A Bespoke Necklace for a Very Special Lady

Choosing to be a contemporary jeweller is certainly the road less travelled as far as career paths go. The journey is long, thoroughly rewarding and cannot be travelled alone. I am extremely lucky to have a great group of family and friends who have helped me along the way and if there’s one person who’s always had faith in my ability to turn my passion into a self-sustaining career, it is my lovely Mother.

Given our close relationship and shared passion for jewellery, Mum is usually the lucky recipient of my new prototypes or any pieces that never quite makes it to market for one reason or another. Though she is always very grateful, on the odd occasion I also like to take the time to make her a specially designed bespoke piece, and late last year I did just that.

Poor Mum has spent many hours being dragged along for yet another beach collecting expedition and as a result has become quite the fan of my Plastic Soup jewellery. Over the years she has developed an eagle eye for microplastics and at times gets more exciting than I do when she finds ‘a good one.’ It seemed only fitting that her next piece was to be a Plastic Soup necklace.

When constructing my Plastic Soup or Interlace Adornment, I always begin with a pile of sticks which I cut, file level and sand. I then create the tiny little boxes which will contain a precious collection of microplastics.

It all starts with a pile of silver sticks.

It all starts with a pile of silver sticks.

The box shapes are loosely based on the shapes of phytoplankton: the tiny organisms which sea creatures believe they are eating when in fact, they are ingesting microplastics. For mum’s piece, we decided on circular boxes and so I constructed a variety of sizes to suit the necklace.

To form the tiny windows of the boxes, I have sourced industry offcuts of thin acrylic which I use sparingly to minimise my contribution to the plastic problem. I hand cut the acrylic and then file it until it fits perfectly within the outer ring shape. I then create another, slightly smaller ring which sits within the large ring and forms a ledge for the acrylic to rest on to avoid crushing the tiny plastic fragments within.

Each box is originally made from flat sheet silver which I bend into a ring to form the circular shapes. To be able to solder the inner and outer ring together, one has to fit perfectly within the other.

Each box is originally made from flat sheet silver which I bend into a ring to form the circular shapes. To be able to solder the inner and outer ring together, one has to fit perfectly within the other.

The boxes fit just right and are ready to be soldered together.

The boxes fit just right and are ready to be soldered together.

Once all the components are ready, I bring them to the soldering bench. I first create a seaweed like structure to form the geometric foundation of the piece, then strategically position each box on the structure to give the illusion of the plastics being snagged within a seaweed tangle. As all of the Plastic Soup pieces are handmade and unique, they will sometimes come together perfectly and other times look a little unbalanced. At this point I will cut pieces off and reposition the components until I am satisfied with the composition.

The beginnings of an interlacing seaweed structure (and some earrings on the side).

The beginnings of an interlacing seaweed structure (and some earrings on the side).

Once the seaweed framework is constructed, I begin to play with a very sophisticated tacking substance (blutack) to experiment with the position of the boxes.

Once the seaweed framework is constructed, I begin to play with a very sophisticated tacking substance (blutack) to experiment with the position of the boxes.

Choosing where to hang the seaweed structure from can be a little tricky and it is always important to ensure that the piece hangs well when worn. Once I have decided on a suitable position, I attach the chain, check that all of my joins are well soldered and then construction is complete.

Now that the boxes are soldered in place and the pendant is well balanced on the chain, the piece is ready for filing and sanding.

Now that the boxes are soldered in place and the pendant is well balanced on the chain, the piece is ready for filing and sanding.

From there the most time consuming part of the process begins: clean-up. I file off any excess solder and scratches to the surface of the metal then sand the piece to remove the file marks. Any surface scratches will distract from the overall effect of the whole piece so I really take my time, spending days to ensure that the finish is consistent. This can be rather fiddly given the intricacy of the interlacing structure and so I have developed a range of tiny sanding tools to access those hard to reach places.

Once I am completely satisfied with the finish, I blacken the necklace and begin to choose the precious but deadly plastic collection to sit within the boxes: In this case, turquoise, blues and greens.

A freshly blackened seaweed structure ready for setting.

A freshly blackened seaweed structure ready for setting.

I then dust the piece and set the acrylic on the underside of the boxes. From there I carefully place the tiny collection of microplastics in their new home and close the lid. The protective tape is removed from the acrylic and the final piece is revealed.

