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.
