Interview of Prince Cyrus, conducted by Kimberly Zapata
Q. What is Blessings to You?
A: Blessings to You is the title of my current creative metalsmithing venture which, at the moment, includes designing ear weights and bespoke commissions. The phrase comes directly from my process of creating something for someone as a talisman, an object to carry and direct intention. No dogma subscribed, just well wishes. It took a very long time to think of some clever name or witty phrase but when all was said and done I chose Blessings to You because everything else seemed unable to describe the spirit of my work. On a physical level, BTY is mostly just me at my home studio, hand carving models, and casting them in my garden. But for bigger projects, like creating enough stock for everyone at the APP Exposition, I am very thankful to have support from the fine folks casting at Anatometal in Santa Cruz.
Q: Speaking of Anatometal, how has your collaboration been going with them so far? Are there any big projects in the works you can share with us?
A: Oh my how wonderful it is to be able to visit all the beautiful faces at Anatometal. Their offices and production areas are massive! I always feel like Charlie in the Chocolate Factory. (Cyrus laughs.) Barry and Tod have been so welcoming to me when I come through and I really feel like part of the family there. This being my second year casting I feel like I’ve hit the ground running with my abilities to create, but there is no replacement for the experience in casting like Tony has. I’ve been so thankful being able to count on them for my larger production for Vegas everyone was able to take home jewelry they wanted except the bats of course they sold out the first day. As a wizard I always have something up my sleeve…but for now I’ll stay tight-lipped.
Q: What was the catalyst that drove you to create Blessings to You?
A: I’ve dreamt of hand-making metal art for many years. From when I was young being around iron artists, to coming up as a piercer, then assisting design companies; this all further fueled my thirst for learning. The world of jewelry in our industry is very small, especially compared to other industries. For a while I wanted to step back and find a space for myself that was not ‘stepping on anyone’s toes’ so to speak. I created BTY in response to a yearning to contribute to my DIY community and for stability in the context of hypergentrification in San Francisco.
Q: Many of your pieces seem inspired by nature. Can you tell me a bit about how you decide on your designs, and what the creative process is like?
A: My first collection last year was entitled ‘The Floating World,’ as an honor to Japanese nature spirits. I chose pieces based on musings about 16th century Japanese poetry and how that poetry described the mysterious connection we have to the icons of nature. For example, the cicada is iconic for its symbolism of rites of passage and its intense summer mating song.
The focus of this year’s collection shifted under water, for my ‘Modern Atlantis,’ bringing awareness about the starfish wasting disease and the endangered nudibranch sea slugs off the California coasts. It frightens me how mass extinction seems unending in our era, and as an artist I wanted to create bronze body art for archeologists 1000 years from now to dig up and ask ‘Where did this go? Why did they make this?’
Creating these pieces usually starts with hours of research until I envision the right subject of what I am to execute. Sometimes there are days of hand-carving or sometimes hours of rummaging through a forest for the right moment to observe a critter or find the perfect tree pod.
Q: How does this creative process then inspire your displays, and what you want people to see?
A: Usually researching a subject really lets me dive deep into the culture of a thing. For example, Atlantis wasn’t just some Greek myth. If you go deeper and deeper you notice many cultures speak of an ancient climate change that devoured coastal cities, cities that we are unearthing off coasts all over the planet. From there I wanted to create a mood for my booth at the expo: hand-painted Neolithic ruins, coral pieces, pyramids, crystal displays, a giant wooden Ziggurat. Selenite crystal slabs were great, a subtle flat white background for displaying bronze and standard versions of designs. “Underwater and ancient” was the set, and my jewelry were the players. I wanted people to see more of a story in my designs, and I tried to use thematic elements in my display to bring that point across.
Q: What do you feel is the most important factor to consider when displaying jewelry, and how does that differ when you display jewelry online versus in a store (or at an expo)?
A: I would say that the most important thing to consider when displaying jewelry is being able to let someone understand everything a piece is about in one glance. Visually you should be able to see the whole silhouette and the physical details. Avoid visual clutter and have a color scheme in mind. Setting the environment around the jewelry should be simple but thematic of the pieces. I try to keep the eye directed through a display to unknowingly move an onlooker along to other pieces. Visuals can entertain while also inform, is there text about the materials and price? I tend to be more contemporary when displaying my jewelry in a studio by keeping flat surfaces and simple accessories in the cases, as opposed to displaying jewelry at an Exposition where a grandiose presentation is better appreciated. In the digital world I love seeing my jewelry next to real life versions of themselves, in pristine natural environments, inside fancy case displays, and—of course—an infamous selfie never hurts. I tend to not have such a strict method to online photos, and on the contrary, I feel the more variety that is displayed of jewelry online the better—only as long as the jewelry is in focus!
Q: What can we expect to see from Blessings to You over the coming year?
A: A glimpse into my bag of tricks? I’m really loving the fact we’ll be at the Flamingo next year for 20th Anniversary Conference, so I’m thinking taking everyone’s ears, necks and arms into the Amazon this year. Think vivid splashes of color, jeweled python in trees, and sloths swimming with piranha through a lush flooded forest. Everyone should start seeing a little bit by little come winter. I’m really in love with found object natural casting, so I intend on releasing more ear jewelry and accessories from the mountains. Theo, from Honeycomb Organics, and I have also been collaborating on a series of plugs. Plus offering bespoke has led me to no shortage of work making folks dream jewelry. If there is one thing I know how to do it’s keeping busy!