The finished necklace all ready to wear. Photograph courtesy of  Bianca Hoffrichter .

The finished necklace all ready to wear. Photograph courtesy of Bianca Hoffrichter.

It was a little while in the making but Mum was thrilled when she received her bespoke Plastic Soup Necklace. The colours and length of the chain suited her perfectly and she ‘feels wonderful wearing the piece.’ It means so much to me to have her support and knowing how proud she feels when wearing my jewellery makes my day. Thanks Mum!

If you would like to commission a Plastic Soup piece of your very own, please contact me to make an appointment.

Interlace Adornment Now Available at Platform Gallery

Earlier this year I had the pleasure of being contacted by a brand new gallery in the Blue Mountains, New South Wales. Founded by partners in crime, Kelly and JL, Platform Gallery offers beautifully crafted wares from Australian makers to a region which has previously been overrun by more traditional art forms such as painting. With a background in writing and a passion for the handmade, the pair have formed a deep understanding of both the maker and consumer. Given this enthusiasm and understanding, when they asked me to join the highly curated group of contemporary jewellers they support, I naturally jumped at the opportunity.

Platform Gallery on their very first opening night. Photograph courtesy of Georgia Blackie.

Platform Gallery on their very first opening night. Photograph courtesy of Georgia Blackie.

Gallery owners Kelly and JL. Photograph courtesy of Ona Janzen.

Gallery owners Kelly and JL. Photograph courtesy of Ona Janzen.

Nestled in the heart of Katoomba, the gallery now includes a display of my Interlace Adornment which looks great together with their art deco styled branding and clean aesthetic. As well as stocking a number of local and interstate makers, the space will be hosting a number of regular exhibitions and has also begun a series of exciting new residencies.

Interlace Adornment goodies are available in store and online through Platform Gallery. Photograph courtesy of  Perth Product Photography .

Interlace Adornment goodies are available in store and online through Platform Gallery. Photograph courtesy of Perth Product Photography.

A beautiful display of my work. Thanks guys! Photograph courtesy of Platform Gallery.

A beautiful display of my work. Thanks guys! Photograph courtesy of Platform Gallery.

Platform gallery is a space which is truly invested in their creatives and definitely worth a visit if you are visiting the Blue Mountains.

South Australian Living Artists Festival 2017

August is a very exciting month in South Australia as creatives from all around the state come together to celebrate the South Australian Living Artist Festival. This year is the 20th anniversary of the event and its a big one with 660 free exhibitions showcasing the works of over 6000 local artists. 1  Every possible space is used to exhibit during SALA. From shop windows, cafes and galleries to wineries, aged care facilities and even a news agency just to name a few. The vibrant and accessible festival bridges the gap between the talented artists of South Australia and the general public which is great to see.

This year, I will be exhibiting my work in group shows at two of those venues: Zu Design, Adelaide and Naomi Schwartz Jewellery Design Gallery at Henley Beach.

Blackened and brushed silver Wallpaper Ring which is about to be displayed at Zu Design. Photograph courtesy of Perth Product Photography.

Blackened and brushed silver Wallpaper Ring which is about to be displayed at Zu Design. Photograph courtesy of Perth Product Photography.

For D'Angle It at Zu Design I will be displaying my Wallpaper range featuring hand cut silver lacework which I rivet to create wearable forms. The designs are inspired by the much loved gaudy wallpaper of my great grandmother's beach house in Inverloch, Victoria. When creating the designs for these pieces, I wanted to hint at the original pattern but remove the intense colours to symbolise the way in which memories fade and change over time.

Silver Wallpaper Bangle. Each of these pieces are meticulously hand cut, filed, sanded and riveted. No two are alike. Photograph courtesy of Perth Product Photography.

Silver Wallpaper Bangle. Each of these pieces are meticulously hand cut, filed, sanded and riveted. No two are alike. Photograph courtesy of Perth Product Photography.

For Naomi Schwartz's exhibition, The Ring Show, I will display my new range of engagement rings. The collection is a development of my Interlace range, however, I have swapped my usual go-to metal, silver, for 14ct gold and recycled diamonds. The rings look great individually or as a stack and can be purchased in either white or yellow gold. It will be great to see how the public responds to my new range.

New 14ct gold Interlace Engagement Rings which are off to Naomi Schwartz's gallery for The Ring Show opening next week.  

