Helen's Bespoke Remodelling Story

Bespoke 18ct gold and 0.25ct diamond “Basalt” ring made using Helen’s own recycled materials from an old ring.

I really enjoyed transforming Helen’s 18ct gold ring into a customised version of one of my “Basalt” rings. The rocky textures are inspired by my experience of Vik Beach in Iceland and the huge columns of basalt rock formations. This hand carved texture provides a raw beauty to contrast the classic 0.25ct white round brilliant diamond to create a new ring that felt edgier and more exciting for her to wear everyday.

“It had a nice diamond and was 18 carat gold but I really felt I wanted to make more of a creative statement with that piece.” - Helen

Here is Helen’s experience in her own words;

“I am always keen to reuse and recycle. I only have a few good pieces of jewellery, but my tastes have changed over the 30+ years I’ve owned them and so I felt it might be time to give one a new lease on life.

I approached Jade to see if we could do anything with a diamond ring which had a very simple design and I wore often.  It had a nice diamond and was 18 carat gold but I really felt I wanted to make more of a creative statement with that piece. 

We discussed whether it was possible and I returned a few weeks later with the ring and we looked at some design ideas and came up with the piece I now have.”

“It was such a pleasure to work with Jade and also to know that I didn’t have to part with my old favourite or leave it sitting to gather dust in a drawer.  That it would continue to be worn and loved.

The final piece is fantastic and I am really enjoying wearing it.  I have had lots of comments on my “new” ring and I always take pleasure in telling people that it is actually the same ring, just remodelled.” - Helen

If you are interested in learning more about remodelling, or comissioning a special piece just get in touch: info@jademellor.com.

The Wallace Collection - Museum Inspired Jewellery

The Wallace Collection Museum in London

A jewellery designer’s research visit to one of London’s hidden gems.

The Wallace Collection set in this beautiful Townhouse in central London © The Wallace Collection

What’s ON at the Wallace Collection? 

The Wallace Collection is a free museum in London set in a leafy square throughout Hertford House, the opulent mansion of the Seymour family, Marquesses of Hertford. 

It is free to visit, and there is often a temporary exhibition which you can buy tickets for if you wish, although there’s plenty to see already.

When I visited I also went to see the Wallace Collection’s exhibition of Henry Moore’s Helmet Heads, which was excellent, but more on that in another post coming soon (you can sign up my mailing list to know when it’s published).

The decadence of the Wallace Collection may rub off on you, but all that admiring is thirsty work… © The Wallace Collection

How to get to the Wallace Collection

On this visit I had arranged to meet up with some family who were getting the train to London from Chester and coming from Euston station. I was worried about how to find the Wallace Collection, as I was temporarily without a phone for a few days and no Google maps! But the museum was easy to find being only a short walk from Oxford Circus tube, or Bond Street. My family also only had a short journey from London Euston as you can walk to the museum in just under half an hour or hop on a bus or tube if the weather isn’t so nice.

I really recommend the Wallace Collection as a great place to spend a peaceful afternoon alone or visit with friends and family. The variety of art, interiors and armour collection allows you to each wander off into your favourite areas and meet in their beautiful cafe for some refreshments to share what you found. 

What can you see at the Wallace Collection?

The free to visit collection contains exquisite porcelain, furniture, armour, sculpture and paintings. Many of the artworks are world famous including the portrait known as “The Laughing Cavalier” by the Dutch Golden Age painter Frans Hals. Described as "one of the most brilliant of all Baroque portraits", there are countless gems such as these and you will discover old and new favourites of your own when you visit.

There are some beautiful pieces of jewellery at The Wallace Collection, fine examples of historical craftsmanship like this enamel piece; ‘The Incredulity of St Thomas’ pendant (19th century) © The Wallace Collection

‘The Laughing Cavalier” by the Dutch Golden Age painter Frans Hals © The Wallace Collection

The Wallace Collection is renowned for its armour. There are even matching outfits for you and your battle unicorn © The Wallace Collection

Who was Wallace of the Wallace Collection?

A generous & sensitive curator

The Wallace Collection Museum is named after Sir Richard Wallace, who built the extensive collection, along with the Marquesses of Hertford, in the 18th and 19th centuries. The collection contains exquisite porcelain, furniture, armour, sculpture and paintings. Little is known about Sir Richard considering the legacy his donation left behind. However the Wallace Collection curated a special exhibition in 2018 celebrating the 200th birthday of their founder where they shared more insights into his life story. “The supposed illegitimate son of the Fourth Marquess of Hertford, Sir Richard Wallace unexpectedly inherited the Marquess’s dazzling collection of art, an act which was to change the direction of his own life and that of the masterpieces in his care.” The Wallace Collection 2018.

Wallace has been described as a sensitive curator of the objects he collected and he generously left them all to the British Nation in 1897. Known as one of the greatest gifts of art works ever to be transferred into public ownership, these pieces are carefully looked after to be enjoyed by visitors for generations to come. I am so grateful for our free museums, they are my greatest resource for inspiring my jewellery and artwork and I find myself so content whenever I am visiting one, my happy place!

Sir Richard Wallace, image courtesy of The Wallace Collection

Highlights of the Wallace collection

Armour

For this visit to the Wallace Collection I wanted to concentrate on their famous armoury collection. Featuring armour, weaponry and its ephemera from all over the world, the diverse collection covers hundreds of years as examples of the incredible craftsmanship of historical metal workers.

I was reminded of my research into the plastron - worn to protect the chest in fencing and I made some neck pieces inspired by them during my degree in 3D design at Manchester School of Art back in 2009.

The suits of armour are still intimidating hundreds of years on. The most impressive were probably those made for horses going into battle, complete with helmets shaped to fit their equine lines.

From my own experience as a jeweller I really appreciated the technical skill and intense labour required to make these huge pieces of equipment. These metal suits were intended to protect the wearer as their main function, but they all had their own style and decorative details making them very beautiful too. This was playing to metal’s strengths: metal is associated with being hard, durable, strong, cold, masculine. But in the world of jewellery or silversmithing I find our goal is often to make this cold, hard material transform into something warm, soft, enticing and comfortable to wear.

