Olga González and Sripriya Yarlagadda discuss the exhibition of Castro NYC’s work, currently showing in London, in the latest issue of Gems & Jewellery Magazine.
In the realm of contemporary jewellery design, few figures have left as indelible a mark as Terry Castro, known widely under the brand Castro NYC. This autumn, Carpenters Workshop Gallery will celebrate his legacy with the exhibition Futurespective, a journey through his bold, otherworldly and genre-defying work. Held at London’s Ladbroke Hall, the exhibition runs from 8 October 2024 to 11 January 2025, offering visitors an unparalleled opportunity to immerse themselves in Castro’s artistic evolution, his creative process and the lasting impact of his work on the world of jewellery.
A REVOLUTIONARY APPROACH TO WEARABLE ART
Terry Castro’s work is a study in contrasts: dark yet luminous, grounded in history yet futuristic in execution, fantastical yet deeply human. His ability to meld these dualities into jewellery that pushes the boundaries of wearable art has earned him a place among the most innovative designers of his generation. The Futurespective exhibition will showcase key pieces that define Castro’s artistry and his unique approach to materials, symbolism and storytelling. Castro was never content to design simple accessories; each piece has a complex narrative, weaving together elements of African cultures, mortality, mysticism and the human connection to the animal kingdom. His creations, from the intricate gold-leopard Catamando ring to the multifaceted Drip earrings, convey a fusion of power, spirituality and a deep connection to history. Among the standout pieces featured in the exhibition are the Falcon Crest, which epitomises Castro’s flair for combining historical artefacts with modern-day luxury materials. The central porcelain bisque doll, with wings made of sterling silver, and owl feathers adorned with rubies, emeralds and coloured diamonds give life to a mesmerising piece that brings the past and present into harmony. The use of keshi pearls – known for their symbolism of purity and opulence – adds another layer of depth to this work, making it both a visual feast and an intellectual contemplation. Crafting a Narrative Through Jewels. What sets Castro apart from other designers is his approach to the medium. Each piece he created tells a story, some of which draw on personal influences, while others delve into universal themes. Futurespective brings this storytelling aspect to the forefront, inviting visitors to explore the inspirations behind the jewels. His works, particularly those that highlight African heritage and spiritual power like the Catamando ring and Drip earrings, celebrate cultural diversity and show his understanding of identity, power and self-expression. The Money brooch, a playful yet masterfully crafted piece, stands as a testament to his sense of humour and experimentation. Terry Castro designed and created jewellery under the name Castro NYC until his death in 2022. His child, Sir King Castro (above) is preserving their father’s legacy and artistic mission through activities such as the Futurespective exhibition in London. At Futurespective, jewellery enthusiasts will also find a trove of archival materials. These include Castro’s original sketches, unfinished projects and even personal items from his studio. These artefacts offer a window into the artist’s mind, showing how his creative process evolved over time and how personal identity, travel and global cultural experiences influenced his work. His move to Istanbul in later years provided fresh inspiration, particularly in terms of craftsmanship. His collaborations with master jewellers in Türkiye’s Grand Bazaar brought a new dimension to his already richly detailed work, introducing even more traditional methods of jewellery making to his toolkit.
FROM TOLEDO TO THE WORLD: THE STORY OF TERRY CASTRO
Born in Toledo, Ohio in 1972, Terry Castro grew up in a post-industrial city, where his artistic inclinations were first nurtured by his mother. Mary Castro introduced him to the worlds of travel, fashion and culture at a young age, fostering his interest in transformation and adornment. These early experiences sowed the seeds for what would become Castro’s lifelong exploration into the symbolic power of jewellery. Castro’s career, however, did not follow the traditional path to success. His entry into the jewellery world was marked by a series of unpredictable turns, beginning with his years as a struggling shop owner. It was not until his move to New York City in 2006 that Castro truly found his footing in the fashion world. Immersing himself in the vibrant artistic culture of the city, Castro established himself as a designer who embraced the raw, dark and often unconventional sides of the human experience. His time in New York also marked a significant period of growth, during which he attracted a diverse clientele ranging from collectors of fine art to fashion-forward celebrities. His studio became a hub of creativity and innovation, where ideas were born out of his personal Dreamscape, a conceptual space where Castro visualised his intricate creations. It is said that he worked almost entirely from intuition, refusing to conform to trends or market demands, which allowed his art to evolve freely.
It is said that Castro worked almost entirely from intuition, refusing to conform to trends or market demands, which allowed his art to evolve freely.
CONTINUING THE LEGACY
In the aftermath of Castro’s death in 2022, his child, Sir King Castro, has taken up the mantle to preserve and honour their father’s legacy. Sir King has played a pivotal role in bringing Futurespective to life, ensuring that the exhibition not only celebrates Castro’s well-known works, but also reveals previously unseen elements of his creative journey. Through the following conversation, Sir King offers insights into the legacy of Castro NYC, their father’s philosophy on design and what lies ahead for the future of the brand.
Can you tell us a bit about your background? How did you decide to become involved in your father’s jewellery business, and later his legacy and exhibition?
I grew up in Toledo, Ohio, and spent my childhood between there and New York City, where my dad lived for ten years. Until I was about 15, I was studio assistant every summer, and sales assistant at our table in SoHo. So my dad’s practice was a normal part of life for me. I would do a lot of grunt work, running pieces back and forth from East Harlem to 47th Street, where the Diamond District is, and doing small repairs. Basically, whatever needed to be done, I did. I stopped working with my dad for a few years as I was preparing for college. I studied theatre intensively in middle/high school and trained at an acting conservatory in Chicago for two years. By the second year, I had a typical art-school experience of losing my love for the craft, so I started to get back into design to reconnect with my creativity. The pandemic hit halfway through my second year of school, and by the next winter I had dropped out and was in Istanbul with my dad. That was the start of diving deeper into the business and craft behind Castro NYC.
