Jaydan was born into a family of fourth generation tombstone makers in California. Most of his childhood was largely spent at the family business, which doubled as a rental storage space; where he would rummage through other peoples objects, and listen to families making arrangements for their loved ones. It is these experiences that made him value the heirlooms and objects we choose to use as markers for significant moments.

His career began as an undergraduate student at California College of the Arts, in Oakland and received his MFA and MA from University of Wisconsin-Madison.

Jaydan has furthered his career through generous opportunities as an artist in residence at Penland School of Crafts, Houston Center for Contemporary Craft, and a Fountainhead Fellowship at Virginia Commonwealth Universities Craft/Material Studies Program. He has received grants through the American Craft Councils Emerging Voices Program, North Carolina Arts Fellowship, and the Peter S. Reed Foundation. He has shown in recent exhibitions at Design/Miami (FL), Basel (SWI), Cheongju Craft Biennale (South Korea), Museum of Craft and Design (CA), Racine Art Museum (WI), Fuller Craft Museum (MA), and the Center for Craft, Creativity, and Design (NC). He has also held teaching appointments at Rhode Island School of Design, Virginia Commonwealth University in the Craft Materials Studies Program, California College of the Arts, and Penland School of Crafts.

Born 1986, Antioch, CA


MFA, Art, University of Wisconsin, Madison, WI

MA, Art, University of Wisconsin, Madison, WI

BFA, Jewelry/Metal Arts (with high distinction), California College of the Arts, Oakland, CA

Select Exhibitions

3 x 3, Blue Spiral, Asheville, NC Invitation by Jordan Ahlers

Cheongju International Craft Biennale, Cheongju Tobacco Processing Plant, South Korea (curated by Hyeyoung Cho)
Engendered, Milwaukee Institute of Art and Design, Milwaukee, WI (curated by Niki Johnson)
Dining and Discourse, Houston Center for Contemporary Craft, Houston, TX (invitational by Kathryn Hall)
Haystack/Components, Fuller Craft Museum, Brockton, MA (invitational by Ellen Weiske and Claire Sanford)

Metamorphosis: The Transformation of Everyday Objects, Museum of Craft and Design, San Francisco, VA (curated by David Cole)
Press: Artist and Machine, Kentucky Museum of Arts and Craft, Louisville, KY
Anywhere but Now, Wilton House Museum, Richmond, VA (invitational by Margaret Lindauer)
Refined VIII: Maker’s Choice, Stephen F. Austin Art Gallery, Nacogdoches, TX (juried by Cindi Strauss)
Look Again, Asheville Area Arts Council, Asheville, NC (invitational by Hoss Haley)
TABLE, Visual Arts Center of Richmond, VA (invitational curated by Caroline Wright)
VCUArts Department of Craft/Material Studies Fountainhead Fellow Exhibition, Page Bond Gallery, Richmond, VA

In-Residence Show, Houston Center for Contemporary Craft, Houston, TX
Mitosis of Memory, Overture Gallery, Madison, WI
Presence of Absence, Brooklyn Metal Works, Brooklyn, NY

Reflection: 100 Years of Jewelry/Metal Arts at California College of the Arts, Oliver Gallery, Oakland, CA
5- Pop up show, Houston, TX
Still – Master of Fine Art Solo Exhibition, Lofts Gallery, Madison, WI

Retrospectives, Lofts Gallery, Madison, WI
Connect, Georgetown Art & Cultural Center, Seattle, WA
Gather, Old Kroger Building, Madison, WI
Caput Mortuum, 7th Floor Gallery, Madison, WI

Madison Biennial, Loft Gallery, Madison, WI

Art 908, Loft Gallery, Madison, WI
Love Show, Shibumi Gallery, Oakland, CA

CCA Baccalaureate Exhibition, Oliver Gallery, Oakland, CA
Refined, North Gallery, Oakland, CA

Best of Junior Review, Oliver Gallery, CCA, Oakland, CA
360 Degrees, South Gallery, Oakland, CA
Yuma Symposium Show, Yuma Art Center, Yuma, AZ

Yuma Symposium Show, Yuma Art Center, Yuma, AZ

Epicenter, Oliver Gallery, Oakland, CA
First Year Review, Oliver Gallery, Oakland, CA


Brown, Glen, Metalsmith Magazine: Anti-Trophy, Vol. 34 No. 1 2014

Interview, PBS: Art Insight, Houston, TX
Wozny, Nancy. “Ultimate Recycling: Artist turns silver trays into timeless sculptures – dents and all.” Culture Map: Houston.

Fellowships and Residencies

American Craft Council Emerging Voices Award, Minneapolis, MN

Artist in Resident, Penland School of Crafts, Penland, NC (until 2017)
Peter S. Reed Foundation Grant, New York, NY

Fountainhead Fellow, Virginia Commonwealth University, Richmond, VA

University Fellowship, University of Wisconsin-Madison, WI

Visiting Artist and Lectures

Instructor, Creative Side Jewelry Academy of Austin, Austin, TX, Beginning Jewelry Class

Lecturer, Kentucky Museum of Arts and Crafts, Louisville, KY2013
Instructor, Creative Side Jewelry Academy of Austin, Austin, TX
Lecturer, Bayou Bend Collection, Museum of Fine Arts, Houston, TX
Instructor, Creative Side Jewelry Academy of Austin, Austin, TX
Instructor, Creative Side Jewelry Academy of Austin, Austin, TX

Lecturer, Houston Metals Arts Guild Presentation of Resident Artist

Teaching and Related Professional Experience

Adjunct Professor, Houston Community College-Northline, Houston, TX

Metals Instructor, California College of the Arts Summer Pre-College Program, Oakland, CA

Artist in Resident, Houston Center for Contemporary Craft, Houston, TX
Teaching Assistant, University of Wisconsin-Madison, WI

Graduate Assistantship, University of Wisconsin Art Department, Madison, WI

Bench Jeweler, Svartvik Metalworks, Oakland, CA

Ring Workshop Teacher, California College of the Arts, Oakland, CA

Pre-College Studio Assistant, California College of the Arts, Oakland, CA

Teachers Assistant, California College of the Arts, Oakland, CA

Studio Assistant, Pescadero, CA

I am motivated by how an object moves through the world, changing in meaning as it is passed down, and how it is cherished as its significance grows. This history of objects has led to my continued exploration of heirlooms. When I witness these historical functional wares in museums, antique shops, and junkyards, I imagine how their previous owners may have affected these objects.

As these possessions become more and more mass-produced, our ability to add relevancy and meaning in this way separates each object from one another. Outliving its owners, metal withstands its daily use, revealing evidence of wear by the dings, scratches and patination that can be read on its surface. I see this accumulated layering of worth as far more precious than the most valuable of materials. Finally, once a metal object has run its course it can be scrapped, melted, and cast, ready to be made into a new object. I believe that the past still lives within the new object. That nothing is lost, only given a new history.

By deconstructing and reassembling found silver-plated tableware into new images I am able to commemorate the individual’s ability to do the same to his/her own valuables and memories. By fabricating a new form out of many fragments from stylistically and historically related objects, I create a new image of what that object means to our society, a representation that takes all memories of its use into consideration. Dissecting these objects, altering their form, and piecing them into commemorative wares there is still some semblance and evidence left of their past incarnation.