Chain mail - metal made flexible

Looking at the chain-mail in the Wallace Collection I found more of these softer, fluid qualities and they had plenty of examples. The material still had metals strength but was flexible, moving and shaping to the contours of the body. My favourite parts were the fraying edges, appearing more like textiles.

Armour in Nature

On my quest for these organic, imperfect qualities, I began to think of armour in nature. There were already several shapes in the armour collection that reminded me of the insect world. I had long been a fan of the amazing caddis fly and its clever larvae which build their own protective cases. The caddis gathers natural materials for their strength such as shells, pebbles and twigs to protect them in their vulnerable state. They use their own waterproof silk to bind and line the case’s interior to be smooth and comfortable for their soft bodies. This was the perfect combination of strength and delicacy I want to wear as jewellery in my everyday life. Protective jewellery that has an organic strength, yet provides the softness and comfort of a bespoke silk lined cocoon.

Photo from The Natural History Museum

Wearing one of my museum inspired caddis rings

Caddis cases

So, this is how I reignited my passion with the caddis to explain my current obsession and maybe a little insight into how my mind works!

You can read more about my research at the Natural History museum here.

The Caddisfly - Nature's Architect

Caddisfly larvae make their cases using natural materials they gather around them in their habitat.

What is a Caddisfly?

The caddisfly is a clever creature from the insect order Trichoptera. The adults are moth-like, but it’s their aquatic larvae which are famous for the protective homes they build themselves while in their vulnerable state. They are also known as sedge-flies, rail-flies or “rock rollers” describing their tumbling tubes when they are found in their cases.

Adult Caddisfly

Caddis case protecting the soft vulnerable body of the larvae allowing it to feed more safely.

Caddisflies have been around for at least 250 Million years proven by the finding of fossils in rocks dating back to the Triassic period. There are around 200 different caddisfly species in Britain alone. They are found today all over the world in lakes, ponds, rivers, streams and other bodies of freshwater. There is also a land caddis, which lives in the damp litter of the woodland floor which can be found in oak woods around Worcestershire.

Caddis cases have specific forms of construction and materials depending on the family.

Being soft bodied little grubs, they need to make their own armoured casing, which also serves as camouflage hiding and protecting them from predators. They create their own silk, (similar to the silk work) and in fact their name may possible originate from the word cadyss, being used in the fifteenth century for silk or cotton cloth, and "cadice-men" who sold these materials, which I love whether it’s true or not. Returning to the insect caddis, they use their organic silk to make their protective cocoons by binding together organic materials they gather from around them. Their special aquatic use of silk is also being studied for science and medicine due to its reliably “sticky” properties in wet conditions. A similar material could be used like an internal sticking plaster or tape for surgical incisions instead of sutures.

A caddis case made of leaf fragments specially gathered and shaped by the caddis larvae

Different families of caddis have their own recognisable cases using their preferred materials and distinct structural shapes. Some case makers are fixed in position “retreatmakers”, being made from heavier materials or attached to other natural objects and can use a silk net to catch food. Other caddis casemakers build their mobile home and then drag it along with them underwater as they forage for sustenance. They can also build extensions as they grow larger within them and use them to catch their food. They can use grains of sand, fragments of rock, pebbles, bark, twigs, leaves, seeds and mollusc shells arranged in various formations.

By incorporating local materials a caddis case almost invisible amongst the pebbles

“Pebble dashed house” of a Caddisfly larvae

The way this caddisfly larvae binds together small pebbles and grains of sand and stones is reminiscent of pebble dashed houses, or variations such as harling or roughcast. This encrusting technique was thought to provide extra protection to homes, especially in harsh weather areas of Scotland, with different techniques providing better results than others. These pebbles or chips were popular decorative coatings during the arts and crafts movement. Seen as a traditional technique, it brought a natural texture to made buildings. For the larvae the hard stones also provide extra strength and helps it blend in with the rest of their surroundings.

A sculptural composition of a real Caddis case attached to twigs and shell.

Pebbles and shells have always fascinated us, collected, traded and prized to be used as currency or art objects. Their organic shapes have inspired countless artists from their natural structure or weathered surfaces. I find the way the Caddisfly larvae makes their own constructions from these materials very artistic. They do so intuitively, each family will have their own recognisable methods and materials and due to the natural materials, no two cases will ever be alike.

Beautiful composition, courtesy of a clever caddisfly larvae

I have written before about the artist Hubert Duprat and his “collaboration” with Caddisflies. I have been lucky enough to see the cases several times in different exhibitions such as the Dries van Noten exhibition in Paris at the Musée des Arts Décoratifs.

Hubert’s project idea was to control the environment of these caddis larvae so that their materials would be extra special. Instead of the usual twigs, pebbles and leaf fragments they might find in a pond or lake, Hubert filled a tank with golden nuggets, pearls and precious stones. The use of precious materials brings our attention to these clever creatures, but these materials would be useless to them in their real environment, being far too conspicuous amongst the pond weeds and organic debris.

A photo I took of Hubert Duprat’’s caddis cases displayed with a video of the process.

Studio Shop

Here are some of my first Caddis inspired rings, you can find more in my online shop, direct from my studio. For me, the caddis symbolises many things; protection and strength, harmony with nature and your surroundings, and an instinctive joy of craft. I have always loved these creatures and have made work inspired by them before, but my fascination was re-ignited whilst researching for a project brief I was given about armour and I haven’t stopped since.

The caddisfly photos in this post are courtesy of The Natural History Museum in London and are of the Mosely Collection of Caddisfly specimens preserved in special liquid under watch glass like mini pools. I look forward to sharing my amazing experience here this year where I was able to study their collection of specimens up close, and delve a little deeper. Coming up in one of my next posts…

Make Your Mark 2019

Make Your Mark is the annual event with a competition by the London Assay Office to design a piece of jewellery which celebrates the London Hallmark. I was lucky enough to be shortlisted for the Make Your Mark 2019 Awards for my design “Toolery”. Intended as a piece of jewellery for makers to wear themselves, the miniature silver hammer celebrates the tools of the trade and could also be used as a seal to stamp wax, because every tool must have a function!

