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.

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)


Since moving to South Australia, I have been introduced to a local delicacy, the Balfours FrogCake, which is one of the sweetest, naughtiest cakes I have ever eaten. To celebrate this local treat and raise money for mental health research, ceramicists Klaus Gutowski and David Ellis Moseley asked a variety of artists to decorate a ceramic FrogCake blank in their own style to be exhibited at the 'Icon of South Australia' exhibition. Of course I jumped at the opportunity to work with something a little different whilst eating cake.

Paddy and I 'researching' the FrogCake.

Paddy and I 'researching' the FrogCake.

After a few false starts with materials that didn’t quite work out I managed to carve my interlacing pattern into the surface with some rusty, blunt lino cutting tools which I mistakenly acquired from school around thirteen years earlier. Not exactly the easiest choice, but sometimes desperate times call for desperate measures!

From the original blank to a lovely carved surface. I used washi tape to mask the pattern and actually quite liked it with the tape left on.

From the original blank to a lovely carved surface. I used washi tape to mask the pattern and actually quite liked it with the tape left on.

To bring out the carved surface and add a little jewellery shine to the piece, I painted my piece and added gold leaf to the surface. Between you and me, I preferred the piece before it was painted, however, the deed was done and I couldn't go back!

My completed FrogCake in situ at  Light Square Gallery  in Adelaide.

My completed FrogCake in situ at Light Square Gallery in Adelaide.