JAKE MATLUCK
Reviving the Ancient Language of Gold.
There is a quiet intensity to Jake Matluck’s work, the kind that comes from an artist deeply connected to his materials and the long lineage of makers who shaped them before him. Based in New York, Matluck is part of a new generation of goldsmiths returning to ancient techniques not as ornament or novelty, but as a living practice. His pieces feel unearthed rather than designed, as though they have travelled through centuries only to find their form in the present.
Matluck’s fascination with metal began in childhood, encouraged by early moments of making that stayed with him long after. Introduced to jewelry through his mother, his earliest experiences bending copper wire and forming silver granules sparked a quiet obsession that resurfaced years later during his undergraduate studies. That moment of return set the foundation for what would become his life’s work.
Jake Matluck
“All of my pieces are hand-fabricated in 22ct gold. There are no moulds, no casting. I work directly in sheet and wire to build each piece from the ground up. I’m also drawn to stones that aren’t perfect matches. When you bring them together, there’s an unexpected harmony, a quiet kind of beauty that only appears in the tension between them”
Central to his practice is his signature 22 karat alloy, a metal chosen for its honesty: warm, malleable and historically resonant. In Matluck’s hands, high-karat gold becomes sculptural and expressive, shaped slowly into forms that balance strength and softness. He pairs this metal with natural gemstones and antique mine-cut diamonds, creating pieces that feel both grounded and luminous. Founded in 2023, his eponymous line reflects a considered approach to materiality, origin and process, resisting mass production in favour of a studio practice that remains wholly hands-on.
Everything is made by hand in his New York studio, one piece at a time. This commitment to slowness is deliberate. In a market dominated by speed and automation, Matluck’s work offers an alternative rhythm. Each jewel carries the trace of touch and the presence of its maker, becoming not just an object but a record of craft.
His designs are contemporary, but they echo the past in ways that feel instinctive rather than referential. A ring might recall an artefact weathered by centuries. A necklace may feel as though it has always existed. This is the subtle power of Matluck’s work: the ability to merge history with modernity without ever losing the emotional clarity of the piece.