Held at the gorgeous Goldsmith’s Hall which is the historical home of all things precious, I was thrilled to see my design exhibited amongst the other finalists!

Make Your Mark Awards 2019 at The Goldsmith’s Hall

Inspiration- my Dad’s tool collection-plane with the succession of different owners

So thrilled to see my design in such great company!

“Toolery” a piece of jewellery for makers

Make Your Mark is a whole day of talks and and demonstrations throughout the beautiful building. Aimed at students, graduates and apprentices it shares information on hallmarking, manufacturing and the jewellery industry to provide a support network which is so crucial in self employment when often working alone.

The Full Traditional Mark: L-R: Sponsor's Mark (the maker), Traditional Fineness, Millesimal Fineness, Assay Office (London is a Leopard), Date Letter

I love the history of hallmarks, their symbols are the secret language of precious metals which can unlock the history of a piece to tell you the story of who made it, the material and when and where it was made.

Traditional testing where the item was scratched onto a touch stone and compared to different metal alloy examples. Where the expression, “Coming up to scratch” originates to show you were what you said you were!

Stack of wedding bands in different precious metals by my superskilled jeweler friend Rachel Jones who specialised in metal alloys for her MA at the RCA.

Even though I have been making jewellery for many years now I had never had my own makers’ mark before as it is only used when making in precious metals which I had not used much of apart from a few components.

However this year is a very exciting one for me as I have been learning more technical skills in metal with a fantastic tutor Nina Gilbey at London Jewellery Workshop, so I was able to attend Make Your Mark for the first time this year and register my own unique mark!

“Every Mark Matters” mine will be my signature stamped (or lasered) on every piece of precious metal jewellery!

As every mark needs to be identifiably different you have lots of shapes to choose from to frame your initials. Thanks for all of you who helped me to decide when I posted the selection on instagram, especially my pal Eden who said that I she thought my style doesn’t suit very straight edges, so true! So in the end I chose this beautiful bouncy shape as it reminds me of lots of wonderful things I love like scallop shells, oak leaves, malachite, jellies, clouds…

Ancient Greek Golden oak leaf crown in the British Museum

Swirling malachite from the Stamatiadis Mineral Museum in Rhodes

Amazing pie shaped gourd in the local shop

A sumptuous scallop shaped sink outside our room on one our Greek adventures

Dave and the XRF Machine

One of the highlights of the day was chatting to Dave Merry who is a bit of a legend at the assay office having just retired after 47 years (huge congrats Dave!). Excitingly we were able to get a demo of the XRF machine in action. The XRF is a low level x-ray machine that is used to test metal items to measure the components giving the percentage content. I had been wondering about my little pinky ring which I bought a few years ago from a vintage market but didn’t have any hallmarks, so Dave said we could test it so it came off my finger and into the machine!

The graph of my ring showed the alloy to be 768 out of 1000 parts

Gold fineness, 750 or above is 18ct gold until it gets to 916 which would be 22ct

My little gold ring

I thought from the style it was probably Victorian, and hopefully solid gold as it hadn’t shown signs of wearing off yet so I thought it might be 9ct but as there were no hallmarks on the ring I had never known for sure what it was made from.

Using the magic of the machine Dave could show me on the graph the exact content of all the metals that made up the alloy.

The graph showed Au content was 768-I was thrilled to discover my little ring was 18ct gold!

That means it had twice as much “fine gold” in the alloy, which also included silver, copper and zinc and gave it a yellowy colour overall. Depending on the quantity of fine gold and the other metals in the alloy it could make the final metal combination appear more red (“rose gold”) or silvery (“white gold”).

“Transition” by Rachel Jones 2018, Over 1.5 meters of wire in a blend of all the full spectrum different alloys from fine gold to fine silver. Usually an object can only be hallmarked with the lowest carat/percentage of precious metal unless they are clearly seperate. Maybe for this special project they could instead have a hallmark added along the wire at different points to show each change in alloy!

Look for the Leopard! The London Hallmark. has changed over hundreds of years. and even used to have a regal crown. I love the different expressions too!

I am really excited to see my own unique maker’s mark on my first pieces of precious metal jewellery. The steel stamp will be made by hand in the traditional way just like it has been for hundreds of years and hand stamped by hand here in London so it will also bear the famous leopards head!

Creative Inspiration Workshop: Metal Textures

My sister Julie and I recently met up at the Museum of London for a special event looking at some of the metal objects in their collections in order to draw their textures. The event was led by Charlotte Dew, organised with The Goldsmith’s Centre as an opportunity to get a closer learn about some of the techniques used in the production of these historical objects. Hosted by senior curator of medieval and post medieval collections Hazel Forsyth and curator of making Danielle Thom, we were led us into the lower levels somewhere inside the museum’s belly where so many amazing objects are sleeping peacefully, tucked away in storage.

Some of the attendees drawing the objects at the Creative Inspiration Workshop at The Museum of London.

Goldsmiths Pencils!

We were only allowed to use pencils when in the Museum store rooms to protect the precious objects and controlled surroundings from catastrophic ink smudges (very wise with messy and accident prone individuals like myself-also why I can never wear white!).

We were also asked not to take photos of the objects during the session to make sure we spent time looking at them closely whilst drawing rather than snapping away so I waited until the end to take my pics to record the day.

The group was made up mostly of jewellers/makers and metalwork teachers.

Hazel and Danielle had delved into the museum’s collections to pull out a few pieces normally kept in storage which they thought would be interesting to draw.

Snuff box set with a lovely agate stone surrounded with floral detail.

Drawing the real object rather than just photographing to record important details and understand how it was made.

One of the attendees drawing the winged creature on this metal ornament which used to be fixed onto the Mayor’s Coach.

