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Features ~ Weaving a career A traveling exhibit Three midcareer from a marriage defends a person's artists respond to of metal and fiber right to choose the shifts of life techniques By Katie Griffith and practice By D Wood By Maya Kini Departments 24 IN PRODUCTION 72 IN MEMORIAM 6 FOREWORD 28 LOOK 74 GRIT GROUP 8 CONTRIBUTORS 16 VOICE & VISION By Funlola Coker By Jillian Moore 18 VIEW 38 JEWELRY THINKING 76 EVENTS CALENDAR By Jackie Andrews By Rebekah Frank 22 ASK ME ANYTHING ON THE COVER an Nanette Pengelley: Conceal, 2015. See page 32.

visual imagery is counterbalanced by a powerfully direct title; such Wyatt Ne s t o r-Pasicznyk 0z is the case with Sapphic Voyeur, a cleverly constructed brooch that acts as a queer take on a pocket image viewer. The work is Minotaur Brooch series, 2021 !fl approachable, yet intimate. Self Saved, My Body is a Maze, ,:j' Self Made, Euphoric (left to In focusing on such minute, ephemeral aspects of human right) _j experience, Csip6 manages to strike a balance between universality and specificity, honoring the queer experience, both Champleve enamel on gold 0> for themselves and others . \"The reality I write is not one of strife,\" plated copper, spring steel she asserts, \"and my narratives can reach resolutions of unity, closeness, and tenderness-affirmations of my own reality.\" Approx. 3½ x 2½ in. each Photo by the ar tist The commitment to celebration and visibility of complex layered and cohesive. Combining aspects of Western imagery with depictions of queer identities is shared by Wyatt Nestor-Pasicznyk (he/ mythical creatures, Nestor-Pasicznyk ascribes a sense of folkloric mythology to him), a metalsmith with a technical focus in enameling. Nestor- the experience of being a trans or gender- nonconforming person in a culture that Pasicznyk's work is influenced by the aesthetics of the rural is historically inhospitable to diversity of gender expression. In pieces like their American wilderness, American Western imagery, and folk art, and Minotaur Brooch series, including Self Saved, My Body is a Maze, Self Made, and his agricultural and equestrian upbringing in a rural , small town Euphoric, Nestor-Pasicznyk manages to create clever visual metaphors inspires much of the visual language of his work. And though his Out/Loud investigates shared visual language in the queer body of work is wide ranging, the belt buckle is a recurrent form- community through the lens of adornment. The artists in thi s series are multidisciplinary and varied, exploring one with a wealth of gender stereotypes and cultural implications queerness, gender, and identity and interpreting adornment broadly through surface embellishments, color palettes, that Nestor-Pasicznyk reckons with powerfully . Examples include and engaging the body through install ati ons, sculpture, and wearable objects and costuming . Each installment will Day Rider, Touch Up, and Fever Dream . In his artist statement, he explore a singular aspect or theme of queer aestheti cs. The resulting works are celebratory, exuberant, defiant, and describes the appeal of the belt buckle as both a format and a inqui sitive-they pose questions about the polit ics of bod ies and how we express ourse lves; they di sregard rules and conceptual jumping off point in that he creates \"characterizations examine the pri vilege, complexity, and danger that comes with visibility; and they imagine queer futures . of narration in a form of body adornment so often masculinized and tied to rural identity and normativity.... As a queer and trans masculine person who is often assumed to be cisgender, the interaction of my own body in a comfortable yet unprecedented atmosphere comes into play.\"2 , Beyond the implications of the adornment forms themselves, Nestor-Pasicznyk further unpacks gender stereotypes and expressions in the imagery he creates and the stories they tell, demonstrating their appl icability \"to fit a different narrative that pertains to transgender people as both makers and artists.\" By reimagining these narratives, it is Nestor-Pasicznyk's intention to bring more recognition and visibility to rural queer communities and to the comple xities of their members. When translated into meticu lously detailed enameled scenes and characters in his signature illustrative style, the id iosyncrasies .e.n. of Nestor-Pasicznyk's varied visual interests read as both richly

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