My work is about following each piece and being intuitively
open to an unspoken dialogue that spans a breath of choices and unknown exit
points. My interest in memory is the makings of the complexities of a souvenir.
The moments captured with an object that creates a personal language. For me
being a jeweller is an artist that makes heterogeneous artefacts that confront
the real world, curated by movement of life that allows the work to be
witnessed in challenging surroundings. I see my work as an anthology of
objects, each being a unique incomplete tangible question that collects
personal provenance. What stimulates my work and research is the ongoing amassments
of stuff I collect and own. Obsessions happen without acknowledgement and my
inventory shows no boundaries to objects, just an attraction that I find it
hard to explain other than: we find each-other.

Wednesday, 30 March 2016

working drawings

So, a few people have contacted me asking about drawing. How important is it to my making? How do I use it within my practice? I have chosen very resent drawings to illustrate this. I tend not to overthink the act of drawing and use it to document thinking. My mark-making ranges from very quick lines to a build-up of collage surfaces. I add text a lot as instruction and annotation of material. I see my drawings as key points of developments as a process of planning thoughts and material investigations. I do not limit myself to a type of media and papers and surfaces are important for the translation of ideas. I usually work on loose pages so I can pin them in my work space then collect them to form a sketchbook.


quick drawings for using glass
material compositions and textures


surface, form and colour
pin ideas

Saturday, 26 March 2016

Personal Provenance

a project revisiting turning points of my creativity. making pieces that can act as collectors, adding and amassing sentimental objects. questioning ownership and transition of making and the importance of nominating from personal archives.

working from objects in jars. learning from and using.
experimental casting
badges to collect. as part of kits...
jar finds pins.

works in progress: material thinking.
elevating the mundane moments.

Tuesday, 8 March 2016

Bygone Stones

Bygone Stones are made to sit on your body as part of a treatment at different temperatures. to aid meditation and points of deep personal inquest.

Accidental Archives

Material Thinking

Sometimes, music boxes

Thursday, 3 December 2015

Object Keepers

"Remember, every object that is kept must have a keeper" Powell, R. 2005,

this quote for me trigger a thread of thinking, is it more important if the work is wearable making the object and the keeper in this relationship where one can not work without the other? and furthermore does the keeper need to know about the object being kept?
 cameos (the object and the witness)
sewn into the inside label of clothing to be donated to charity shops.

the safety of objects

experimenting with surface and the ideas of packaging this surface is a glue made from polystyrene.

Object Owners

a research tool asking participants to nominate an object that says something about their week with no annotation. this strengthened my research into the reading of objects and how this I a foundation to my working practice. these objects once documented were then wrapped in a copper skin and sent back out at random, creating a surface that could collect memory through degrade of materials.