Wiliam Morris famously said; “Have nothing in your houses that you do not know to be useful or believe to be beautiful” and this chatelain is both!

This chatelaine is a great example of the union of utility and beauty. A bit like a Swiss army knife but with actual separate objects they were worn as a combination of jewellery and functionality, attached to the belt as a display of social status with the everyday essentials of a respectable lady or gentleman close at hand.

Another attendee taking a closer look at this chatelaine at Creative Inspiration Workshop: Metal Textures

In their collection the museum has chatelaines made of solid gold embellished with gemstones and enamel but this particular example is made from pinchbeck. Pinchbeck is a special alloy of copper and zinc invented by Christopher Pinchbeck in the 18th Century to resemble gold without the cost. Solid gold chatelaines will have used labour intensive techniques like hand engraving, chasing and repousse whereas this particular version was produced more cheaply and aimed at a wider market such as a wealthy merchant rather than nobility. The elaborate pattern was probably made pressed in order to reproduce the design quicker, and in larger quantities.

Delicate floral motifs were the fashion

Thsi set contained a thimble, tweezers, scissors and a vinaigrette which would usually carry perfume soaked into a sponge inside.

What essentials would you carry on your chatelaine for daily use?

I think I would like a spyglass, tiny icecream spoon, pencil, 4160 Tuesdays perfume vial, rosy red lipbalm, and a miniature bottle of sloe gin!

This beauty as my favourite! I love how they used a the unusual shape of this baroque pearl as the inspiration for a whole scene of a merman creature dripping with jewels and bright enamel. Baroque pearls have sparked our creativity since we first discovered them, it is like cloud spotting where you can see all sorts of strange animals, objects or faces, except you can keep them forever and turn them into jewellery.

This pendant was made in the 19th Century to emulate the opulent styles of the renaissance period which was in fashion at the time.

I was first struck by the overall effect of the colours and mythical design but in looking closer to draw all the details it gave me an appreciation of the work that had gone into making it. The closer and longer I looked the more I found, this piece had been lavished with time and thought considering every angle as a feast for the eyes.

I love the scalloped detail in the settings and the pattern of the fish scales brought to life in vivid enamel. But who is is the little guy along for the ride???

19th Century pearl pendant

Sketch of pendant detail

Here’s my sketch, it had been a while since I’ve done much drawing apart from very quick sketches to jot down ideas, but I’ve recently gotten back into it as a peaceful activity away from electronic devices. I’m looking forward to spending a rainy afternoon colouring it in with my new set of watercolour pencils!

To find more events like these head to The Goldsmith’s Centre and their What’s On section.

Drawing with my new favourite Goldsmith’s Centre pencil!

Welcome back!

So, it’s been quite a while since my previous post on here! Not to say that there hasn’t been anything to write about, far from it! And I think that is often the problem, we’re so used to packing in so much “goodness” to be productive around our other commitments there is often never enough time to actually enjoy a quiet moment inbetween to enjoy the benefits and soak it all in. I have found instagram to be a good place to share pictures and what I love most is how it connects us, but again that is a fast paced snapshot rather than a place to indulge our thoughts and record our ideas. I am really looking forward to getting back into my “virtual sketchbook” here as a useful to tool to help me disect and digest the discoveries as I uncover them.

Thanks again for coming to visit, next time I won’t leave it so long.

Jade xxx

Life is like a pie…?

The Life of Pie

You know how much I love a food analogy (almost as much as I love food). Well here is a beautiful pie made by my family on a recent visit home. In making a special feast like this, they gather all the special ingredients (this was was mixed game), prepared them and cooked them, even hand made pastry using a recipe they have refined and developed. The finishing touch is the Holly decoration to tie in with the local tradition of Holly Holy Day (to remember a huge battle during the Civil War). After all this effort, it would be a crime to quickly grab a slice and scoff it down inbetween other tasks or whilst on the phone/computer.

To fully enjoy a piece of this amazing pie it will be best shared with our loved ones, eaten slowly to appreciate each tasty morsel which has come together with skill and science. Allowing the time to sit down in a comfy, cosy place we can then digest it properly to get all the benefits (and avoid indigestion!).

If we can do it with a pie, we really should do it with the rest of our creative life too!

CONCHOLOGY: A STUDY OF SHELLS

I love the shapes and patterns formed by shells but I'm always aware of their brittle nature.

Resin, Carnelian & Silver Ring from New Collection "Conchology" amongst some beach finds

Using my processes, by capturing their forms and recreating them in resin they can become wearable objects to enjoy everyday.

Ring and Barnacle Bracelet from "Conchology"

These one-of-a-kind pieces are formed in the shape various shells making them out of solid resin layered by hand, painting and blending delicately in blushing colours in homage to the real beauties of the ocean.

Sketching in the studio

Studying their patterns and recreating their hues gave me even more appreciation for their delicate nuances of colour and texture.

Scallop Pendant cast and hand painted in the form of a real shell but more durable in resin

I found that the process of patiently layering often barely perceptible gradients of colour for this series a very meditative process.

New Ring from "Conchology" inspired by the colours of the "Strawberry Topshell" Variety

Set with an erganomic silver band these rings are bold yet comfy, moulded to the finger

These new pieces are all in my shop, plus a few others.

I hope you enjoy looking, and please get in touch with any bespoke ideas and I'll be happy to chat more.

"Rings" Exhibition at Galerie Bettina Flament

An exhibition of nothing but fabulous rings! On now at Galerie Bettina Flament in Lille. I'm so thrilled to be part of it! The selling exhibition is on until 29th July, my rings will be featured alongside more by:

Ambrose Degeneve,  Anne Milbeau, Catalina Brenes, Chiara Scarpitti, Diederick van Hovell, Emily Thatcher, Jo McAllister, Laura Forte, Marie Guerrier, Yasmin Yahya.

It is a great chance to cover any naked fingers in some statement jewels!

