Handmade Jewellery which is Truly One of a Kind - Interlace Studs in the Making

When I first designed my range, Interlace Adornment, I wanted to create an edgy, paired back version of my Plastic Soup exhibition work while continuing to develop my focus on sustainability. Leaving the microplastics aside, the recycled silver collection challenges traditional ideas of jewellery while also being very wearable. I maintained the same asymmetrical, geometric aesthetic and still hand make each piece with no set composition, ensuring that very little metal goes to waste. No two pieces are exactly alike meaning that when you purchase a pair of Interlace Studs they are very much your own.


To make a pair of Interlace studs, I begin by straightening my 2mm recycled silver wire which I then sand and cut into a variety of lengths. I always cut more pieces than I need to give me many options choose from when it comes to constructing the perfect shape. Nothing hinders my ability to create a masterpiece more than running out of sticks.

I begin the process by preparing a collection of tiny silver sticks.

After the lengths of silver are cut, I use a special tool, called a mitering jig, to hold them in place and file each end flat. I remove any excess metal and add them to the pile.

I then give the sticks a refined, geometric look by filing each end perfectly flat.

Once I have a good collection of silver sticks in different lengths, I move over to my soldering bench where the creative part of the process begins. I place the sticks together and the intersecting pairs are fluxed and soldered. I then progressively add more lengths of interlacing silver, positioning them at different angles all the while trying to create balance within each tiny composition. When soldering the lengths of silver, I have to be really careful not to overheat the piece as too much heat usually results in the surface tension of the melted solder pulling all the sticks together into an unsightly clump which means I have to start the piece again. 


The stud shapes are now complete and I choose a surface to attach the post onto, carefully attach it using a solder, then construction is complete.

A much faster version of the soldering process. This is my favourite part as I get to be creative while playing with fire.

After a good long soak in a mild citric acid solution to remove any remaining flux and oxide from soldering, the studs are ready to be cleaned and polished. I meticulously study each one, filing off excess solder and removing all imperfections. They are sanded to remove all file marks and then placed in a tumbler to give the silver a beautiful homogeneous, matte finish.

The final and most labour intensive part of the process is filing and sanding the studs. Though it is a long process, I use the opportunity to catch up on Netflix and podcasts. That's my kind of multitasking!

From there I look at all of the studs and select pairs from the group. Each individual earring I make is unique but I try to pair them to complement each other aesthetically. 

Depending on the piece, I either choose to oxidise the finished earrings, giving them a semi-permanent rich, black surface coating, or leave them with a brushed silver finish. I can never decide which finish I prefer and so I have pinched a pair of each!

Interlace Studs ready to go. No two pairs are exactly alike.

Interlace Studs ready to go. No two pairs are exactly alike.

You can purchase your very own pair of recycled silver Interlace Studs through my Online Shop. They are most certainly made with love.

Collecting Microplastics in Western Australia

After over a year between visits I recently made the trip home to Western Australia for my childhood friend’s wedding as well as my grandmother’s 80th Birthday. I love living in Adelaide and am truly grateful for all the opportunities it has to offer as well as the fantastic friends I have made but gee it’s nice to go home sometimes! It’s great to catch up with everyone and spend time in the place where my love affair with beach combing began. I feel so connected to the environment in WA and when I am home, I always make an effort to travel down to my favourite beaches to take the dog (and usually some unsuspecting friend or relative) for a walk to comb the shore line for plastic gems. 

Collecting micro plastic for my exhibition pieces always leaves me with contradicting emotions. On the one hand, the process of searching through the sand in front of the beautiful ocean is peaceful and meditative. It is like a never ending treasure hunt where there is always something new to discover and I am absolutely elated when I find my next precious plastic jewel. I love the way the ocean wears the pieces of plastic beyond recognition, leaving only a trace of the original item. On the other hand, I am horrified that these tiny fragments of plastic are being ingested by beautiful sea creatures and destroying the ocean with toxic chemicals as they break down. 

A handful of toxic treasures. I have a love/hate relationship with the beautifully weathered microplastics I collect along the shoreline.

A handful of toxic treasures. I have a love/hate relationship with the beautifully weathered microplastics I collect along the shoreline.

