Growing up in Northwestern Pennsylvania, Sandra Enterline has been inspired by abandoned factories since she was a child. The factories in her memories rise in mysterious forms, much like hulking cathedrals. However, these cathedrals of industry are immense and dark, yet strangely fragile.
Enterline is perhaps best known for her perforated jewelry, which strikes a balance between elements of industry and fragility. The countless apertures that dot her pieces allow light to pass through, creating a vibrating surface of light and shadow.
In her recent work, slices of irregular diamonds are suspended in dark, crude settings—evoking delicate windows that punctuate the abandoned factories of her childhood. As the wearer moves through space, the shifting dynamic between transparency and density evinces the complexity of Enterline’s contemporary work.
Influenced by icons of value and strength, my work communicates an interest in the reduction of powerful imagery. Forms rise from reoccuring motifs in architecture and jewelry and recede to minimal vacant structures. Through the use of traditional fabrication techniques, minimal forms are crafted as intersecting planes or with exposed interiors. The hollowness and skeletal nature of these objects are amplified through the use of monochromatic industrial finishes.
My collection of revival pieces began in 2017. With a focus on roman intaglios and the illusion jewelry of the early 1900's with the hope of creating a new space for these antiquated forms. Pursuing traditional metalsmithing techniques as well as contemporary practices has allowed my work to evolve into an amalgamation of the familiar and unknown.
I started studying graphic design, thinking I would be a graphic designer, but took a jewelry design course and was hooked. I finished undergrad at Edinboro University of Pennsylvania in 2009 and attended my very first SNAG conference in Philadelphia that spring. This was the first time I was exposed to the art jewelry industry and I remember being really excited realizing that this could actually be a career for me. I started grad school at Miami University in the fall of 2009, which is where I worked with Susan Ewing for three years. Ewing has the combination of a killer aesthetic eye and an entrepreneurial drive, which is exactly what I needed to push me to create a series of sculptures that would later be the basis for the jewelry line that I am still creating.
I graduated from Miami with my MFA in 2012 and it wasn’t until I finished graduate school that I actually started making jewelry again. Because I had been so focused on these large-scale sculptures that were often taking months to complete, going back to making jewelry felt so energizing. During the following year, I was the resident artist at the Society for Contemporary Craft in Pittsburgh, where I was able to work with the intention of refining my sculptural aesthetic and create a sellable line of jewelry.