Yes, ten days is too long between posts, in case any­one was count­ing. I’ve been a busy, busy, per­son of late. I did a voice over for a web mag­a­zine this week, and believe it or not, I also had a cou­ple of very inter­est­ing job inter­views. I can’t say who, what, or when, how­ever, I will say that these pos­si­bil­i­ties are a com­plete depar­ture from my pre­vi­ous expe­ri­ences and would allow me to expand in ways I had not ever enter­tained. As depart­ing Online Direc­tor for The New York Times’ T Style, Hora­cio Silva, said to New York Mag­a­zine, “It’s an inter­est­ing time right now as the lines between edi­to­r­ial and adver­tis­ing are becom­ing more and more neb­u­lous, it’ll be inter­est­ing to be in the fore­front there…” I’m feel­ing this trend myself. I’m being cryp­tic and I’m sorry. Let’s just say I’m a lit­tle bit in flux, but in a good way. All is well. Our eldest son is grad­u­at­ing col­lege next week and we will be cel­e­brat­ing his achieve­ment. Hap­pi­ness is com­ing in gen­er­ous mea­sures these days and I’m grate­ful for every ounce.

Ok, enough said, now let’s get on with Arata Fuchi…

Stu­dio jew­eler Arata Fuchi is rep­re­sented in New York by Aaron Faber Gallery, so if you would like to see more of his work, please visit their web­site here. Arata’s jew­elry is an unex­pected blend of emo­tions, cul­tures, and tex­tures. The artist him­self is some­thing of an amal­ga­mate: he is Japan­ese and lives and cre­ates in Italy. While influ­enced by tra­di­tional Japan­ese beauty, Arata embraced Euro­pean gold­smithing tech­niques. Trained in jew­elry mak­ing at Le Arti Orafe in Flo­rence, he devel­oped his own approach to cre­at­ing his jew­elry through an ardu­ous process of trial and error. He cre­ated what he terms pul­ver­iza­tion, where sil­ver pow­der is applied to a sur­face of sil­ver plate or wire and the whole is fixed with heat. The result is a matte, sand-like fin­ish, mostly in cream white or coal black, which is then high­lighted with gold. There is the sug­ges­tion of the oceanic to Arata’s jew­elry; each piece looks as though it could have been plucked from a coral reef or dis­cov­ered amongst sunken treasure.