The New York Times

Twenty-five artist-jewelers were offered the challenge of creating a piece totally different from that traditionally made by professional jewelers valentine's Day gifts .

"This was an opportunity to play, to fantasize, to beyond their usual type of work," Mr. Russell said. "They did so big time H Charm."

"Although we were familiar with the artists' work," added Judith T. Russell, the gallery's manager, "when we opened the boxes we were shocked. Suddenly, unencumbered by the confines of making pieces to be sold and worn, artists moved unrestrained into the process of making a piece for the show. They wanted as well to be provocative to their fellow jewelers -- that was an issue." The show contains unexpected works. Despite most of the artists being jewelers, there's not a lot of jewelry, and the materials in their hands are other than precious metals and stones; polymer, glass, clay, wood and paper, have been invested with chic. The display of oddments, most purely sculptural and highly narrative, is set against the unifying humble foil of brown paper G Charm.

"In between the world of traditional jewelry and pure sculpture lies a vast region for experimentation," Mr. Russell said. The tone of the exhibition is established by Mr. Dancik's installation-collage of watches and other devices: a digital timer, carpenter's level, measuring spoon and slide rule set against a map. Robert Ebendorf, whose work can be seen in museums in 14 countries including the Victoria and Albert in

London

, offers "Inch Your Way Through Life," a sculpture carved from a river stone with tape-measure streamers. "Although it has the imagery of a necklace, it's too big, too heavy and too long to wear," said Ms. Russell F Charm.

Bobby Hansson, author of "The Fine Art of the Tin Can" (Lark Books, Ashville, N.C. 1996) presents "Baby Sitar": a sculpture, its neck an old ruler attached to a can showing a woman playing a mandolin to which a measuring spoon is added. Christopher Darway submits "Analog Computer," a stainless steel digital clock in the shape of a pyramid. A green light ignites numbers, turned by the mesmerizing rolling action of a motor.

Linda Kaye-Moses's "Temporayne," a neck piece of metal, 14-karat gold, beetle wings, boulder opal and Favrile glass, hangs above an antique wood case covered with hosta leaves, mica schist, paper and sterling, in turn elevating a poem capturing moments in time.