ABOUT
Grounded in the fundamentals of traditional silversmithing, my work emerges from a conceptual base, a fascination with form and a love of adornment. I use curves, textures and simple geometric shapes to create modernist jewellery. Small three-dimensional forms with a lineage back to mid-century design and informed by a minimalist aesthetic. From my small collection pieces to larger, single gallery works, everything is crafted lovingly by hand.
The labour-intensive process of making jewellery spans long days and late nights. Starting with a flat sheet of silver or gold, I use fabrication and traditional forging techniques to bend and shape the metal. Fabrication is a waning art form, as increasingly sophisticated casting processes allow for mass-produced items. But I value the way fabrication allows for the hollow construction of a piece – with respect for tradition and forward-thinking experimentation, fabrication will always remain an essential process in my work.
In line with the famous words of architect Frank Lloyd Wright - ‘Form follows function’. As a design principle, my primary goal is to be as technically proficient as possible. It is difficult to argue with a beautifully made piece of work.
I believe in the integrity of each piece and in elegant, honest design that is reflective of its time and place. In our busy lives, I think jewellery can offer something small, intimate and playful to counteract the noise and clutter. I often add a hidden detail on the back of my pieces – a secret exchange between the adorner and the adorned. Contemporary jewellery lends itself so beautifully to small, wearable pieces of art. It is the detail that reminds the wearer the piece was handmade by an artisan.
Location too, impacts a maker. My two workshops – one in Dunedin city and one on a farm in the remote Catlins – inform the jewellery in subtle and not-so-subtle ways. Being part of the city connects me to the gallery world, while long weekends on the farm reset my perceptions and therefore the design possibilities. Easy relocation suits jewellery. It is inherently portable and can be made from anywhere with a limited number of tools. Left-over metal gets melted down and reformed into new work, so it truly is a forever sustainable cycle.