My home town is Fremantle and given our close proximity to the busy port, I never have to search too far to find a whole bunch of junk washed up on the beach. In my local area, the best beach for plastics is Port Beach, just north of the Swan River mouth. Around this time of year, seaweed lines the shores and invariably, under ever single clump, lies a trove of deadly treasure. 

Port Beach, just north of Fremantle, Western Australia, just after sunset. It is a beautiful, quiet beach which is constantly choked by discarded plastics.

Port Beach, just north of Fremantle, Western Australia, just after sunset. It is a beautiful, quiet beach which is constantly choked by discarded plastics.

When I collect, I first scour the surface as I walk, removing the larger items that I see. It is not often that I keep this part of the collection as it mainly consists of discarded water bottles, take away cups, lost sunglasses and thongs (flip flops for those in the UK), or used dog poo bags. Yuck! I collect it all up, discard the dog poo bags and take the rest with me to sort and recycle at home rather than using the beach bins which go straight to landfill. From there I get down onto the sand, inevitably doing several hundred squats and lunges, lifting each mound of seaweed to reveal tiny fragments of plastic as I go. I scour through the seaweed, pray to the gods that a dog hasn’t marked its territory on each mound, then collect my precious bounty.

Port Beach in North Fremantle, Western Australia, is regretably one of the best beaches to collect microplastics that I have found so far. Each clump of seaweed hides an abundance of deadly plastic jewels.

After many hours spent gathering plastics and removing whatever nasty rubbish I can, I go home to clean and sort the collection. I remove and recycle the large pieces I don’t need, then wash the plastic fragments using water and a sieve. I dry the fragments and sort them into different containers depending on size. The large pieces which are interesting enough to avoid the recycling bin are kept aside. I often like the look of these bits as they are more recognisable than their smaller plastic friends, however, have yet to release a range large enough to accommodate them, so into the studio hoard they go. Small plastics range from around 5mm – 15mm and are kept for my Plastic Soup Sculptures. Microplastics, which range from 0.1mm to 5mm and are the most time consuming to find and most deadly to marine creatures as they are often mistaken for a tasty treat. These tiny specks are sorted into colour and reserved for Plastic Soup jewellery.

A handful of microplastics found at Port Beach, North Fremantle. Each piece is unique, deceptively beautiful and the perfect size for my  Plastic Soup  Adornment.

A handful of microplastics found at Port Beach, North Fremantle. Each piece is unique, deceptively beautiful and the perfect size for my Plastic Soup Adornment.

My Plastic Soup Sculptures and Adornment house only a minute proportion of the devastating quantities of plastic choking our oceans and shorelines. Given the drastic consequences our waste has on these fragile ecosystems, it seems crazy that we aren’t doing more. It’s easy to feel overwhelmed by the thought of tackling the world’s plastic issues but if everyone did their bit by rejecting single use plastic, using a bin and removing just a few pieces of rubbish when they went to the beach we could really start to make some improvements. 

A close up of one of my  Plastic Soup  brooches containing a tiny portion of the microplastics I found while beachcombing around the Western and South Australian coastline. Photograph courtesy of  Bianca Hoffrichter .

A close up of one of my Plastic Soup brooches containing a tiny portion of the microplastics I found while beachcombing around the Western and South Australian coastline. Photograph courtesy of Bianca Hoffrichter.

For more information on how you can make a difference, visit the fabulous crew at Take 3 on their website or @take3forthesea on Instagram. Originating in Sydney, Australia, Take 3 have started a wonderful community of likeminded beach combers from around the world who are doing their bit for our oceans and documenting it along the way.

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.

Our Show is on the Move

After the success of Solastalgia, the exhibition we held at Gray Street Workshop earlier this year, our small group of environmentally inspired artists have decided to take our show on the road. Up next the exhibition will tour to the beautiful Murray Bridge Regional Gallery, South Australia, where it will run from Friday the 1st of September, 2017, to Sunday the 15th of October 2017.

To keep the show fresh, each artist will be adding to their initial collection and we will also be encouraging a select group of regional artists to respond to their experience of climate change. For this leg of the tour, Lesa Farrant has made a collection of plant specimens from debris found along her local coastline, Jo Wilmot has developed some photographic works to contextualise her porcelain installation and I have added a range of Plastic Soup wearables to accompany my sculptures.

