BA Jewellery Design 2016

C E N T R A L S A I N T M A R T I N S | B A ( H O N S ) J E W E L L E R Y D E S I G N 2 0 1 6

centr al s aint m artins

BA (Hons) Jewellery Design 2016

“The best thing about studying at Central Saint Martins was that whatever I expected to happen didn’t happen and whatever I did not expect to happen did!” …loekie

heinzberger |

“Liberty of thought, depth of research, total horizon of possibilities”…caroline

kernick

|

“What I think is the best thing about this course is that: This course has provided lots of opportunities for students to learn and work with professionals in jewellery industry.”…wizal

wang |

“I also gained confidence in my own design opinions. I learnt that design is subjective and even the people you admire’s opinion’s are not always necessarily right for your work (although of course it is important to listen and consider them). This is something that I have found to be invaluable in the workplace.’”…rosie

greener | “Freedom

to design with any material you want whilst

having the Input of established and creative tutors; and the ability to participate in live projects.”… fortuna weeks | ‘I

am grateful daily in my work as a sculptor for all the skills I learnt at

the Central - for the appreciation of the ‘whole’ object - its feel, look, weight, concept and aesthetic impact in terms of what is is to make something that fits into a contemporary context.”…jane mcadam freud | “Our

year was an experiment, we were encouraged to design jewellery and then find

ways of making it. I found this to be a very creative way of working and have continued to work in that way to this day”…julia manheim | “The best thing about being at CSM was getting to study with a load of great people from around the world. We were very much left to get on and do our own thing and find our own way of working. I think we all learnt a lot from each other.”…joanne

haywood |

“I was fortunate to have studied at CSM after completing my apprenticeship and I really valued the freedom of being able to make whatever I wanted in a large fully equipped workshop. In industry it is very rare to have that level of space, equipment and expertise on hand and something I really miss.”…jos

skeates | “I

am very honoured to be an alumni of our jewellery course. Studying

at CSM jewellery course was a life changing experience to me. And the best thing I want to say is: This course made me feel complete as a good designer. Thank you so much!”…percy “3 years like no others. Thanks to teachers, technicians and classmates””…mette

lau |

jensen |

‘The whole course is inspiring... from the examples that preceded you, to the peers and tutors that teach you and finally the future you have the potential to infuence... nothing you can achieve is off limits!’… hazel clucas | “The

best thing for me personally was having Pat Furze’s encouragement as I

discovered my fascination with enamelling, with great facilities, technicians and tutors a close second.””… jane short | “Ted ”…martin hopton | “One memory that stands out is doing crosswords

with Julia Manheim at lunch time”…caroline

broadhead | “Personal

Pushing one’s limits. Thinking differently.”…stephanie freedom”…tiffany

bähler | “It’s

& creative growth.

van zwam | “Open-mindedness

and

where my love of metal and jewellery was born. It’s where I

BA (Hons) Jewellery Design 21-26 – 06 - 2016

Central Saint Mar tins, Universit y of the Ar ts London, Granar y Building, 1 Granar y Square, London N1C 4A A

csm.arts.ac.uk c s m b a j e w e l l e r y.w o r d p r e s s . c o m

BA (Hons) Jewellery Design 21-26 – 06 - 2016

Central Saint Mar tins, Universit y of the Ar ts London, Granar y Building, 1 Granar y Square, London N1C 4A A

csm.arts.ac.uk c s m b a j e w e l l e r y.w o r d p r e s s . c o m

BA (HONS) JEWELLERY DESIGN

INTRODUCTION BA Jewellery Design works on the premise

This year, the annual lecture series has

that learning and practicing the discipline of

included talks by David Bielander from

the creative process is invaluable. After two

Munich, Leo Caballero of Klimt 02 in

years of technical inductions and a variety

Barcelona and Patricia Domingues from

of projects, the final year jewellery students

Portugal. In addition, there have been special

are given a free rein to explore a topic that

lectures by WE WALKA Studio from Chile

captures their interest and to produce work

and Ramon Puig Cuyas from Barcelona.

that contributes to or expands the subject

Students have visited Sarabande Studios,

of jewellery.