New 14ct gold Interlace Engagement Rings which are off to Naomi Schwartz's gallery for The Ring Show opening next week.  

If you are in Adelaide over the next month, head over to Zu Design from Friday the 4th of August or to Naomi Schwartz Jewellery Design Gallery from Wednesday the 9th of August to see the wonderful creativity  that South Australian jewellers have to offer.

 

1 https://www.salafestival.com/news/16/ (accessed 01/07/17)

Single Origin Rose Gold Ring - A Very Special Order

When it comes to custom orders, you never know who might call or what project a customer might have in mind. I was recently thrown one of these exciting jewellery curve balls by a lovely client who had named her son Tanami after the Australian desert. Located on the border of Western Australia and the Northern Territory, the vast Tanami desert is known for its iconic red dirt as well as its gold. My client loved the idea of presenting her son with a single origin Tanami gold ring in a rich rose colour to symbolise the landscape he was named after. The whole concept sounded like a wonderful challenge and so I got started.


As a jeweller, I use a variety of suppliers who mainly deal in recycled metals so knowing where to start to find gold from a specific region required a lot of detective work. Through my research, I found a few metal refining companies who source freshly mined gold from the Tanami. Unfortunately, they also purchase their gold from other mines to keep up with demand. During refining, the Tanami gold would probably be mixed with other gold from elsewhere and they couldn’t guarantee that it would be of single origin. 


I needed to take a step back in the supply chain and decided to contact the mines directly. Given that they don’t usually deal with jewellers or the public, they thought I was a little nuts and couldn’t really give me much information. I persevered for days and finally found a company who was willing to help me which was music to my ears. 


The time had come to start the project. I went to make my order at which point the company informed me that the entire mine was closing! Panic ensued but luckily I had a brainwave which saved the day… Gold nuggets! 

A handful of single origin Tanami gold nuggets.

A handful of single origin Tanami gold nuggets.

Now you may think I am crazy for melting down gold nuggets, given that their value as a specimen will often exceed their value in terms of gold content, however, I can assure you that no spectacular gold nuggets were harmed in the process of making this piece. After more research, I managed to find a hidden gem of a supplier, my new friend Wally. Wally had been fossicking for gold back in the 90’s and managed to find himself quite the collection which he released for sale from time to time. The stars must have aligned and at the very moment I was looking for a Tanami gold nugget, he was selling some.


Wally had an array of large gold nuggets for sale but I didn’t want to melt down such a beautiful specimen. I gave him a call and discovered that in his private collection he also had quite a few small nuggets which he would sometimes sell to metal refining companies around Australia. Finally, I had some single origin Tanami gold but what to do with it?

The best kind of certification!

The best kind of certification!


Australian nuggets are some of the most pure in the world but they still need to be refined to ensure that that the metal contains 99.9% fine gold which can then be alloyed. I couldn’t send them to my usual suppliers as they would mix it in with the rest of their gold, defeating the purpose of the whole exercise. I searched far and wide, finding an amazing company who agreed to help me by refining my gold individually. When their work was done, I was left with a lovely fine gold ingot which I then made into an elegant rose gold band.

My freshly melted Tanami gold ingot.

My freshly melted Tanami gold ingot.

The beautiful ring all clean with a matte finish.

The beautiful ring all clean with a matte finish.

My delightful customer received her beautiful ring and presented the keepsake to her son, Tanami. Finding single origin Tanami gold was a tricky but rewarding process. It taught me a lot about the origin of my materials and made me think about part of the jewellery making process that I had always taken for granted. I was so happy that the project came together in the end and was really honoured to be able to produce a custom ring which was so meaningful to my client.

 

Want to have your own bespoke piece of jewellery made? Contact me to make an appointment.

New Contemporary Jewellery Gallery Opens at Henley Beach

When I first visited Adelaide for a jewellery conference in 2008, I fell in love with the vibrant contemporary jewellery community and was surprised by the number of flourishing jewellery galleries located in such a small city. I was so impressed with South Australia’s support for the decorative arts that I decided to move to Adelaide in 2014. Upon arrival, I toured the same galleries I had once visited but was sad to see that contemporary jewellers Kath Inglis and Naomi Schwartz’s wonderful gallery, Soda and Rhyme, had since closed its doors.

Luckily, my disappointment was short lived and at the beginning of this year, Naomi left her home studio to begin another big adventure: to open up her own gallery and workshop in Henley Beach, just west of Adelaide.

