A selection of Jewellery made in the 2000s. It continues to evolve. Some things come about from commissions or an exhibition opportunity, and it's always the problem solving that keeps it going.
Some of the pieces here are a bit satirical depending on where the ideas come from. It's a worry sometimes that developing an art form lets you see the world in a particular way. You learn to stand back to judge the work, and these skills of observation show the world in new ways. One of the things that fascinates me about art is the way people develop and use it to influence others, and this brings insights into how we read art objects and respond to them, which is vital understanding for making it.
I'm sad that weaker eyesight and other age related changes mean I can't make so much on this tiny scale, because I love the way of working so close to me (compared with larger sculpture which is "over there" somewhere). But it's nice to put this site together and realise that maybe I did make a few things that aren't too bad.
A selection of Jewellery made in the 1990s. They're a continuation of the previous processes and interests. I think you need a degree of obstinacy as an artist, or you sometimes might go and get a proper job.
Alongside all this jewellery, I've continually explored other art forms, larger carvings and drawing particularly. This has been partly so I could teach art, and also so that I could develop alternative art forms for my old age, by which I mean eyesight deteriorates and now this tiny work relies on magnifying glasses, which is no fun anymore.
A selection of Jewellery made in the 1970s.
All are based on the carving of various materials - particularly woods like ebony and boxwood which are hard enough to wear, with inlays of silver, gold, mother of pearl. There was an expanding range of materials to work with, including amber and ivory (when it was legally available and recycled from other uses).
I liked to make things with complicated combinations of materials, and an aspect of my jewellery making throughout has been to learn how to do it. I didn't study jewellery as art school but the essence of training in Fine Art was not on specific skills but more on learning on your own.
I don't think I had many toys as a child, but my father was a country doctor who was also a pharmacist, so I played with acid, mercury, fire and penknives. Still doing it!
I've no idea where most of these pieces are now.
A selection of Jewellery made in the 1980s.
The range of materials became wider, and I became familar with more working methods.
I tried to design things to make, but usually drew many possibilities and then made something based on the easiest one. Often the material would suggest what to do with it. Usually I started with a small carving and let this determine what to make out of it.
I had many exhibitions and opportunities here in the UK and in Europe and the America, and while it was never very cost effective it paid for itself.