Barbara Bayne’s Mandala Flower Pendant
Taking Shape
Textured shapes, handmade dies, and organic assembly unite in this floral-inspired design.
by Tina Snyder
(Originally Published by MJSA August, 2025)
Barbara Bayne
Havre de Grace, Maryland
“When I’m designing new work, I generally start with new shapes,” says jewelry designer Barbara Bayne of Havre de Grace, Maryland. Bayne sketches a variety of different shapes, narrows it down to the five or six she likes best, then makes new dies for her Bonny Doon hydraulic press. She then makes dozens of each shape and lays them all out on her bench—and that’s when the magic happens.
Since all of her sheet metal is first roller-printed or hammered to achieve various patterns, not only does she have a variety of shapes, but also textures to work with.
“I have a collection of my grandfather’s old hammers that I’ve cut the faces up into various patterns with a separating disc,” she explains. “I like to use these or textured brass sheets in the roller printer to add dimension to the metal sheet before pressing the shapes.”
Bayne uses a roller printer and her collection of hammers with patterned faces to add texture to the sheet metal for all of her designs. Repeatedly heating and quenching the silver petals builds up a surface layer of fine silver, giving the piece a ghostly white appearance.
Moving the various shapes around on her bench is how Bayne’s designs come together organically. Sometimes the process is quick, she says, while other times the shapes must sit for a while until they tell her what they want to be.
Once Bayne settles on the placement of the shapes, she considers which will be pierced and where she will place 18k gold accents. All of these decisions are made before the shapes are soldered together.
The pendant featured here is built from nine petal shapes that found their way together in a circular pattern reminiscent of a mandala. Bayne began by soldering the petals in place, then executed her planned piercings for the design. Using flattened wire or balled up 18k gold scrap, she sweat soldered the gold accents in place.
Finally, the piece was heated and quenched to build up the fine silver on the surface, causing it to turn white. She brass brushed the high spots and set the pearl as the final step. The Peacock pearl used here pops against the white surface.
“I create a lot of lotus and floral designs, but the work really creates itself,” she explains. “It’s all about the shapes and how they naturally come together into unique harmonious forms on my bench.”