There is a real sense of drama about the work of Karen Smith and her jewelry designs.  Formerly  Sundarimani Jewelry, these days her brand is simply Karen Smith, Metal Artist. Her metal work aesthetic conveys individuality and confidence to the wearers and her bold works of art enhance their own naturally-diverse style. 

Recently Karen traveled to Dakar, Senegal, to be mentored under a master goldsmith for a month. The intention was to immerse herself in metal work, traditional craftsmanship, and the culture of Dakar. 
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In this artist interview, we learn more about Karen’s personal journey of discovery and invention, her study of metal work and design, plus her experience studying abroad in Dakar.  

What are some challenges you have faced as an entrepreneur and artist so far? 

My biggest challenge as an entrepreneur and as an artist is capital [lack of it, challenges raising it, etc.]. Someone told me recently that the only people who make a living as artists are people who come from wealth and/or have amassed wealth that allows them to do such.  Even if that's true, I see myself working against that every day.  Art changes lives socially, historically, spiritually; in every way you can imagine, art can make a difference in a society.  Those of us without capital are always in the position of trying to raise funds to keep the lights on so we can produce one more thing.  That one thing might change the way someone thinks about themselves or another person. It's why I have supported EVERY SINGLE ONE of the projects that I see online; I have even supported folks that I don't know personally but who are also a part of the SF Etsy Street Team.  Even if I can only offer $25, I know it can help an entrepreneur or artist move closer to their dream . And with my friends? I show up at every single book signing, restaurant opening, dance project, performance, and so on.  I HAVE to show support to other artists, especially to women and most especially to women of color; I consider us a community.  

​Tell us about your mentor / teacher in Dakar and how you came to study with him?

It'sa fascinating story.  I'll give you the abridged version:  I told a friend that I wanted to do an apprenticeship in Dakar but that I couldn't find any info about how to do it.  She sent out an email to four or five colleagues in academia and within 48 hours, I'd found someone who was willing to teach me even though "women don't wield the hammer"; I'd also secured an apartment and the names of three ex-pats who spoke English and who were interested in helping me adjust when I got there.  It really happened just like that!  It's also how I know that this is divine order; I initially felt like I was called to do this to buoy my confidence since I'm self-taught.  But as I learned more about the traditional methods and realized how marginalized women are in  metalsmithing [the world over, including here in the US beyond "jewelry making"], I decided that my service needed to be to find ways to bring this vocation to women and girls. My mentor there is descended from a long line of goldsmiths.  I discovered this only after he had agreed to teach me; I was sent a couple of texts and his family was prominently centered.  He's amazing and patient and he treats me like a peer [which is humbling and honorific].  After the first few days, he told me that I couldn't leave, that there was not enough time to really teach me.  That's why I'm returning; to do a *real* apprenticeship.  

How did the community respond to your visit?

Dakar is a city not unlike Oakland, CA .  I didn't get to know my neighbors, or them me, because I literally went to the workshop in the artists' village every day except Sunday.  I didn't even get a chance to do any sightseeing because I also realized that I needed to make the most of every, single second.  In the artists' village where I worked, it was fascinating because, of course, I was the only woman there working with a torch.  So there was a steady stream of oglers, all polite and all respectful but all day, everyday!  I had to learn how to say "you can see it when I'm finished" and "I'm very busy, don't you have work to do?" The women in the artists village were very interesting: the women who were my age were fairly skeptical; the millennial women were curious. Of course, Senegalese people are the kindest and most generous people so smiles were returned, greetings met, etc.  

If you could describe Senegal in five words what would they be?

Beautiful.  Welcoming. Bustling.  Urbane. Artistic. And if I were to describe Senegalese people in 5 words? Gorgeous! Generous. Talented. Kind. Fashionable.

Which African trends or artists do you find inspiring ?

I don't really follow trends in a literal sense; I love, though, that music and dance from West Africa is all the rage the world over.  I've always been a fan of Afrobeat and highlife since my days as a teenager in Brooklyn.  But while I was in Senegal, and even back here, I get to see and hear Afropop, hip-hop, and other genres that I can't even name.  I certainly hope that I get a chance to experience live music when I go back.

What is your favorite piece you created when you were in Dakar and what made it so special?​

The very first piece I created: I made earrings that were inspired by the many masks in the artists village. I was pretty proud of them because I'm still learning how to use their torch which is very different than what I use. I was also there for my birthday and on that day I made myself a ring [sterling silver and 18k gold with an Ethiopian opal].  I'd say those two are my favorites. 

What is the biggest piece of advice would you give to young people who look up to you and want to consider jewelry design as a passion, career, or venture? 

The best piece of advice I can give is to never stop asking questions, of your teachers but especially of yourself.  I am self-taught and when I decided that this was going to be my path, I didn't take classes or go and get a degree mostly because I couldn't afford to. I joined online forums, I bombarded every metalsmith that I came into contact with questions but I also was willing to fail. I actually started out making malas and other kinds of prayer beads.  Women would say "why don't you make jewelry?" So I started making beaded jewelry [which people found interesting but which left me feeling inauthentic because it wasn't that interesting to me].  My ideas grew, I was gifted a couple of books on smithing, including "The Complete Metalsmith" by Tim McCreight and I just went for it. But I'm always asking myself "how can I be better?" "is this the correct method?" "is *this* what I really want to do?" (the answer was a resounding NO with beading, for instance).  Believe that you can make it happen and then go for it.​

What are your plans for the immediate future? Rumor has it you plan on going back to Dakar for an extended stay to continue your education with your mentor.

Funny you should ask!  Yes, my plan is to go back to Dakar in June.  He asked me to return in June for a longer period and I'll be there until the end of the year provided I can raise the funds necessary to get there and study.  I've set up a "youcaring" fundraiser to raise the funds for the airline ticket and the tools and materials that I'll need. I've also been advised by several artists who have successfully done cross cultural studying to find patrons so I have been attempting to locate sponsors for me and the project. And to get ahead of next year's journey, I'm also applying for national and international grants.  In fact, I've applied for one local grant here in Oakland with which I plan to begin work with a non-profit in downtown Oakland upon my return at the end of the year.  It's an incubation of my project, We Wield The Hammer and the plan is to teach introduction to metals over six weeks to young women in transitional housing. I'm really excited about it!