Interview with Gonzo Jeweller Sean Smokovich

PDF

Jeweller Sean Smokovich and artist Ralph Steadman have teamed up to turn Steadman’s iconic artwork into finely crafted jewellery and wearable art. Smokovich, who has spent almost twenty years perfecting his craft, uses the technique of lost wax casting to create three- dimensional versions of Steadman’s “Vintage Dr. Gonzo” as seen to the right.

Smokovich uses precious metals and gemstones to transfer the design from the page into earrings, necklaces, belt buckles and rings. Running Man Press was able to ask Smokovich about his process and his collaboration with Ralph Steadman.

Another one of Steadman’s pieces in the Fear and Loathing in Las Vegas collaboration called “Bats over Barstow” is featured on pages eight and nine.

____________________________

RMP: Can you explain the lost wax casting method in simple terms?

SMOKOVICH: Lost wax casting is basically ancient magic with fire and molten metal. The process starts with carving a model out of wax—your blueprint. This wax model is placed into a metal cylinder (called a flask) and surrounded by a super fine-grained slurry called investment (think of it as fancy plaster of Paris with a superiority complex). Once it hardens, the flask goes into a kiln upside down for about 13 hours. During that time, the wax melts and escapes, leaving behind a hollow mold in its exact shape. That’s the “lost” part of lost wax casting. Then, molten metal is poured into the void, the flask is dunked in water to wash away the investment, and what you’re left with is an exact metal replica of your original wax model. It’s one part science, one part art, and one part alchemy.

RMP: How did you get into this line of work? And what lessons has working almost twenty years in the industry taught you?

SMOKOVICH: It all started with my love of crystals and the thrill of the hunt. I mean, who doesn’t want to dig up a treasure that’s been hiding for a few hundred million years? I’d gift the little beauties to friends—who, without fail, would lose them (they were small, okay?). So I discovered wire wrapping—popular in a particular subculture at the time—and thought, why not make wearable homes for these crystals? Soon, it wasn’t just about preserving them—it became all I wanted to do.

That obsession morphed into a business, and before long I’d bent every wire I could get my hands on. But wires have their limits. Wax carving and casting came in like a creative wrecking ball, demolishing the boundaries I’d hit. Suddenly, I had access to a dimension of infinite possibility. I could dream bigger, sculpt deeper, and still feel like I was only scratching the surface.

The biggest lessons I’ve learned? First—nothing is truly new. Humans have been making jewelry since before recorded history. That knowledge keeps me grounded, and reminds me that striving for better work is a timeless pursuit. Second—be present. Jewelry-making has so many steps, and skipping around (which I’ve tried) usually ends in a mess. I like to say 95% of the process is getting the piece ready for the last 5%—stone setting. Ironically, that final 5% delivers 100% of the impact. And if I stay present in life the same way—attending to every detail—then when something big comes my way, I’m actually ready for it.

RMP: How did you end up collaborating with Ralph Steadman?

SMOKOVICH: Back in 2016, I was invited to show my work at Art Basel in Miami. My good friend Brian from The Chambers Project was curating a booth with pieces from his collection and some amazing collaborators—one of whom was Ralph Steadman. Ralph wasn’t there, but his daughters were, along with an incredible collection of his originals. Over the course of that week, we all connected and stayed in touch. Brian helped to keep those lines of connection alive and supported the VDG collaboration fully, as the idea of me creating the line came into focus.

Years later, when Ralph was envisioning his traveling show “And Another Thing,” he wanted to include a jewelry component. His daughter Sadie said, “I know just the guy!”—and gave me the call. After a few sync-up meetings to make sure we were vibing creatively, I dove in and started designing a special collection to accompany his show.

RMP: Do you have other artistic pursuits outside of lost-wax casting?

SMOKOVICH: Absolutely. While lost wax casting is my main jam, I also have a deep love for the lapidary arts—cutting and carving gemstones by hand. I’ve made quite a few pieces that blend my gem carving with lost wax designs. I’m also into creative stone setting and engraving—those are strong suits in my wheelhouse.

And in a totally different world, I make music. I produced an album under the name Smokovich called Sky Coral—and there are plenty of unreleased tracks still waiting in the wings. I’ve been playing guitar since I was 10. Sometimes I pick it up constantly, other times it gathers dust for a bit—but it’s always been a part of me. Once I started understanding music production programs, I dove deep. Ever since, I’ve never listened to music the same way.

RMP: How did the “Vintage Dr. Gonzo” project differ from past projects of yours?

SMOKOVICH: For starters, this image has lived in my head longer than any other I’ve ever worked with. It’s arguably one of Ralph’s most iconic characters. So when we chose Vintage Dr. Gonzo for our first collaboration, I was thrilled—and a little terrified. I mean, it had to be perfect. We’re talking about a face, which is notoriously tricky. And not just any face—a Steadman face. No pressure, right?

I was also given total creative freedom to put my own spin on the piece—so I had to strike the balance of honoring Ralph’s vision while not overshadowing it. Add to that the fact it was the first piece we offered in both gold and silver with multiple style options, and yeah—it was a big one. But it worked, and I couldn’t be more proud of how it came out.

RMP: Is there another upcoming project that you’re excited about? Where can people learn more about your work?

SMOKOVICH: Right now, I’ve got some exciting custom bridal and engagement pieces in the works, along with a personal project that combines my love of gem carving with lost wax casting. It’s all about bringing movement and fluidity to these rigid materials—and I’m obsessed with exploring that dynamic.

I’m also collaborating with two colleagues right now in the gem trade on separate projects using world-class, ultra-rare stones. These pieces are being created for submission to the AGTA Spectrum Awards—so the bar is high, and the creativity has to match it.

View more at: smokovichdesigns.com/steadmanxsmokovich