NEW BROOCHES: Book Opportunity

Nicolas Estrada
Brooch: To Be or Not to Be, 2014
Silver, rose quartz, citrine, steel
5.5 x 5.5 x 1.8 cm
Photo by: Manuel Ocaña
© By the author. Read Klimt02.net Copyright.

If you haven't heard already, there is a fantastic opportunity to be in Nicolas Estrada's upcoming book NEW BROOCHES!

The Barcelona jewellery aficionado is well known for his excellentpublications celebrating contemporary jewellery. Always a feast for the eyes and inspiring for the mind.

Time is running out as the closing date is 30th April, so calling all jewellers - apply HERE!

Super Natural

The best natural-toned beauty products and accessories for the season, inspired by the elements

Earrings, JADE MELLOR
Earrings, NOEMI KLEIN
Ring, LENIQUE LOUIS
Top, PEGGY HARTANTO

Absolutely in love with this new beauty editorial featuring my yellow fragment earrings! 

Styled by Lola Marceau for Phoenix Magazine, I'm totally inspired by how they've layered them with silver branch earrings from Noemi Klein.

I may also have to treat myself to the gold NYX eye liner used for that metallic flick, as I'm more than partial to a touch of sunshine sparkle...

I was also really happy to see Michelle Lowe Holder's aqua tile earrings in the editorial, another of my faves known for experimenting with sustainable materials.

Photographer  Piers Vernon-Kell
Beauty Editor  Scarlett Burton using 3INA
Hair + Makeup  Scarlett Burton and Ashley Lee using Wella Professional
Models Martha Rose at Select and Liza at Lenis
Stylists  Amy Simmons, Anna Sproul, Georgina Andrews, Lola Marceau, Maria Martin Larrea, Manu Requejo, Sienna Rose, Nida Golten

See the rest of this gorgeous feature here.

Michelle's work has just joined my London Stockist; Gill Wing Jewellery, Islington where both our earrings seen in the shoot are currently available.

There is also the Pink & Orange version just added to my online shop.

They are all one-of-a-kind made by collecting and utilising every precious fragment of material created in the making process.

HOT MESS

This one off statement piece of jewellery inspired by Molten Lava is now in my Online Shop

When making this ring I was imagining the hot liquid centre of the Earth and the swirling liquid rock that pours from volcanoes.

Pyrite means "0f Fire" and the glittering mineral was used in firearms for it's ability to make sparks to ignite gunpowder in a wheellock mechanism of a pistol developed in the 1500s. The Molten Lava ring commanded a huge specimen of pyrite for it's fiery origin. Fits most comfortably on a middle finger average size O-P.

This one-of-a-kind Molten Lava ring is now in my online shop as well as more new pieces featuring rugged metallic minerals as an alternative to the plastic glitter and tinsel covering everything at the moment.

Remember, pyrite is for life, not just for Christmas...

The Boldness of Calder at Louisa Guinness Gallery

Alexander Calder is famous for his sculptures and the impact his pioneering mobiles had on 20th century art. The Tate’s exhibition Performing Sculpture earlier this year showcased some of the mediums that Calder experimented with. From capturing a circus scene in a single strand of wire, to composing a universe in a few shapes to dance in our imagination;

"He took sculpture and liberated it, and set it in motion" - Dara O Briain

But what about his amazing jewellery?

Photograph by Alexander English "The Boldness of Calder"

It seems surprising that it has taken this long for a Calder jewellery exhibition to happen in London, but it was worth the wait...

THE BOLDNESS OF CALDER
LOUISA GUINNESS GALLERY
27TH SEP - 5th Nov

The wearable pieces Calder produced are key to his practice and Louisa Guinness Gallery has curated the perfect showcase in this new exhibition: The Boldness of Calder. 

"His dynamic works brought to life the avant-garde’s fascination with movement, and brought sculpture into the fourth dimension." - Performing Sculpture, Tate 2106

Calder's jewellery is so exciting because it allows the wearer to become a part of his kinetic art. 

Alexander Calder Brass necklace in "The Boldness of Calder"

Wire necklace by Alexander Calder at Louisa Guinness Gallery

We know how emotive it can be to observe a piece of sculpture or a painting, but what about being a part of it? Wearing these pieces would certainly have an impact on how you felt and even how others behaved towards you. Some of the pieces are very armour-like.

Silver necklace by Alexander Calder at Louisa Guinness Gallery

Showstopping necklace to greet you at The Boldness of Calder

Often in textured metal, but sometimes combining wood and textiles these are sculptures to fit around the body, en-robing, entwining and exaggerating the form with angular points or delicate fronds unfurling.

Connected components fit over the body in a Calder necklace

Calder necklace combining textiles and metal

The shapes of these look like runes from an Ancient language

Calder's tribal influences can be clearly seen in his jewellery. The red velvet displays at The Boldness of Calder add to the feeling of ceremony as if the pieces hold their own ancient power to bestow on the wearer. White photography backdrops also hang in rolls from the ceiling as if we've walked into the middle of a shoot. This keeps a clean, minimal aesthetic and it is a simple yet fitting environment for the jewellery which itself seems simultaneously both ancient and new. These pieces were made by Calder in the 30s and 40s but are just as boldly unique, desirable and exciting as ever. 

Wooden shapes in charcoal black in this striking piece by Calder

There are some beautiful photographs of famous women wearing Calder pieces through the decades; Georgia O'Keeffe, Anjelica Huston, Peggy Guggenheim and Brooke Shields. A chic combination of fashion and art; I also remember a golden cuff by Calder being name checked by the artist in Truffaut's 1968 cult film "The Bride Wore Black".

Art and Hollywood, Calder necklaces gracing leading female figures

New photographs were commissioned for the exhibition, captured by Alexander English styled with fashion designer Elise Overland. The stunning images hark back to the clean elegance of mid 20th century photography with a contemporary, modern edge.   

For more information on this great exhibition, you can get in touch with Louisa Guinness Gallery.   This is a rare chance to see this work all together, especially so close up, I'm sure I will have to pay another visit soon!

