Obey the Tree

This time, I’m delighted to share this essay by Brett Torrey Haynes— and I love that he’s pictured wearing my nature‑inspired terra bracelets and onda lunga ring. It’s a kind meeting of words and craft, each shaped by the landscapes that inspire us both.
“As soon as I put my hands on a tree, touch its branches, breathe in its exhalations, I’m reminded of the singular beauty of simple connections with the magnificence of life. These are the moments that matter to me, the singular blips in time that I wish to hold and cherish. But what are moments but bits of life, sewn together?
When I look back at the tapestry of time I've built, I'm sometimes troubled by what I see. Glorious highs get lost in the chatter of too many days without clarity. Maybe it's that constant nagging discontent that plagues so many of us who live with creative and tempestuous inner souls. The 'I should have done more, been more, loved more, lived more' trap that we build for ourselves, cell by cell, minute by minute. Why is it so sticky? What’s the cure. Maybe just letting go of the discontent and getting connected to this generous earth? It is a worthwhile goal, no matter the reason. Let’s do that more.
It’s hard to hear the inside noise when a tree is beaconing you to silence it. Obey the tree.”
You can read more about Brett’s work and philosophy here.

The author touching a tree and wearing Maddalena Bearzi one of a kind, handcrafted jewelry

Getting started: My metalsmithing journey

I get asked every so often how I first stumbled into the world of metal jewelry, so I thought I’d share the story here on the blog. It wasn’t planned— it was simply one small decision that opened a door I didn’t know I’d been looking for.
A Class That Changed Everything - It started when I signed up for an extension metalsmithing class at UCLA. I didn’t have expectations or a grand artistic vision. I just felt curious. On the very first day, my instructor placed a small silver ingot in my hand and showed me how to cut it with a jeweler’s saw. That moment hooked me instantly. Working with metal felt grounding, almost meditative.
Falling Down the Rabbit Hole of Tools- Once I realized how much I loved it, I did what any newly obsessed maker does: I started collecting tools. A bench pin, jeweler’s saw, blades, a small torch, beeswax, pliers, files, solder, flux, a pickle pot, brushes, a vise, a third hand, a ring mandrel, a rawhide hammer, and eventually a whole assortment of other tools I didn’t know existed before.
Learning From Books, Artists, and Anyone Who Would Teach Me - I devoured every metalsmithing book I could find. I signed up for a couple more seminars with artists whose work inspired me, eager to understand their techniques.
And that’s how it began. There was no dramatic turning point — just one class, one tool, one silver ingot, and a spark that never went out. What started as curiosity became a craft, a practice, and eventually a part of what I do.

Maddalena Bearzi at the jewelry bench with an ingot of silver and a saw

Where do you get your work ethic from?

During a recent interview, I was asked: “Where do you get your work ethic from?” Here is how I responded:
My work ethic isn’t rooted in just one source. Initially, I was heavily influenced by my parents, both known for their strong work ethic. Over the years, my understanding of work principles grew from what I observed and experienced during my upbringing, including interactions with others, cultural influences, and academic or professional experiences. Naturally, some personal traits also contributed. I remind myself that a solid work ethic doesn’t mean running nonstop or always feeling stressed about work. Instead, it reflects a set of personal values, beliefs, and behaviors that shape how I approach my tasks. My work ethic is motivated by dedication, passion, and enjoyment in what I do.

Designer Maddalena Bearzi, wearing her own jewelry, walking the streets of Solomeo, Umbria, Italy.

One of My Favorite Metalsmiths: Harold O’Connor

Every artist has a handful of makers who shape their creative path, and for me, Harold O’Connor is one of those rare influences. I had the chance to take one of his workshops several years ago, diving into techniques like granulation and reticulation—processes he not only mastered but elevated into an art form. That experience left a lasting mark on the way I approach metal.
O’Connor has been a practicing goldsmith for more than forty years, and his work has traveled far beyond the studio bench. His pieces appear in both private and public collections around the world, including The National Ornamental Metal Museum in Memphis, The Goldsmiths’ Hall in London, the Cesky Raj Museum in the Czech Republic, The Metropolitan Museum of Art in New York, and even The Smithsonian Institution in Washington, D.C.
He’s also the author of several respected books—The Jeweler’s Bench Reference being one I return to often.
Below is one of my own pieces, the pianeta in verde necklace, created with O’Connor’s techniques in mind. His influence continues to guide my hands at the bench, reminding me that technique and imagination are always in conversation.

One of my handmade pendants inspired by nature and by Harold O’Connor’s techniques.

Softening silver: The magic of annealing

Annealing is a simple heat‑treatment process that softens metal, making it easier to bend, shape, and work with. If you hammer or form a metal like silver, it naturally tends to harden—so annealing brings it back to a “pliable” state.
Quick Facts:
- Kiln annealing: 730°C (1346°F) for 30 minutes, then quench
- Torch annealing: 1–3 minutes (depending on the metal) until the metal glows red
How to Anneal a Silver Sheet:
1. Prepare your pickle solution
2. Place the silver on a soldering block and heat evenly until it turns red
3. Let it cool until it darkens, then quench in water
4. Pickle for about 5 minutes and remove with tweezers
5. Rinse and dry
Above all, enjoy the process!

Maddalena bearzi readies to anneal an ingot of silver in her Los Angeles studio

How to oxidize silver for jewelry making

Oxidizing silver is one of my favorite techniques when I make jewelry. It’s a straightforward process that adds depth, contrast, and character to my pieces. A darkened surface helps highlight details like hammer marks, engraving, and granulation. Oxidizing silver also makes pieces feel more organic and lived-in. Whether I want a dramatic finish or to make textures stand out, creating a dark patina is safe and relatively simple with minimal equipment.

Ingredients: Liver of sulfur, a heat‑safe glass or ceramic container, warm water, baking soda, soft cloth or fine steel wool, gloves, and finally good ventilation.

Step‑by‑Step: Creating the Patina

1. Clean your silver thoroughly. Oils and fingerprints will cause uneven tones. A quick scrub with dish soap or a dip in a jewelry cleaner works well.

2. Mix your liver of sulfur. Fill your container with warm water and add a small amount of liver of sulfur. The warmer the water and the stronger the solution, the faster and darker the patina will develop.

3. Dip your silver. Submerge the piece, and watch the color change — it typically shifts from golden to deep charcoal within seconds. Keep it in until you achieve the shade you prefer.

4. Rinse and neutralize. Remove the piece and place it in a baking‑soda‑and-water bath to stop the reaction.

5. Refine the finish. If you want contrast, lightly buff raised areas with a soft cloth or steel wool. This leaves the dark patina in the recesses while bringing back shine on the high points.

   The cresta abissale brooch in the image, for sale in the online shop, was handmade using this technique.