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.

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.

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.

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)

The Eternity Band Remake

Since working for a jeweller I have seen many old and sometimes neglected wedding rings come through the door to be repaired. Years of everyday wear tend to reduce protruding details of the pieces such as claws and delicate filigree.

Unfortunately for my lovely mum, her fifteen year old eternity band was in a bit of a state as hand making ceramics is not all that compatible with her desire to wear fine jewellery. Clay is a dusty material and the tiny little particles seemed to be wearing away at the surface of her glasses and her jewellery at a fast rate. Luckily I was up to the challenge of repairing the jewellery but maybe not the glasses.

The piece came to me missing diamonds and slightly squished. On closer inspection with a jeweller’s loupe, my jewellery friend Kristy and I were astonished to see that even though it was bought as a new ring, it had already been reshanked (a new band had been attached) and was falling apart so badly that it wouldn't have lasted much longer.

I had two options with this piece; I could try to salvage the remaining ring that, given the state of it, would probably still fall apart later or remake the whole thing to the same design. Considering that she works with her hands so much, Mum decided that she would have the ring remade using slightly thicker gold to make it more durable.

I wasn't sure how good the quality of the original gold would be, so I decided to make the piece out of new gold, using the old ring as a reference. I rolled down a piece for the shank and hand pierced the pattern. As suspected, the original ring snapped apart with no pressure at all. Lucky she asked me to fix it when she did!

I wasn't sure how good the quality of the original gold would be, so I decided to make the piece out of new gold, using the old ring as a reference. I rolled down a piece for the shank and hand pierced the pattern. As suspected, the original ring snapped apart with no pressure at all. Lucky she asked me to fix it when she did!

I had to source some beautiful rose cut diamonds to replace the ones which were missing and remove the rest from the existing ring. I then prepared the setting and soldered it together.

I had to source some beautiful rose cut diamonds to replace the ones which were missing and remove the rest from the existing ring. I then prepared the setting and soldered it together.

I set the diamonds and hand carved the band.

I set the diamonds and hand carved the band.

Then finished polishing it and set the ruby. Its not a bad match!

Then finished polishing it and set the ruby. Its not a bad match!

All shiny and finished!

All shiny and finished!

Calling All Makers

My lovely studio, Gray Street Workshop, are now accepting proposals for their 2016 Exhibition program. The girls recently celebrated their 30th year of running the space and the gallery is the perfect size for small object and jewellery.

In 2015 they hosted some fabulous artists for solo shows such as Sim Lutton and Erin Keys and had a fantastic International group show featuring artists from New Zealand, curated by my fellow studio tenant , Lisa Furno.

All the details are on their Facebook page and their contacts are listed on their website, www.graystreetworkshop.com if you have any questions. Applications close midnight Sunday the 21st of February, 2016 so get onto it people!

Opening night of  Lisa Furno's  awesome show in October 2015.

Opening night of Lisa Furno's awesome show in October 2015.

Michael's Wedding Ring

After twenty years of service and three years of it cutting his finger, my Step Father, Michael, decided to finally bite the bullet and have his wedding ring refurbished. Though it looked beautiful and ornate to begin with, the 9ct gold ‘rope’ inlay on Michael’s original ring wore away over time and would regularly come apart leaving sharp bits of metal exposed.

Normally, a much easier and more economical way to go about fixing a ring like this would be to remelt it and start again with a less fragile design. In Michael’s case though, the ring had an important and sentimental message engraved inside that he wanted to keep. The solution? A technique that I have been known to have had bad dreams about: the gold inlay.

The original ring complete with engraving and sharp bit of gold 'rope' sticking out

The original ring complete with engraving and sharp bit of gold 'rope' sticking out

To start with I had to remove the original 'rope' inlay. Luckily not all of it was soldered down so I was able to pull it apart with pliers

To start with I had to remove the original 'rope' inlay. Luckily not all of it was soldered down so I was able to pull it apart with pliers

The bits that were soldered down needed to be completely filed away, leaving the very thin engraved ring underneath

The bits that were soldered down needed to be completely filed away, leaving the very thin engraved ring underneath

I then made a half round ring that fit perfectly into the channel of the original ring

I then made a half round ring that fit perfectly into the channel of the original ring

I soldered the two together ensuring that there were no holes in the solder then filed away excess once it was cooled.

I soldered the two together ensuring that there were no holes in the solder then filed away excess once it was cooled.

I then sanded and polished the ring. It was offensively shiny which isn't really Michael's style (or mine!!) so I masked the ring off and dulled the inlay down to a slightly matte finish while leaving the edges polished. Much better!

I then sanded and polished the ring. It was offensively shiny which isn't really Michael's style (or mine!!) so I masked the ring off and dulled the inlay down to a slightly matte finish while leaving the edges polished. Much better!

The finished ring all ready for sending. Now that has been refurbished, he should get at least another 20 years out of it.

The finished ring all ready for sending. Now that has been refurbished, he should get at least another 20 years out of it.

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.

Gray Street Workshop

I had some great news recently that I have been accepted to become a tenant at Gray Street Workshop in Adelaide with partners Catherine Truman, Sue Lorraine and Jess Dare and fellow tenants Nadja Maher, Lisa Furno and Kelly Jonasson.

Gray Street Workshop ... Not actually in Gray Street anymore, just to be confusing.

Gray Street Workshop... Not actually in Gray Street anymore, just to be confusing.

Given that my equipment has been packed into Paddy's car since I moved out of the JamFactory and I have been emailing, blogging, Instagramming and carving FrogCakes on my very uncomfortable couch for a few months now, I jumped at the chance of moving in as soon as humanly possible.

My Cosy little space.

My Cosy little space.

So far, everyone has been really welcoming and the place has been busy with their 30 year anniversary celebrations. In only the first two weeks that I was there, we had an exhibition opening of the Partners' experimental work as well as four movie nights curated by a favorite contemporary maker of mine, Sim Luttin.

My new  profile  picture for the Gray Street Website taken by the lovely Catherine Truman. I believe I am getting excited about plastic.

My new profile picture for the Gray Street Website taken by the lovely Catherine Truman. I believe I am getting excited about plastic.

I have also spent the last few months in manufacturing overdrive, trying to catch up with orders so that the fun stuff can begin. Stay tuned!