THE BOLDNESS OF CALDER
LOUISA GUINNESS GALLERY
27TH SEP - 5th Nov

MADE IN LONDON at GALERIE BETTINA FLAMENT

A collection of my work is now on show in a fantastic gallery in France!

New exhibition "MADE IN LONDON" opens today at Galerie Bettina Flament. I am thrilled to be joining these talented jewellers; Alma Sophia, Ellis Mhairi Cameron, Emily Kidson, Kostadinos and Tania Clarke Hall showing our wide range of materials and styles, hand picked by Bettina Flament herself to share with jewellery lovers in Lille.

MADE IN LONDON

GALERIE BETTINA FLAMENT

7 Rue Bartholomé Masurel, 59000 Lille, France

27th Sept - 29th Oct 2016

My Concrete Objective ring is one of the pieces I am exhibiting in the London themed show. This ring is special to me as it connects me to a time in my life when I was visiting London regularly. My best friend had moved from our Northern hometown to the capital after university, and I came to visit her as often as I was able to share in her adventure and explore this rich resource of inspiration and opportunities with her.

One of the things that I noticed in London was the drive of people like my friend. As well as working a demanding full time job she spent every spare second on her own projects, working through the night to meet deadlines, often unpaid to establish herself and gain connections.

The Concrete Objective ring is a reminder of this focus, to put the time and energy into something which will lead you to your bigger goal. London is known for being a very challenging city to live in, the costs alone make it a daily struggle, but creative people continue to flock here for the possibility to make good things happen.

Piscator, by Eduardo Paolozzi, "Silvery & enigmatic" -The Telegraph 2005

Every time I made my journey to my friends apartment I had to walk past this amazing sculpture by Eduardo Paolozzi. Seeing this beautiful beast outside Euston Station on each arrival reminded me of the creativity everywhere in London. There is so much art here to enjoy for free, London really is a home for culture. The way the angular shapes were formed in solid metal for this mountainous piece demonstrated how with determination and time you could create your own mark in even the most hardest materials to create something great and long lasting.

Eduardo Paolozzi 1924 - 2005

Paolozzi was described as an evangelist for increasing access to art and sculpture, wanting it to be a part of our environment and enjoyed in our everyday lives. I feel the same was about jewellery as a way of sharing ideas, to add something interesting to engage with on a daily basis. I often notice my big rings getting curious glances when I'm on the tube...

"If it [sculpture] is out in a railway siding or it's stuck under your nose for the ordinary commuter who might not otherwise go to a sculpture park they can't miss it,"

- Eduardo Paolozzi

Fashion Time Travel

Taking a (Mary) Quant-um leap through history using a wardrobe as a time machine. Kind of.

It's the final day of LONDON FASHION WEEK, with PARIS FASHION WEEK following next Thursday. Beautiful clothing and beautiful people sharing their styles and giving a sneaky glimpse into the new collections influencing the trends next Spring 2017. 

60s Style references always pop-up on the catwalks, here are the originals looking impeccable at Les Arts Decoratifs in FASHION FORWARD.

I felt the need to share my experience of the gorgeous garments I managed to see on my trip last month to the Capital of Chic.

Gorgeous little black & white sailor suit is Paris perfection!

Les Arts Décoratifs in Paris is one of my favourite Museums and their Summer exhibition Fashion Forward was a real showstopper. Celebrating 300 Years of Fashion, it showcased garments from as early as 1715 all the way through to 2015.

The garments were used as a snapshot into life in that time, following a timeline and explaining social aspects as well as snippets about the early evolution of the Fashion Industry.

“Voted “Beauty Queen” by the journal L’Illustration in 1896, Cleo de Merode (1975-1966) was a famous ballet dancer at the prestigious Opera of Paris. Numerous photographic portraits show her wearing a similar jacket in black velvet embroidered with jet pearls.”

Key moments from fashion history, cherry picked and displayed side-by-side

Theatrical Tableaus gave us a feel for the original setting and lifestyle these people had, whilst modern projections in black and white showed the movement of the clothes flickering across walls with a graceful sweep featuring dancers of the Opéra de Paris.

The highlight for me was the room of breathtaking vintage gowns from my favourite designers, Schiaparelli, Chanel, Fortuny and Vionnet. 

Still at the height of sophisticated elegance, showing that truly well made and thoughtfully designed clothing will stand the test of time.

It makes me ask, what will our own wardrobes look like in a few decades time? Will they still contain anything we have in them today?

Something I'll think of next time I'm browsing for some new items...

The Butterfly Effect

COLOUR AND VISION & THE NATURAL HISTORY MUSEUM

"Through The Eyes of Nature"

The Natural History Museum's new exhibition, "Colour & Vision" features many wonders of nature. To demonstrate how colour is often a warning they use the cinnabar moth as an example:

 

"Orange stripes, red spots and black mouths are all warning signs that an animal is dangerous. Poisonous and venomous animals often warn off potential predators with dramatic colours and markings." Colour and Vision

A display of Cinnabar moths at the Natural History Museum's new exhibition "Colour & Vision"

I first encountered a cinnabar moth when I was on my way to the studio in Manchester a few years ago. The bold black and red patterns of the little winged insect caught my eye so I took a photo of it and looked it up. The patterns are so striking it had a real impression on me. I wanted to try and capture it in a ring, so it really a "Moth Effect" rather than a "Butterfly Effect"!

The patterns of the wings of the Cinnabar Moth inspired this red and black ring

Image of Cinnabar Moth courtesy of Charles J. Sharp Photography

The larvae of the cinnabar moth eats the leaves of the ragwort plant making themselves and the adult moths they become poisonous. The red colour warns predators not to eat them as doing so could be fatal.

Red = DANGER

The cinnabar moth is actually named after the bright red mineral cinnabar, which is also poisonous.

A form or mercury sulfide, this mineral is highly toxic.

The mineral Cinnabar, used for making vivid red pigment

When ground it is used to create the pigment "Vermillion". Treasured for its vivid hue, it is the only red pigment that was known to the ancients. Vermillion was revered by the ancient Romans. They even used it to paint the faces of their victorious commanders during the "Roman Triumph" Ceremony.

