Finished collection including 2 Rings a brooch and experimental artefacts developed for the School of Design Drawing Threads Research Cluster.
'Drawing Threads' Ring !, Recycled Aluminium and TECU® Gold Copper alloy, 25 x 12 mm - 2025
'Drawing Threads' Ring II, Recycled Aluminium and TECU® Gold Copper alloy - 2025
'Drawing Threads' Brooch, Recycled Aluminium and TECU® Gold Copper alloy - 2025
'Postcard - from Linlithgow', Recycled aluminium and TECU® Gold copper alloy, 135mm x 90mm - 2025
The Crown of Thorns is a familiar sight I have often glimpsed through rain-splattered train windows while commuting between Glasgow and Edinburgh. This project has transformed it from a passing landmark into a source of inspiration for an interrogative exploration of materials. Visiting St Michael’s for the first time and researching its history have sparked new methodologies of material transformation within my work.
Working with mixed metal processes is central to my jewellery practice, and for this exhibition, I became particularly interested in the relationship between the spire’s materials—its original redundant aluminium cladding and the newly introduced bronze alloy. I was drawn to their metallurgical properties and the contrast between the cool, industrial grey of aluminium and the warm, golden tones of bronze. Using processes such as lost wax casting, wire drawing, and sheet fabrication, I have experimented with embedding one material within another, layering them, and allowing elements to emerge through careful surface removal.
The artworks I have created for this exhibition include jewellery and a selection of experimental works, shaped in part by archival imagery—particularly postcards that document the church’s presence over time. Often inscribed with personal messages, these postcards serve as tangible records of place and memory. Their small, tactile nature has influenced my approach, mirroring the way objects can hold both historical and emotional significance.
Learning more about Geoffrey Clarke’s radical, experimental design has encouraged me to embrace process-driven making, allowing materials to guide and techniques to shape both surface and form.
In addition to the touring GSA exhibition (Munich / Linlithgow / London) Add Toch (artist and curator) Invited me to show the collection in Restless Matter.
Restless Matter - Puyang, China
"Matter is never still. It shifts, fractures, and transforms - holding temporal forces at work within it. Every material arrives with a history; metal drawn from the earth, stone compressed over time. Forms shaped through pressure and surfaces marked by oxidation.
Yet restlessness speaks beyond the unruly material. It points to memory, identity, to social and cultural contexts, and to the ways jewellery can embody resistance and renewal. It reminds us that objects are not static possessions but active participants in lived experience. Here, jewellery and objects are sites of ongoing transformation, always evolving.
Seen in this way, restlessness becomes a catalyst - one that sustains enquiry rather than resolving into certainty. The works in this exhibition are not fixed results but moments within longer journeys of research and experimentation. Each work emerges from a questioning practice that thrives in the unpredictable and embraces change as method"