A bright and inviting entrance into Naomi's new gallery. Photograph courtesy of  Craig Arnold .

A bright and inviting entrance into Naomi's new gallery. Photograph courtesy of Craig Arnold.

Given that most of the beaches I scour for plastic treasure are far off the beaten track, I am still getting around to visiting all the inner city beaches in Adelaide and Henley Beach was a first for me. Overlooking the ocean with a variety of excellent cafes and restaurants, Naomi has chosen a stunning location for a gallery and has worked really hard to create a working space which displays the hand crafted pieces beautifully. The space is light and airy, featuring jewellery from a variety of emerging and established South Australian artists (myself included) in elegant displays which she designed and made herself.

The gallery space is also a fully equipped workshop.  Naomi uses anticlastic raising, a specialist metalsmithing technique, to create stunningly organic jewellery. Photograph courtesy of  Craig Arnold .

The gallery space is also a fully equipped workshop.  Naomi uses anticlastic raising, a specialist metalsmithing technique, to create stunningly organic jewellery. Photograph courtesy of Craig Arnold.

Naomi's bench full of silver goodies. Photograph courtesy of  Craig Arnold

Naomi's bench full of silver goodies. Photograph courtesy of Craig Arnold

My sterling silver Microscope range is available for sale through Naomi's gallery. Each piece features a collection of tiny fresh water pearls which move freely behind a magnifying lens.

My sterling silver Microscope range is available for sale through Naomi's gallery. Each piece features a collection of tiny fresh water pearls which move freely behind a magnifying lens.

After years of decimated arts funding, cuts to arts education and a wave of contemporary jewellery galleries having to close their doors in Australia, it is both inspiring and reassuring to see artisans such as Naomi fighting back to keep Australian contemporary jewellery alive. It is such a courageous move and one which is sure to pay off. Well done Naomi!

 

Naomi Schwartz Jewellery Design Gallery
Shop 4A, 340 -352 Seaview Road
Henley Square Pavilion
Henley Beach SA 5022
www.naomischwartz.com.au
8235 2683

Don't Miss the Final Show at Gray Street Workshop - Up North by Claire McArdle

After many years at their Adelaide city site, the infamous Gray Street Workshop have decided to pull up stumps and move to Thebarton, just west of the city. Having offered the community a unique display of contemporary jewellery and object for the last 7 years, the dedicated team are taking a well-earned break from their busy exhibition program to focus on their own practices as well as an exciting residency program for interstate and international artists. The local contemporary jewellery community will greatly miss the wonderful gallery space. A rather large hole will be left in the Adelaide arts scene for a small, supportive, experimental craft-focused space who are open to both established and emerging exhibitors – one which I hope will be filled soon. 

The final show at Gray Street featured none other than Victorian artist, Claire McArdle. With 10 solo exhibitions under her belt, Claire has not let us down with this stunning show, Up North: a fantastic conclusion to the exhibition program. 

Up North responds to Claire’s month long residency at Textílsetur Íslands (The Icelandic Textile Centre) in Blönduós, Iceland; an unexpectedly small and isolated village. Unlike her fellow textile centre residents, she began her residency without preconceived ideas of her project, leaving room for exploration and experimentation. Claire embraced the unknown, responding directly to the fascinating scenery, wildlife, tradition and culture she saw before her. 

A sample of  some Claire's more elaborate Sheep Neckpieces and Brooches from her exhibition. Each piece was meticulously hand sewn with hand dyed Icelandic yarn.

A sample of  some Claire's more elaborate Sheep Neckpieces and Brooches from her exhibition. Each piece was meticulously hand sewn with hand dyed Icelandic yarn.

The exhibition was made up of several small series’ of work, each telling a poetic story of her experience. On the far wall of the gallery were a range of delicately placed sheep which she had hand stitched to form necklaces, brooches and bracelets. Positioned in threes, she emulated the sheep seen on her journeys who also traveled in groups of three: a mother and her twin babies.

Sheep Neckpieces travelling in threes.

Sheep Neckpieces travelling in threes.

Claire hand dyed every strand of Icelandic yarn she carefully threaded using local plants and other things she found along her travels. Meticulously recording her recipes as she went, Claire was highly innovative in her approach to the hand-dying process. From sunburst lichen, rhubarb roots and dandelion flowers to crowberries, yarrow and downy birch twigs, she created a sea of exquisite mustard, wheat and grey tones. The colour pallet created from these natural dies gave the pieces a beautiful earthy feel which helped me to imagine the stunning scenery she must have experienced during her travels.

