I have been fascinated by the natural world since my early childhood and rest in awe over the infinite combinations of form, structure, texture and colour that it has created over millions of years of evolution. In my work, I abstract nature and seek to communicate brief impressions of what I have observed and encountered. Working from large and small-scale drawings and sketches made from life (zoos, museums, aquariums, botanical gardens) I continually collect visual information about nature’s forms, structures, surfaces, textures and colours (including via digital macrophotography) and “translate” the elements that most inspire me, into tiny, paper sculpture-like models, before finally moving on to constructing the final piece in precious metals. A great deal of what I make today is still in part based on childhood memories but I continue to collect visual information directly from nature even today. Much of my work is made up of moveable elements, which shake and vibrate on pins as the body moves. My work is intended to be worn, (as well as exhibited) because whilst always aiming to be visually stimulating and aesthetically exciting it is also the tactile qualities of jewellery that make this art form so appealing; ultimately it is the interaction of the wearer with the work which truly brings the piece to life and this, for me is what might be considered to complete it’s function.

Although my training initially began with more of an emphasis on design, I am increasingly passionate about the power of the craft process as a means to express artistic ideas and concepts in the applied arts. Unfortunately technical ability is being increasingly shunned in many areas leading to a shift away from the craft process in favour of concept exclusively or design alone. I would like to think that concept in itself is merely a part of the creative process but also strongly believe that technique in isolation is not what produces valid one-of-a-kind works of art or future collector’s items.

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