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.