Claire's beautiful display of naturally dyed Icelandic yarn.

Claire's beautiful display of naturally dyed Icelandic yarn.

In her other works Claire used minerals she crushed such a chrysoprase, malachite, rhodonite, red jasper and lapis lazuli to emulate the stunning Icelandic terrain. The central table of the gallery was covered in a series of hand raised, height adjustable mountains which she encrusted with these minerals. All of the pieces in the show surrounded the mountains, creating a landscape of memories within the intimate gallery space.

Mineral encrusted mountains.

Mineral encrusted mountains.

Close up of Claire's hand dyed and sewn 'Rapid Growth' Brooches.

Close up of Claire's hand dyed and sewn 'Rapid Growth' Brooches.

To tie the stunning works together, Claire displayed a pair of Icelandic Wolfish skin leather shoes. In Icelandic tradition, a journey is represented by how many pairs of fish leather shoes were worn through, for example, a one or two ‘fish skin journey,’ and so on. Claire displayed her delicate fish skin shoes on a bed of hand dyed sand to represent her ‘one fish skin journey,’ a rather poetic and meaningful touch to the magic she created within the gallery space.

'Coming Home,' the Icelandic Wolfish skin shoes that tied the show together.

'Coming Home,' the Icelandic Wolfish skin shoes that tied the show together.

I highly recommend visiting Claire McArdle's inspiring show and taking the chance to say goodbye to the Adelaide site of Gray Street Workshop. The gallery will be open from Friday to Sunday until the 25th of June, 2017. I wish the Gray Street girls success for their new adventure and hope that they enjoy the change of pace at their Thebarton studio.

The Ritual of Tea - JamFactory

If you plan to be in Adelaide anytime before the 4th of June, I highly recommend paying JamFactory a visit. They are currently holding a diverse group of exhibitions: Resolved: Journeys in Australian Design, which delves into the design process behind the works of twelve contemporary designers, NC4 Kick out the Jams which features the boundary pushing jewellery of the eleven artists from the renowned contemporary jewellery studio, Northcity4, and The Ritual of Tea, a show about…. well… the ritual of tea! 


I was really looking forward to seeing all of the shows, however, was most impressed by the exhibition I had heard the least about; The Ritual of Tea. Displayed in the front gallery, Collect, the exhibition featured works by artists Susan Frost, Studiokyss, Sylvia Nevistic, Ulrica Trulsson, Bruce Nuske, Sophia Nuske, Alison Jackson, Ghostwares and Yoko Ozawa

Sylvia Nevistic's stunningly handmade teaspoons. I love how she has carried intricate detail from the bowl of each spoon right up to the handle. Photograph courtesy of Anna Fenech.

What impressed me most about this particular show was each artist’s unique ability to perfectly balance outstanding craftsmanship with functionality and beautiful aesthetics. It was apparent that each artist had deeply considered the act of tea making and drinking while the curator had shown just as much consideration for the placement of the works. The display was simple, elegant and the show is definitely worth a visit.

Yoko Ozawa has used a subtle combination of matte and gloss glazes in her collection of black and white stoneware. These are some of my favorite pieces out of the whole show and my photographs do not do them justice.

I had the pleasure of meeting Alison Jackson when she had an exhibition at Gray Street Workshop last year. I have always been a fan of her playful use of traditional silversmithing techniques and love how she has combined silver with white acrylic in her teapot.

Exquisitely handmade Hendecagon Tea Canisters by Kenny Yong-soo Son from StudioKyss. Kenny has constructed these canisters with machine-like precision.

Ulrica Trulsson's porcellaneous stoneware canisters are perfectly balanced and look great as a collection. Ulrica is a talented craftsperson who is highly skilled at creating beautifully proportioned forms.

NC4 Kick out the Jams and Resolved: Journeys in Australian Design close on the 9th of July, 2017, however, if you want to catch all three shows, make sure you visit before the 4th of June 2017 as The Ritual of Tea has an earlier closing date

Karma & Crow Cafe and Studio Collective - A Change is as Good as a Holiday

This year has been super busy in the studio (Yay!) with orders for galleries, preparation for our show at Gray Street Workshop and commissions for customers. To add to the chaos, I spent January and February moving studios, which was such a hard decision to make, but one I am really happy with.