What does the Futurespective exhibition mean to you, and to the legacy of your father?
To me, it’s a nod to the fact that Castro NYC’s work was way ahead of its time. It is still ahead of our time, even as we are celebrating his work posthumously. When I was younger, I always thought to myself that my father will be like Van Gogh in the sense that his genius would only be truly appreciated after he was gone. Thankfully, he got some of his flowers while he was still with us.
Can you share any insights into the process of selecting the pieces for this retrospective? Were there any pieces that were particularly significant to you or that you were particularly excited to showcase?
It was important to me to find as many early works as possible to display, to show his progression as an artist. I’m happy to say that there will be a selection of pieces that range from as far back as 2006, when he first established the brand, all the way through 2022. I’ve mentioned a jade ring that I’m totally in love with, but I’m also excited to showcase the Money brooch, which was made with emeralds provided by Muzo. It’s a beautiful abstract piece that is a great example of how Castro NYC challenged the conventions of jewellery.
How did you and Carpenters Workshop Gallery collaborate on this exhibition? What were some of the challenges and highlights of working together on this project?
When my father passed away, it was imperative to me that he received the proper recognition for his contribution to arts and culture. A retrospective was my first stipulation when it came to working with the gallery. I had opportunities to sell everything more than once, but it’s more important to me that my father is remembered, and that Castro NYC is a part of history when young jewellers and artists sit down to read books on contemporary jewels and jewellery history. Money is cool, but legacy is something that you can’t put a price tag on. Cataloguing and dating the work has been a huge task, but the gallery has been very supportive throughout the process, and they’ve been there to own their part in this historic event. They have done an especially excellent job with the scenography, and I’m excited for people to experience the exhibition through the curated space. Your father was known for his unique artistic vision.
How would you describe his approach to jewellery design? What do you think made his work stand out in the industry?
One thing that surprised me when going through archives was that my father didn’t sketch much! He preferred an intuitive approach, one that tended to start with the materials rather than sketches. There are several large pieces that were ‘finished’ that he decided to completely start over and do a different design. It was trial-and-error, but it was also very precise at times. I believe most of the creative process existed in his head and in his hands. What role did you play in assisting with your father’s final creations, and how did it feel to be part of that process? My touch in the process was light, but he always asked for my input on various designs. For example, I chose the configuration of the stacked brown and white diamonds on the chest of the Falcon Crest pendant. I won’t overstate my input; I was there to learn and support my father in whatever he needed. This tended to involve myself working in the capacity of a production manager, taking my father’s notes to craftsmen and overseeing quality control. Terry Castro was not a linear thinker, so working under him involved a lot of interpretation and taking initiative. He was also notorious for changing his mind, so it required a high level of flexibility. It made me into who I am now as a businessperson. I think a lot about problems that plagued him, and have worked to solve them and bring the business operations to a higher level.
How do you think your father’s work has influenced the field of contemporary jewellery design? Are there any aspects of his work that you believe have had a lasting impact?
Definitely. I see pieces of Castro NYC across the whole jewellery landscape now. Obviously, it’s hard to pin down if someone was inspired, but he was part of an ‘in’ crowd in the art world for a very long time. There are some big brands that I see and sometimes wonder if they crossed paths with him, because of the similar techniques or references. I can’t claim anything in particular, but I do think that his approach when it comes to texture – and the ‘hand-work’ feel that his pieces have – has been adopted widely.
How do you hope people will remember Terry Castro through this exhibition? What do you want visitors to take away from their experience?
I hope that when people come to the exhibition, that they can get a fuller picture of Terry Castro than has ever been available before. He made his way from the Rust Belt to the upper echelon of jewellery design in a crazy-short period of time. There’s a story in the visual progression of the jewels, as well as his inspirations and references.
HONOURING A VISIONARY
Terry Castro’s work was imbued with a strong social consciousness. His commitment to ethical sourcing, sustainability and his activism in the movement for Black freedom were integral to his philosophy as a designer. This element of his work is poignantly explored in Futurespective, which includes a section dedicated to his advocacy and charitable endeavours. As Mr Castro’s designs were often a reflection of his engagement with the world’s most-pressing issues, visitors will gain a deeper understanding of how his jewellery functioned not only as adornments, but also as commentaries on societal and personal struggles.
AN INVITATION TO EXPERIENCE THE DREAMSCAPE
Futurespective invites visitors to step into Terry Castro’s world — to experience the magic of his creations, to reflect on his groundbreaking contributions to contemporary jewellery, and to appreciate the ways in which his vision continues to resonate today. The exhibition promises to be a captivating journey into the heart and soul of a visionary artist for everyone, from longtime admirers of Castro NYC to those discovering his work for the first time. As the exhibition’s title suggests, Futurespective is not merely a retrospective look at Mr Castro’s past; it is also a forward-looking tribute to his ongoing influence. Through this event, Carpenters Workshop Gallery offers a fitting homage to an artist whose life and work will continue to inspire and captivate generations to come.
Learn more about Castro NYC at www.castronyc.com
Visit Carpenters Workshop Gallery to learn more about the exhibit.
