that I liked. It was also a major that cultivated independent research. Because this is a hands-on practice, I had to be responsible for teaching myself a lot of techniques. I always had a lot of support, but it was valuable to learn that I was not limited by just the processes that were offered. In my BFA year, I learned about a lot of alternative materials and how to make them. I also learned how to just get on the phone and start asking questions. Maybe it seems obvious, but I learned that we are surrounded by a community of experts who are willing to help out. This has remained an important part of how Erin and operate now.

2. How was The Opulent Project started?

EG: The Opulent Project started in 2007, during our fifth year of the BFA program. At the time, art students did not have access to laser cutting services through the UO, but we found a company in Eugene that was willing to work with our small budget. We wanted to laser cut silhouettes of royalty jewelry; take jewelry that was only available in image form and make it accessible to everyone. The Opulent Project did not start as a business, but as a collaborative art project. We were interested in the democratization of luxury objects.

MD: Erin and I decided to start a “business” while we were still in school. At that point we worked very independently but still collaborated in a sense, by sharing ideas and resources, and our work and ideas were often very similar. After we decided to start a business — I don’t even think we had a name yet — I was visiting New York and I had the luck of getting the buyer’s name for the Cooper Hewitt Design Store. I showed her our “product,” some laser cut silhouettes based on a series that Erin had designed for The Cheap Jewelry sale, and they picked us up. It was this account that allowed us to move forward and establish a studio.

3. Can you talk about what you do at and for The Opulent Project? What is your role?

EG: We started The Opulent Project as a collaborative art project. We ended up forming a business that now funds our studio practice and projects. We produce conceptual jewelry and are represented at several galleries and design stores. We also organize group projects through themed collections and shows. Meg and I work both collaboratively and independently on projects, but even our independent projects are heavily influenced by each other. Looking back I realize we have spent the last seven-plus years developing a really unique partnership.

MD: We are constantly redefining our roles. Erin is definitely the expert maker and craftsman. Because I studied metalsmithing, I have a background to draw on for developing designs, but in most cases we rely on Erin’s exceptional skills to make a product look really clean and professional. We are both designers and the collaborative process is very important. A project may start in one direction, but grows and changes through our conversations. I have a lot of ideas but none of them would come to fruition without Erin’s conceptual insight and technical expertise.

4. What is a typical day at The Opulent Project like?

EG: The awesome thing about our job is that every day is different! Our schedule is very dependent on what needs to happen. We design, make, promote and produce everything ourselves in our Portland-based studio (just three blocks from the UO in Portland site!) We divide our time between computer and studio days.

MD: There is no such thing.

5. What is your greatest challenge in your business or line of work?

EG: We value ideas and want to create objects that are meaningful. We are not naturally business people and it is sometimes difficult for us to balance concept, our audience, and making a living.

MD: Being a business and selling a product. This is not where either of us saw ourselves; neither of us are comfortable “selling” ourselves, our brand, or our product. In many senses we are both introverted, so it is a big challenge for us to self-promote. The other great challenge is that we did not come into this with any sort of business background. It has, and will continue to be, a learning process.

6. What is your favorite piece of jewelry you make or design and why?

EG: It seems like I am always excited about the most recent or current project we are working on, so my favorite piece is usually the one I touched last! We are just now releasing my current favorite titled “Digital Ring.” The design of this ring was created digitally using 3-D ring models found online; the collected files seem to be intended solely for the virtual world. The individual files were then digitally stacked and 3-D printed. One version is printed in wax and cast in silver and the other is printed in steel and gold plated. Evidence of process is in the texture of the rings.

MD: It depends on the week and what we have just completed or started. Right now I am especially excited about our new series of brightly colored earrings that we fabricate in brass and powder coat. We developed them with installation in mind, with each pair of earrings acting as a modular unit of a larger pattern or system. When a pair is purchased and removed, the pattern is broken down and altered. We have created other wall installations and they all play a bit with themes related to a pattern being destroyed or created. Because all the earrings in this series are the same except in color it plays a bit more with the individual unit having an effect on the greater whole. I think we have yet to see where this series goes and how it ends up; like a lot of our work, it is ever evolving and changing.

7. How have you used your UO connections to further your business?

EG: We definitely have used UO connections to organize exhibitions, get jobs, and become integrated into our community. We recently built out a space in our studio and are planning the programing for a project tentatively called "T.O.P. Crate". This space will exhibit work and have a traveling component using art crates; shipping shows to and from different arts/locations and galleries.

MD: My professors at the UO have been and remain a huge source of support and encouragement in many ways. We had our first UO student interns this summer. We also still have a connection with the metals department and we have given talks and organized shows. Being UO alumni in general has also made us a member of a community of support. We are always meeting people that knew about TOP before they knew us, I think this is largely because of UO connections.

8. How has your education and experience at the UO affected your life and career?

EG: My education and most importantly the support of my professors has set me on my current path. During my time at the UO, I became aware of one approach to a studio practice that values critical inquiry and started developing a portfolio of conceptual jewelry. The last BFA year I was nominated to apply for the Windgate Fellowship and received enormous support from my professors, Kate Wagle and Anya Kivarikis. They helped guide me through the grant writing process, which ultimately led to the funding of my studio.

MD: Lots people would never associate jewelry with art, and many don’t even consider it design. But honestly, I came out of the UO with a very strong education in both because of our jewelry professor and the jewelry and metalsmithing program she is responsible for.

9. Is there a woman in history or in your life who has been a mentor or major impact on who you have become?

EG: There have been a number of women who have made a major impact on me, but ultimately my mother is my number one fan and supporter. She helped me build my foundation and has continued to guide me through life.

MD: My mom is awesome.

10. When was the last time you visited campus and for what?

EG: Meg and I visited the jewelry program last fall and talked to the students about our studio practice.

MD: I went to a UO student and alumni show that Erin helped to organize at Modern, the design store in Eugene.

11. Best memory from the UO?

EG: I spent the first five years of my adult life at the UO, so it is somewhat difficult for me to pinpoint one “best memory”.... countless all-nighters at the studio, learning about dark chocolate and coffee, playing loud music and dancing, BFA Beer Fun Art nights, going to Kyoto with the Landscape Architecture program, visiting Munich and Berlin with my BFA group, learning to use public transportation and drive in a place with one-way streets.

MD: Duck football games.