Because pure cinnabar was so rare, vermillion became immensely expensive and the price had to be fixed by the Roman government at 70 sesterces per pound - ten times the price of red ochre.

The figure is a lady harpist, painted in vivid pigments by the Ancient Romans and recently found in Arles.

The image above shows a fragment of Ancient Roman Fresco recently unearthed in Southern France, the colours still vivid after spending 2000 years buried in the dark. The use of the expensive red pigment shows how wealthy the inhabitants of the villa were.

You can read more about the history of this red pigment with Windsor & Newton's "Spotlight on Vermillion".

Lost Wax: Casting to Create

Here's a very brief overview of some of the steps involved in the lost wax casting process. The Applied Arts course at North Wales School of Art & Design is really hands on with teaching and practising important processes like this. Their focus is "on the high quality craft skills needed to be a professional maker".

Spruing-up with thin rods of wax makes a tree like structure which will allows the molten metal to flow into and fill the cavities.

"Spruing Up"

Taking your organic found objects or wax shapes you have made, you have to connect them to a wax tree with little wax branches called "Sprues" all pointing "Up" so that when turned upside down the metal flows down into the spaces left after the wax melts. You want the sprues to be as thin and delicate as possible when working on small scale castings as they will also be "transformed" into solid metal and you will have to cut them off where they are attached and clean up your castings. This makes "spruing up" quite fiddly and takes longer than you think! You need a steady hand and plenty of concentration when melting and applying the wax sprues.

When your tree is finished and all the parts are secure it is fitted inside a flask. Next is a crazy process which is all about precision and timing!

Plaster

You have to mix up a bucket of special investment plaster, carefully weighing up the quantities, making sure everything is clean and uncontaminated. The plaster starts to harden very quickly so processes need to be followed really carefully and quickly, so just like a TV chef you need to know the "recipe" inside out and have all of your things weighed out and everything to hand. However, instead of putting your "mixture" in the shiny oven in your glamorous chef's kitchen, the flask of plaster goes into a vacuum chamber to get rid of the air and ensures crisply defined castings. After the specified time in the vacuum, the flask goes into the kiln overnight. This will burn away the wax and organic materials leaving the cavity to then fill with molten metal.

Casting Day

Now you can prepare your casting metals. These have to be weighed out depending on the weight of the flask and how big the castings are going to be. Accurate measurements are really important. If too little metal is melted then when it's poured in, it won't fill out the cavities, meaning your one-off castings will be sad and empty or partially missing spoiling your hard work from the previous day! 

Casting grains of silver go into the crucible to melt ready to pour into the mould. 

Lovely brass for brass castings.

Brass scrap in the crucible

You can see the chopped up "sprue-trees" leftover from a previous casting to be melted and reused in this casting.

Working with hot metal is dangerous, so safety equipment and the right tools are needed to protect yourself and those around. And maybe a nice cold drink for afterwards, as it does get VERY hot! 

When ready (again, timing is everything so follow instructions and have accurate timers), the flask is plunged into a bucket of water. This causes the special plaster to fizz and bubble dramatically like a volcanic geyser so it's very exciting!

This reaction means that the plaster should dissolve and break away leaving the metal casting to be cleaned up.

It's like excavating your own fossils!

 Silver casting of wax rings by my sister Julie Mellor.

Brass casting of plant stems collected by my sister Rozanne Mellor.

Now the castings can be sawn-off by hand, cleaned up and transformed into whatever you have planned for them! I hope this shows what an exciting and involved process casting is! For more information on the facilities, Open Days and courses at North Wales School of Art & Design at Glyndwr University check out their website or message them on Twitter: @NWSADAppliedArt . 

Secrets of Ancient Treasure at Glyndwr

After my research trip to The Natural History Museum in London, I travelled up to Wrexham in North Wales to visit Glyndwr University North Wales School of Art & Design.

Their jewellery and metal work department for applied arts is really hands on, with access to some fantastic techniques and equipment-a jeweller's dream!

One of the most exciting processes available to students at Glyndwr is investment casting, also known as "lost wax technique" or "cire perdue". 

This is one of the earliest forms of creating metal objects in civilisation, first used at Nahal Mishmar - “Cave of the Treasure!”  This important hoard of early metal objects was only discovered in the 1960s when looking for the Dead Sea Scrolls!

The Chalcolithic trove at Nahal Mishmar showed an advanced local civilization that could import copper and create sophisticated artwork. (Courtesy of the Israel Museum & Times of Israel)

Although an ancient method, it is a complex process creating very precise works to capture tiny details of organic material or finely crafted masters carved in wax or a substance that burns away to leave the cavity which becomes the mould.

Double Ibex found in the hoard at Nahal Mishmar (courtesy of the Israel Museum via The Times of Israel website)

This is what makes the creation of a mould for investment casting similar to how a natural  Epimorph forms. In an Epimorph, the “mould” is a mineral, capturing the shape and texture of the original mineral it has grown around, which naturally dissolves away. In the lost wax casting process, the mould is made with special investment plaster around the desired object you wish to capture the form of.

I love working with the real objects, casting and capturing their forms like my Gold Shard ring based on the shape of quartz

Many commercial and contemporary jewellers use casting, but as the process requires so much specialist equipment and is such an involved process, it is usually sent away to a company such as Weston Beamor who've been producing high quality castings for over 60 years.  By doing so you pay for a mould and can use for repeat castings which is more cost effective and consistent to reproduce.

One of my favourite artists, Momocreatura makes exquisitely grisly silver jewellery. The fine detail is carved in the original wax with a pin!

The benefit of learning to perform this process yourself from start to finish teaches you an understanding about casting. This means if choose to send pieces to be cast by a company in the future you will appreciate the process and know how to get the best moulds and as a result best casts for your work. 

Also, who wouldn't want the opportunity to cast their own treasures in the workshop!

