My earlier pieces were all based on process, namely the process of casting objects in place using traditional-lost wax casting methods. The work originated with the idea that this technique, which is a common time saver in industry when setting certain types of heat resilient stones, was full of untapped creative potential. I began using stainless steel hardware because of its distinctiveness both aesthetically and conceptually from what was being done in the jewellery industry, as well as its ability to endure the high temperatures of the kiln. The resulting pieces were exciting to me for the visual contrast between the blackened, machine-perfect steel and the soft, organic looking silver, as well as the challenge of creating something kinetic out of a process that usually produces solid, static objects. It was exciting to watch as the materials went from being a handful of hardware to a wearable necklace in one single round of casting, having been completely re-contextualized by a single process.
Fabrication
While still very interested in using industrial stainless steel as my primary material, I began to gravitate towards fabricating my pieces because I found I was able to achieve a more refined aesthetic. Originally drawing inspiration from a combination of chainmail and lacework, I enjoyed working on pieces that created something delicate out of materials built for durability. As the work progressed, I began searching for ways the materials could be bent, cut, and otherwise manipulated to alter their appearance and purpose. More and more, I have begun to incorporate other industrial materials such a ruby and ceramic ball bearings as a way of translating stone-setting through the filter of these industrial materials. In a way, the ruby ball bearings are the perfect counterpoint to what I have been doing, rubies being a traditional jewellery material that is being given new purpose as industrial parts.
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