Todd Conover

While I don't typically set out to produce work with preconceived conceptual meanings; my work is certainly a vehicle for expression of memory and experience. Although it is rarely a planned or conscious decision as to what or where my next exploration will be, I am never without a sketchbook and camera and I am always trying to see at the macro level, searching for small shapes, patterns, and details that will fuel creative sparks. More often than not these sketches and photos are abandoned for a more prevailing concept that arises during this initial exploration. This process of conceptual birth, conceptual development, routine conceptual abandonment and eventual conceptual re-birth is an important part of my creative process and keeps my creative energies flowing and the surprise of artistic output alive.  

Initially I never set out to seriously work in metal. Metal really found me through my passion for collecting early 20th century American Arts and Crafts Period metalwork.  In an effort to be a more sophisticated collector I set out to learn the very basics about how, and why, these 100 plus year old objects were designed and produced. I pondered these questions and put them into the context of  early 20th century Arts and Crafts Period research focused on how the political, economic and social climates of this period were directing the tastes of western decorative arts. As I explored the methods and processes in which these objects were created I soon realized that the process had barely changed for centuries and an object made in the 15th century or in the 21st century would be approached in essentially the same manner with the same tools and skillset. I quickly found myself obsessed with learning long forgotten hand metalworking techniques and quickly set out producing unique work of my own. As my body of work and technical abilities grew I realized that the introduction of metal was an important and comfortable development in my artistic life and soon a unique style, design process and surface treatment emerged. Oddly enough, for me, metal responds similarly to textiles which I have spent an abundance of my career working with. The fluidity, construction and sequencing process is essentially the same and I will approach the design and construction of a brooch or pendant in the same way I would a dress or jacket. Since the union of these two mediums I have developed a unique approach to my work that, although unusual, works to my favor.  With my twenty-five-year background in fashion design it was obvious to transition my metalwork from decorative objects to jewelry, where I now focus my design work, studio practice and energies. With a mix of unexpected yet related materials my jewelry tends to be overtly bold with inspiration harnessed from natural forms that will highlight surface and materials. Color is added by the use of freeform shaped cabochons of rock, gemstones and glass, faceted stones and enamel as well as ancient patina techniques.     

Todd Conover is a passionate studio artist as well as an Associate Professor in The School of Design at Syracuse University, Syracuse, NY

AAS Music Performance

BFA Fashion Design

MFA Studio Arts / Jewelry and Metalsmithing