Lesa Farrant's beautiful porcelain 'Lycium Ferocissimum' recently shown at our Gray Street Workshop Show.

Lesa Farrant's beautiful porcelain 'Lycium Ferocissimum' recently shown at our Gray Street Workshop Show.

One of Lesa's new pieces, 'Brown Algae 1,' made from plastics and other detritus found along the coastline. Photograph courtesy of Heidi Wolff.

One of Lesa's new pieces, 'Brown Algae 1,' made from plastics and other detritus found along the coastline. Photograph courtesy of Heidi Wolff.

Jo Wilmot's wall installation, 'Last Chance to See,' from our last show. Photograph courtesy of the artist.

Jo Wilmot's wall installation, 'Last Chance to See,' from our last show. Photograph courtesy of the artist.

One of Jo's beautiful photographic works which will be displayed alongside her original collection.

One of Jo's beautiful photographic works which will be displayed alongside her original collection.

A close up of my 'Plastic Soup' Sculpture from the original show. Photograph courtesy of Jo Wilmot.

A close up of my 'Plastic Soup' Sculpture from the original show. Photograph courtesy of Jo Wilmot.

Some 'Plastic Soup' jewels will be accompanying my sculptures at the Murray Bridge Regional Gallery Show. Photograph courtesy of  Perth Product Photography .

Some 'Plastic Soup' jewels will be accompanying my sculptures at the Murray Bridge Regional Gallery Show. Photograph courtesy of Perth Product Photography.

For more information about the show and the tour, you can head over to the Murray Bridge Regional Gallery's website or keep an eye on my news feed.

Private Jewellery Classes @ Karma & Crow Studio Collective

Good news, Adelaide friends! As of this week, I will be running one on one jewellery classes from my studio in Richmond. I will teach you a range of different skills such as how to design, beginner to advanced soldering, filing, sanding, riveting and basic stone setting just to name a few. Whether you are an absolute beginner or an experienced maker wanting to brush up on your skills, contact me to arrange your first class.

Private Jewellery Tuition Flyer.jpg

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)

Solastalgia at Gray Street Workshop

I was approached recently by contemporary jeweller and emerging curator, Jo Wilmot, to be in a group exhibition with the theme of climate change. Given how close the theme is to both my heart and work, I naturally jumped at the chance. Together with jo, contemporary jeweller, Leonie Westbrook and contemporary ceramicist, Lesa Farrant, we began working on a collection to be displayed at the intimate gallery space at Gray Street Workshop.

The exhibition with my work at the front, Leonie's to the left and Jo's to the right. Photograph courtesy of Catherine Truman.

After much contemplation, we agreed on a name for the show, Solastalgia, a term developed by Australian philosopher Glenn Albrecht. “The word describes a form of psychic or existential distress caused by environmental change, such as mining or climate change... people exposed to environmental change experienced negative affects that are exacerbated by a sense of powerlessness or lack of control as the change occurs” 1 The term described perfectly the feeling of unease we all had in response to climate change, giving us a language to describe the distress we face given our current environmental situation.

Lesa Farrant's wall pieces with one of my sculptures tucked in there. Photograph courtesy of Leonie Westbrook.

Though we all started with a similar concept, it was inspiring to see how each artist approached the theme; applying their own skill, personal experience and passion for the issue.

Leonie Westbrook worked with a variety of materials, some discarded and others that she struggled to give away. During her research, Leonie discovered a rather concerning trend of people selling faux beach treasure which she was appalled by considering the abundance of rubbish already circulating our oceans. Her work for our show experimented with how domestic items could be reused and transformed. The results were subtle and beautiful.

Leonie Westbrook's beautiful installation. Photograph courtesy of Jo Wilmot.

Lesa Farrant spent her days combing her local beaches for plastic treasure, organic forms, noxious weeds and other items which had been introduced to the coastline. She then slip cast her bounty in delicate white porcelain, transforming what was once a pile of rubbish into stunning hybrid compositions.

One of Lesa Farrant's amazing porcelain compositions. Photograph courtesy of Catherine Truman.