After two wonderful years at Gray Street which was filled fantastic memories and the support of good friends, I was seduced by the allure of a large teaching space, air-conditioning and my very own lockable door. 

At the front of the Karma and Crow Studio Collective we have a lovely workshop area that is available to hire for classes and meetings. Featured to the right is one of Ellie Kammer's beautiful paintings which I mention below. Photograph courtesy of Bianca Hoffrichter.

My new studio is light filled and spacious which is an absolute treat for me, given that my previous studios have been bursting at the seams with my hoard. Before I moved in, I wanted to ensure that I had heaps of storage space (to store the hoard, of course). I looked long and hard to find some excellent cupboards which I painted white with the help of my Mum who made a surprise visit from Perth. Thanks Mum! You never really realise how much it helps to have two people around until you try to paint and move furniture by yourself!

My studio on the right with my awesome new cupboard (found on gumtree) which has pegboard storage cupboards as well as a retractable solid wood bench top. Photograph courtesy of Bianca Hoffrichter. 

My workbench where all the magic (and madness) happens. The new studio space is divided into two halves by a ply wood wall. Photograph courtesy of Bianca Hoffrichter.

The studios back onto a superb new cafe which is a happy bonus for a caffeine addict. Run by two energetic creatives, Janie Kammer and Alana Crowe, the recently opened Café is already making waves in the local hospitality scene and is always packed full of punters, eager to get their daily caffeine fix.

And most importantly, the cafe, where all the crucial things are made, i.e. coffee!

I am now sharing with yet another talented and inspiring group of artists. Running the studios is Janie’s twin sister, painter, Ellie Kammer. Her beautifully graphic work is inspired by the suffering caused by living with endometriosis, a disease that effects the lives of many but is rarely spoken of. Jack Devereux is a talented up and coming artist who has an amazing ability to create depth with just a single drawn line. Bianca Hoffrichter is a photographer, artist and illustrator who is studying at the University of South Australia, has a passion for watercolour and is currently illustrating her first novel with intricate detail. Georgia Bailey is also studying Art at the University of South Australia has recently started up her own fashion jewellery brand working with leather, textiles and found shells to create her own wearable treasures. Lastly, Caitlin and Adam Thomas run their own tattoo studio. Caitlin’s beautiful tattoos are simple and playful, featuring the finest line work my untrained eye has ever seen while Adam’s complex illustrations are like a window into another world. I have never really thought about tattoos until now, but this blank canvas is certainly tempted by their talents!

I am so privileged to be able to create in a lovely new spot surrounded by such a great group of people. If you are interested in coming down to see my new space and what I am making, please email me to set up a time.

Plastic Soup Sculptures in the Making

Exhibiting at Gray Street Workshop has definitely been a highlight of my year so far and after receiving some wonderful feedback and selling a few pieces, the show wrapped up last week. In celebration, we had an artist get together to see where the show might go next and it looks like we might take it on tour, adding new pieces to the collection, which is really exciting.

Making works for exhibition is one of my favourite pastimes as there are fewer limitations on time and money compared to production work. This means I can go nuts on detail! It is also a much more creative way of working and I feel more freedom to address concepts that I care about such as the environment.

For Solastalgia, I really wanted to use the opportunity to develop my work further. I have been making wearable Plastic Soup pieces for some time now to explore and engage people with the issue of excess plastics circulating our oceans. The response has been really positive, however, I have observed people struggling with the tiny scale of the work. Given their intimate location on the body, some people have been too shy to approach the pieces whilst others miss them altogether. In response to this, I wanted to experiment by removing the pieces from the body and increasing their size to see whether larger sculptural works would be more successful in engaging my audience.

The increase in scale I wanted to achieve meant that silver was no longer a viable material as is too soft and tricky to work with at that size. I needed to find a metal which would stay rigid and was also able to be coloured black to give the pieces that seaweedy feel. I began experimenting with mild steel which can be blackened with white vinegar, a product which is good for the environment and can be reused as a cleaning product. It sounded like a win-win to me! Working with steel was an enjoyable challenge and a welcomed variation from my regular work with precious materials.

Experimenting.... My first attempt at welding mild steel.  

To construct the sculptures, I began cutting various lengths of steel and finished each end to a blunt point which gave them a geometric feel.

