My early work was minimalist silver which offered in department stores such as Barneys New York and The Conran Shop. For the last 20 years I have actually been exploring alternative and more sustainable materials for jewellery and originated the usage of bioresin, a casting resin developed by a German chemist from sunflower seed oil.
Author Sarah King has won various jewellery awards, including the Association of Contemporary Jewellery Prize and several commendations from Goldsmiths? Workmanship and Design Awards. She has actually taught at the Birmingham City University, London Metropolitan University and Kent Institute of Art and Design. She presently teaches professional short courses in making use of plastics and wood in jewellery at Central St Martins, Morley College and West Dean. See what motivates this jewellery maker and more by seeing our interview with Sarah listed below.
Im mainly self-taught jeweller from an art based background having actually done a great art textiles degree at Goldsmiths College, University of London throughout the YBA era but I was always more of a hands-on maker. I have actually subsequently taken many courses (consisting of a summertime school with Cristoph Zellweger, a workshop with Dorothy Hogg, a stone carving week with Charlotte de Syllas, an evening class with Mark Nuell) and see it as a continuous process as I enjoy experimentation within techniques, materials and ideas.
Let us understand a bit about yourself, detailing your background, research study and training in the jewellery making industry.
I have actually displayed mainly within craft arena but likewise including style– Kate Moss photographed wearing wood pieces commissioned for W publication (2004 ), Iris Apfel frequently photographed in her bioresin bracelets (2014 onwards, see attached photo), white resin pieces published online publication The Bite (Summer 2012).
Inform us about your work– exist any particular products or methods that you favour?
My work is sculptural and tactile and I take pleasure in strategies that benefit creating fascinating forms, such as casting and sculpting, whether it remain in wax, plaster (to produce types for valuable metal pieces), wood or bioresin. I like exploring to see how I can push the possibilities of the products and their inherent qualities, the reflective qualities of metals, the heat and sense of time intrinsic within wood, and the clarity and colour possible in bioresin. I have actually explore innovations such as laser cutting, laser welding and Selective Laser Sintering but I return to methods that I can have control of in the workshop and that I can alter as I deal with them.
How would you best explain your design style?
I choose a pared down aesthetic and play around with the focus and balance of the piece to get rid of any extraneous information. I like work to be tactile, have a sensuality and an unwinded mindset and to look womanly however contemporary. I attempt to withstand work that displays its technicality. My customers tend to be arty types, artists, curators and architects who respond to the sensibility and aesthetic of my work rather then it being a status sign.
Where do you like to get your inspiration from for your pieces?
I find wondering around galleries of abstract art and sculpture are efficient places to wonder around stimulating off ideas and then I discover one piece resulting in the next– I miss out on no longer residing on the 56 bus path to Tate Modern! There are specific preferred artists that I always return to– Robert Ryman, Constantine Brancusi, Barbara Hepworth. Im searching for that visceral feeling I get when seeing a work that grabs me– a lightness of touch or a spatial sensation.
Do you have a piece that you have made which you favour or are especially proud of?
It was for this program that I established the pierced hollow bioresin work which became signature pieces, such as the white egg neckpiece in the Craft Councils collection. The work looked very fresh then, as it was before the days of extensive usage of 3D printing. See the fantastic award-winning picture of Iris Apfel wearing my bracelets by Guerin Blask.
I dont believe I can select out one specific piece however there was a group of work that I established for a solo show in Tokyo in 2003 entitled Light Constructions that was the result of lots of experimentation and to which a still refer back to. It was a series of hand-constructed rings and bangles in silver and translucent or white bioresin.
What is the one product in your jewellery making workshop that you could not live without?
Its an extremely modest item but Im truly lost without my vernier gauge as Im reaching for it all the time to inspect the size of whatever.
What approaching patterns do you see being popular quickly?
We are all affected by the world around us, but Im not a fan of trends as I desire my work to be timeless and for customers to enjoy it over a long duration. I wouldnt desire it to look too outdated and I like to do my own thing, so I attempt not to take much notification of them.
What is the most valuable lesson you have found out from your time in the jewellery making industry?
Never ever ignore the power of relationships– those with the providers and with the clients. Talk with everybody when you are exhibiting as you never ever know what the conversation may bring or what you will learn.
Do you have any particular guidance that you would offer to up and coming jewellery designers, or someone interested in entering jewellery making?
I would state go into the jewellery industry if you are genuinely enthusiastic about it. Think about where you would position yourself among the jewellery currently out there.
Time for a bit of enjoyable in our quick-fire round!
Tell us your favourite …
Colour– WhiteBiscuit– FlorentineDrink– MargaritaPlace– Anywhere having an adventure with the family or cultural city break without children!Animal– WhaleGemstone– ChalcedonyFood– JapaneseSport– Wild SwimmingFilm — I cant select simply one!City– London
What was your motivation behind your book and what would you desire individuals to learn from it?
I hope the book will expand knowledge of methods from low tech to high tech and be a beginning point for novices or a recommendation for the more experienced makers. When looking at other publications, I attempted to consist of those key information that I desired to understand.
I likewise invited the opportunity to check out more sustainable sourcing of woods and other info to make it possible for readers to make informed choices. It was a specific pleasure to include profiles of popular studio jewellers (Inni Parnanen, Terhi Tolvanen, Beppe Kessler, and Lina Peterson), all of whom making stunning work without making use of unique woods.
I was originally composing for a UK audience, Im thrilled to have gotten messages from readers in Europe, the United States and even as far away as Australia …!
I was commissioned by Judith More of Fil Rouge Press who had actually identified how little had actually been discussed wood as a jewellery medium and I right away agreed as I knew that there was so much exciting work I could consist of. I wished to challenge preconceptions and reveal wood as a ingenious and modern sculptural medium for jewellery.
Many thanks to Sarah for sharing her insight and jewellery making journey with us
View Creating Jewellery In Wood: Skill Building Projects And Techniques By Sarah King
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