Things have been incredibly busy at work, setting up the new students, returning all the Diamond Jubilee work to the makers, making some new pieces, preparing for the "ENOUGH: Violence" show at SCC next August as well as helping a friend of mine - Wing Mun Devenney - write her new book, a technical manual on soldering. 

One of the aspects of my practice which I've not really thought about properly and which I don't document fully is the way in which I sometimes "doodle" with materials in downtimes. Waiting for some stones to be delivered or a casting to complete, or when I can't really take my eye off a class for any length of time, I frequently play with bits and pieces and offcuts on my bench. Sometimes these amount to nothing, sometimes they become pleasing-enough little pieces to be sold on Etsy and at other times they seem to be suggestive of a direction I might take. Over the last week, I've put together this:

 

The Black Prince - Front

 

 

A very human-scaled "Post Apocalyptic Cocktail Ring", which I named (post facto) The Black Prince as it is set with a large natural ruby, which, it has to be said, looks a lot more like a ruby than this photograph would lead you to believe. The black stones in the side are black diamonds and the back is set with a natural transparent white quartz. The crown element is a part of the rear mech of a bike and the shank is constructed from my favourite iron electrical conduit.

(The joke here being that the "Black Prince's Ruby" in the UK crown jewels is, in fact, a spinel...)

 


 

Today, I received an invite to be included in a jewellery magazine of which I was previously unaware and which I found to be very interesting: Creating Linus Jewellery. It is a strange name but has interviews with many interesting European and American jewellers, as well as basic workshop tips and tricks, all beautifully photographed and laid out. It is a pay-for-subscription but you can sign up for the issues until January for free. Well worth a look.

 


 

Off on holiday for a long weekend in Brighton. Absolutely nothing planned!

 

 

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Masthead Credits

Chanda Zea

Object Series 1, 2, 3

Porcelain, slipcast and altered with terra sigillata, rubber.
8” x 8” x 8”, 12” x 8” x 8”, 8” x 8” x 10
2013

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