It is a chance to feel like a real life alchemist as you see the original object go into the flask to then appear in the end "transformed" into precious metal!

Casting really is special. 

View fullsize

Casting - feels like real life alchemy!

I'll break down the process step by step in my next blog post! Many thanks to Glyndwr, North Wales School of Art & Design for their time during my visit. If you would like to know more about their Applied Art opportunities get in touch with them to find out about Open Days and course availability.

Unlocking the Mysterious Mineral Box

 

Museum Minerals

I recently met with Robin Hansen, a curator at the Natural History Museum in the Minerals division for a sneak peek of some of the minerals going into a new exhibition.

Robin is an award winning gemmologist, previously working with private collectors. I really valued Robin's expertise to unlock some of the secrets behind how these amazing specimens form. 

One in particular really fascinated me, it was large and matt with cube shaped hollows all over the surface this was an Epimorph.

Quartz Epimorph

Image from Crystal Classics: "specimen shows cubic edged impressions of pre-existing probable Fluorite crystals measuring to 3.5 on edge"

Example of cube shaped Fluorite

Image reproduced from the 'Mineral Images Gallery' of the Mineralogical Society of Great Britain & Ireland (www.minersoc.org")

Epimorph:

A HOLLOW CAST LEFT BY A MINERAL THAT HAD GROWN OVER AN INITIAL MINERAL WHICH HAS DISSOLVED AWAY.

There would have originally been a specimen of fluorite, formed from crisp angular cubes which this other mineral had grown around.

There is a beautiful and intriguing example of an Epimorph currently on display in “The Vault” at the Natural History Museum.

The mystery of this particular example is that the original inner mineral should have dissolved before the outer box, so we're not sure exactly what caused this epimorph to form.

What is particularly beautiful is how another mineral has started to grow inside the cavity left behind.

Box epimorph of siderite after fluorite from the Virtuous Lady mine in Devon. Image courtesy of Jolyon & Katya Ralph from www.Mindat.org

So now, to investigate this amazing process further and how it links to jewellery see my next post coming up where I visited Glyndwr University’s jewellery and metalwork department the same week for a demo on Investment Casting.

"Loop" Ring Exhibition at The Biscuit Factory

Loop is the New Exhibition launched on the 4th March at The Biscuit Factory as part of their Spring Exhibition. Loop is a showcase of spectacular rings by 16 leading contemporary jewellers, and I was thrilled to be a part of it!

LOOP @The Biscuit Factory Newcastle

"From designs that are simple and minimal, to more elaborate statement pieces - the collection will be a stunning range for lovers of rings. Set apart from our usual jewellery collection, the designs will be presented in the gallery as miniature artworks."

Alongside LOOP, The Biscuit Factory’s spring show also includes a diverse collection of contemporary paintings, prints, glass, sculpture and textiles, headlined by 2014 BP Portrait Award second prize winner, Richard Twose.

Gallery Curator, Lauren Baker, comments: “As jewellery curator, I am surrounded by some of the most creative and utterly wonderful jewellery the UK has to offer. While making plans for this year’s exhibitions, the uniting theme for many of the makers I approached was clear - they were all responsible for some exceptional rings; I wanted them all!

This giant Swarovski ring is one of my latest pieces, which is included in the exhibition on until 31st of May 2016

Material Worlds

At the weekend I visited the new Material Worlds wing at Tate Modern.

 

The work on show features artists who utilise all kinds of materials, often in larger scale installations. These included found objects, natural materials, textiles stitched in secret locations and even endless ropes of human hair.

Sheela Gowda, Behold 2009

Magdalena Abakanowicz, Embyology 1978–80

I was most excited to see work by one of my favourite artists, Louise Nevelson, in this new exhibit!

 

Louise Nevelson "An American Tribute to the British People" 1960–4 Painted wood, 3110 x 4424 x 920 mm 

 

This piece was gifted by Nevelson in 1965, titled "An American Tribute to the British People", Nevelson's her dealer said that the artist felt that it was appropriate for our monarchial country:

"Its cathedral-like aspect, which seems to present the viewer with an altar at which to kneel, perhaps to receive some royal blessing, and its gilded splendor … were considered peculiarly appropriate.’

Originally born in Czarist Russia, Nevelson lived most of her life in New York, and was heavily influenced by her surroundings. This glorious gold sculpture also reminds me of the iconic cities luxurious sky scrapers.

Art Deco plaque of the Empire State Building, New York.

The display caption tells us that Nevelson worked on this assemblage over a number of years, continually recomposing the found objects within it. Close-up it reminds me of the stacks of old paintings in gilt frames in auctions and junk shops. The golden coating they share emphasises the sense of a treasured item from another time. Covered and gathered they display an inherent value despite being cast away when no longer valued individually.

 

I first found Nevelson's work when I was at school and instantly captivated by her impressive structures. 

 

Growing up in a home where nothing was thrown away, I would scavenge interesting bits of wood from piles of timber and broken furniture in my dad's workshop and in Nevelson's sculptures I could identify the balustrades and chair legs amidst the hand sculpted pieces. 

The way she used a single colour to envelope her carefully assembled finds into these impressive structures had a huge impact on me. Nevelson liked black paint because it conjured "totality, peace and greatness." 

Louise Nevelson Black Wall 1959. Painted wood 2642x2165x648mm

There is such sensitivity in her compositions.

 

 

As the New York was redeveloped in the 1950's Nevelson faced eviction from her home and studio. The partially demolished buildings left detritus left from everyday lives, and she found her materials in the debris.

Some of her arrangements like Black Wall,  remind me of the different people living in apartments.

Harking back to the crowded cities like New York I can imagine these wooden boxes as a neighbourhood of personalities housed in different rooms. 

A community is made up of individuals. Living next to each other, but separated by these divides they are shown that they are all one.

If you are one of those inside it you can only see yourself and the four walls around you. Only we can see they are all unified by being able to look at the whole thing from a wider perspective.

 

 

The new Material Worlds wing is free & on now at Tate Modern.