Many sticks to cut = very dirty hands.

I then welded steel sticks together in pairs, intersecting them with other pairs to let the pieces take shape. I added more and more sticks until the shapes were completed then began working on steel boxes which were to contain the plastic fragments. I decided to make them using a range of different shaped and sized steel tubes and discovered a real difference in the quality of welded steel tube compared to the usual silver products I have grown accustomed to. I cut each tube to size and spent days grinding down the messy seams to give them the finer finish I required.

A whole bunch of steel tube slices fresh off the Brobo. They are really sharp and messy looking.

So many hours work to clean these guys up, but the end product was definitely worth it.

So many hours work to clean these guys up, but the end product was definitely worth it.

I then hand cut the acrylic ‘windows’ and gently filed them down to fit perfectly within the tubes.

Each piece of acrylic is covered in tape to protect the surface and numbered so that I know which box they fit into. The acrylic has to fit the inside of the boxes perfectly so that they stay in place without glue.

Many sleepless nights and an injured shoulder later, the tubes were welded in place and finally, construction was complete.

All done! Yay!

When making jewellery and sculpture, finish is as important as construction. A beautifully constructed piece can be completely ruined if it is not finished well. I wanted to avoid this by giving my sculptures an even sandblasted finish which was then blackened and waxed.

A beautifully sandblasted surface. After this stage I make sure that the sculptures are handled with cotton gloves to avoid contamination before I blacken them.

Dipping the sculptures into boiling hot vinegar. Though I thought I measured enough before I began, unfortunately this one didn't quite fit and luckily I had some spare vinegar to top it up!

With only a day to spare I prepared a variety of plastic fragments I had collected earlier, and set them in place. Phew!

My favorite part of the process is choosing the plastic fragments to go inside each box. These plastic jewels were collected at West Beach and Aldinga Beach in South Australia.

The final piece all blackened and set with plastic jewels.

The response to the sculptural pieces was encouraging and my audience were much more inclined to approach the works to have a good look around at the colourful plastic treasure they contained. Even more interesting was their response to the related jewellery I wore after seeing the sculptures. They could see the relationship between the two and It really helped to open up a dialogue about the ‘Plastic Soup’ phenomenon which was my ultimate goal.

I wore one of my brooches to the opening night of Solastalgia and it lead to some great conversations about climate change. My audience seemed to have much more of an appreciation for the tiny brooch once they had seen the sculptures.

My First International Show

Ahh, 2016; a year that was meant to be filled with making product, releasing a bridal range and approaching a few more galleries around Australia to stock my work. As is usually the case, life had other plans and I had the honour of being invited to exhibit with a group of established South Australian Jewellers at a fantastic new space, San W Gallery, which has recently opened their doors in Pudong, China. How could I say no?

San W Gallery is an absolutely stunning space with a fully equipped teaching studio, specialising in jewellery, glass and ceramics. Their passionate founder, Yiwei Wu, has worked closely with South Australian craft and design association, Guild House, to ensure that the space is a world-class facility. 1

San W Gallery in Pudong, China. Image courtesy of San W Gallery.

The exhibition, Nature, featured eleven contemporary jewellers, Julie Blyfield, Catherine Buddle, Jess Dare, Christian Hall, Kath Inglis, Sue Lorraine, Leslie Matthews, Alice Potter, Regine Schwarzer, Lauren Simeoni and myself. Each artist was invited based on their creativity, innovativeness and craftsmanship and the work showed great variety in technique and style. 2

A new Plastic Soup Brooch I made for the show at San W Gallery

The gallery had some beautiful images taken of my exhibition pieces worn by a model. Image courtesy of San W Gallery.

I am also excited to report that after the success of the show, the gallery have asked to display a collection of my work in their retail space and soon to be launched online store. While I am supplying them with some of my original Interlace styles, I will also be releasing some new asymmetrical earrings. I think I will definitely be keeping a pair of these for myself!

Thanks to Yiwei, the San W Gallery and Guildhouse for a fantastic show!

My new Asymmetrical Interlace Earrings for San W Gallery

 

(1 http://guildhouse.org.au/projects/san-w-gallerystudio, accessed 04.04.2017)

(2 http://guildhouse.org.au/projects/nature-san-w-studio-jewellery-exhibition-pudong-shanghai-28-may, accessed 04.04.17)