Brandy Scholl is a jeweler, sculptor, and public artist born and raised in Greenville, South Carolina. She earned a BFA in Studio Art, with concentrations in jewelry/metals and sculpture, from Winthrop University and received her MFA from Indiana University Bloomington.
She studied commercial stone setting and marble carving in Florence, Italy, at the Lorenzo de’ Medici Institute, and has since designed and built permanent, large-scale public art installations. She was selected to create the first municipally funded permanent public art installation in Bluffton, South Carolina, marking a significant milestone in the town’s cultural development. She also holds an Applied Jewelry Professional certificate from the Gemological Institute of America.
Her work explores themes of place, reflection, ecology, and cultural memory, often drawing from the landscapes and histories of the American South. Brandy exhibits nationally and internationally. Her work has been published in H21 III: Handouts for the 21st Century and featured in media outlets including Bluffton Today, The Herald, and SCartshub.com.
Meet the Artist
Artist Statement
I make work about place and how it holds memory, how it reflects us, and how we move through it.
My practice moves between public sculpture and intimate, wearable forms, but both begin the same way: with attention. I pay attention to shorelines, tree lines, tidal patterns, wildlife patters, and the quiet histories embedded in a landscape. I’m interested in how land carries story long after voices fade, and how material can make those stories visible again.
In my public work, I often use cast concrete and polished stainless steel as both surface and metaphor. The steel reflects sky, water, architecture, and the viewer. The work evolves throughout the day and across seasons, continually altered by light, atmosphere, and those who stand before it. While the line work, mapping, and carved imagery becomes a kind of drawing in space, tracing cultural memory, topography, and ecological identity. I’m drawn to the tension between permanence and change: solid metal holding something as fluid as light and viewer perspective.
In the studio, my jewelry and small-scale sculptures continue this exploration at a more intimate scale. Sterling and fine silver, glass enamel, resin, and carved natural materials become quiet landscapes in miniature. Each piece is entirely handmade, and that slowness matters to me. The work carries the evidence of touch. It asks to be seen and experienced up close.
Whether installed in a public park or resting against someone’s skin, my work is about connection—to land, to history, to reflection in both the literal and emotional sense. I am interested in art as a meeting place: between past and present, between environment and body, between material and meaning.