Jo Wilmot collected impressions of sponges and seaweeds such as bull kelp, casting them in dark ‘oil slick black’ porcelain. Jo has been deeply troubled by the state of our oceans due to rising sea temperatures and used black to symbolise the resulted deadening of such beautiful lifeforms. She then set them within handmade brass ‘exhaust pipes.’ The pieces are magnificent and thought provoking.

Jo Wilmot's 'oil slick black' porcelain and brass looked striking against a freshly painted black wall. Photograph courtesy of Jo Wilmot.

I too spent time combing my local beaches and further explored the idea of how to display the deadly jewel-like plastics which are circulating our oceans. I used this opportunity to increase the scale of my pieces resulting in a tangle of steel seaweed and plastic which cast the most beautiful of shadows.

A close up of one of my steel and beach plastic sculptures. Photograph courtesy of  Jo Wilmot.

A close up of one of my steel and beach plastic sculptures. Photograph courtesy of Jo Wilmot.

The show opened at Gray Street Workshop, Adelaide, on Thursday the 30th of March, 2017, and closes on the 7th of May, 2017

.Follow the Solastalgia girls on Instagram to see works in progress and our future plans for the show @solastalgiaexhibition

 

1 https://www.nla.gov.au/content/solastalgia-extreme-weather-and-the-writer-s-role-in-a-climate-changed (accessed 25/04/17)

It's Always Darkest Just Before Dawn - Sim Luttin

The partners at Gray Street Workshop regularly host contemporary jewellery exhibitions in their gallery, a fabulous perk of being a tenant there. Every couple of months I get to see new and exciting creative wonders without even leaving the studio! This month’s show is the gorgeous Sim Luttin’s ‘It’s always darkest just before dawn,’ which I was very excited about having been a fan of her work for some time.

I was lucky enough to have a bench visit from Sim and she even bought a pair of my earrings to wear to her opening which made my day.

Sim’s stunning show features a combination of intimate time based photographic investigations which have informed her collection of contemporary jewellery. She explores the notion of how handmade objects exist in world that is consumed by online interactions. The work is a sincere and beautiful depiction of her life and the constant battle with authenticity in highly audited digital climate.

Sim Luttin, Print: Souvenir Series, 2015. Inkjet print, archival Hahnemuhle rag. Dimensions 49mm x 12mm x 74mm. Photographed by Andrew Barcham. Reproduced with permission of artist.

Sim Luttin, Print: Souvenir Series, 2015. Inkjet print, archival Hahnemuhle rag. Dimensions 49mm x 12mm x 74mm. Photographed by Andrew Barcham. Reproduced with permission of artist.

Sim Luttin, Moment #1, 2015. Silver, glass, digital photo on archival paper, 18 carat yellow gold, steel; oxidised. Dimensions 45mm x 32mm. Photographed by Andrew Barcham. Reproduced with permission of artist.

Sim Luttin, Moment #1, 2015. Silver, glass, digital photo on archival paper, 18 carat yellow gold, steel; oxidised. Dimensions 45mm x 32mm. Photographed by Andrew Barcham. Reproduced with permission of artist.

Sim Luttin, Enclosed #1, 2015. Sterling silver, nylon coated stainless steel thread; oxidised. Dimensions 220mm x 15mm. Photographed by Andrew Barcham. Reproduced with permission of artist.

Sim Luttin, Enclosed #1, 2015. Sterling silver, nylon coated stainless steel thread; oxidised. Dimensions 220mm x 15mm. Photographed by Andrew Barcham. Reproduced with permission of artist.

Sim Luttin, Moment of Truth Rings, 2015. Silver, glass, digital photo on archival paper; oxidised. Dimensions unknown. Photographed by Andrew Barcham. Reproduced with permission of artist.

Sim Luttin, Moment of Truth Rings, 2015. Silver, glass, digital photo on archival paper; oxidised. Dimensions unknown. Photographed by Andrew Barcham. Reproduced with permission of artist.

Sim Luttin, Installation, Gray Street Workshop, 2015. Photographed by Artist. Reproduced with permission of artist.

Sim Luttin, Installation, Gray Street Workshop, 2015. Photographed by Artist. Reproduced with permission of artist.

There is still time to catch the show at Gray Street this weekend. It is a must if you are in Adelaide.