Gallery S O London and the flagship stores of Theo Fennell and Annoushka to gain insight into how creative businesses work.

generating

them

Several of this cohort exhibited at Shelf Life,

out, observing and harnessing selected

an exhibition of staff and student work at the

qualities, manipulating and controlling

Vitsœ showroom during Munich Jewellery

possibilities;

testing

materials, developing and refining pieces

Week, which was a fantastic opportunity to

to form a collection of jewellery as well as

showcase the excellent output of the course.

communicating that journey in a concise and engaging way in a portfolio. It is an

BA Jewellery Design is extremely grateful

exhilarating

daunting

to all our donors and partners, their

process, but having this experience leads to

continuing and generous support has a

capable and versatile designers and makers

huge impact on the student experience.

and

sometimes

and open-ended thinking allows graduates to continue a creative approach in whatever

We warmly welcome you to the 2016 degree

field they choose to operate in – they are

show in this special 50 th anniversary year of

the future.

the BA (Hons) Jewellery Design course.

c a r o l i n e b r o a d h e a d, co u r s e l e a d er , b a

( h o n s)

j ewellery design

Central Saint Martins, University of the Arts London

2-3

This is a process of identifying ideas,

BA (HONS) JEWELLERY DESIGN

AMBRIN Ambrin’s collection was initially inspired by a 2015 visit to Banksy’s theme park, Dismaland, which explored themes of austerity and financial corruption. In her own dystopian collection, she attempts to shed light on the unrelenting greed of society. Ambrin also took inspiration from the ancient Greek myth of King Midas, transforming ordinary household objects into excessively luxurious, but contact lenses, lace plasters and the morning-after “pearl”. i n t e r p r e tat i v e t e x t b y s a r a n ya k u n d a s a my ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

recipien t of t he swa rov ski fo u n dat i o n s ch o l a r s h i p

contac t lenses s i lv e r a n d g o l d p l a t e d c o p p e r , c u t c o i n s

www.ambrin.co.uk

4-5

ultimately redundant reincarnations of themselves: gold

BA (HONS) JEWELLERY DESIGN

COLINE ASSADE Coline playfully interrogates traditional notions of femininity with her exploration of identity and self-expression. Freed from convention, we accept Coline’s invitation to travel from the beginnings of individualism, through the building blocks of self-expression and creative experimentation to a climactic equilibrium, which fuses both self-constructed and biological aspects of identity. Using precious materials and and contemporary theme in a sprightly, unconventional and impassioned manner. i n t e r p r e t a t i v e t e x t b y ly d i a k e l ly ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

neckl ace p r eci o us w h i t e m e ta l , en a m el l ed co p p er , b a r o q u e p e a r l

coline.assade@gmail.com

6-7

traditional jewellery techniques, Coline addresses a complex

BA (HONS) JEWELLERY DESIGN

HUSSA BANDAR Hussa’s collection looks into the unusual community of female body builders. Behind a tough performative exterior, these women often struggle against highly fragile bodily states, failure of their menstrual cycle and thus a loss of their sense of femininity. Hussa investigates the “natural” dichotomies of soft/hard, feminine/masculine, and how objects can exude an inexplicable perversion. Borrowing themselves, she evokes desire, repulsion and suspicion in the act of looking. i n t e r p r e t a t i v e t e x t b y j e p p e u g e lv i g ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

pendant g o l d p l at ed g i l d i n g m e ta l , su ed e

hussabandar@gmail.com

8-9

materialist language from lingerie and the body builders

BA (HONS) JEWELLERY DESIGN

TALISA BERGSEN Originally from Istanbul, Talisa refers to urgent Turkish socio-political stimulating

issues jewellery,

to

create

accessible,

paradoxically

visually

achieved

by

constructing mythological narratives that bring into play ancient symbols of Turkish cultural identity. Using traditional techniques of wax carving and enamelling, she fabricates a series of sliced-up wearable sculptures: worn worn together, they create a larger pictorial logic. Talisa’s process of fragmentation and re-arrangement echoes the political climate in Turkey while representing the aspiration for a more constructive political conversation. i n t e r p r e t a t i v e t e x t b y j e p p e u g e lv i g ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

rings p r eci o us w h i t e m e ta l

talisa@talisabergsen.com

10- 11

individually, each ring possesses an abstract appearance;

BA (HONS) JEWELLERY DESIGN

STEPHANIE CHASE Stephanie’s late grandmother kept a beautiful piece of golden thread for 40 years without ever using it: why? That question is where Stephanie’s deeply personal project begins. She carefully brings a playful aesthetic element to such cooking implements as sieves and baking utensils so as to evoke memories of baking with her grandmother. In painstakingly weaving together these everyday items, she imbues them about the stories behind everyday objects. i n t e r p r e tat i v e t e x t by b e n h a r r i s ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

neckl ace steel sie ve, thre ad

stephaniechase1@hotmail.com

12 - 13

with a sense of preciousness in the hope of provoking wonder

BA (HONS) JEWELLERY DESIGN

MUHUA CHEN Muhua’s brass and acrylic mechanical structures are aesthetically

and

aurally

fascinating.

By

drawing

inspiration from the toys she used to play with, she creates a sense of childlike intrigue. The moving forms that she develops investigate the relationship between objects and our behaviour as we use them. She allows you, the wearer, to transform and activate her collection so that you are not recovering some of your own. i n t e r p r e tat i v e t e x t by b e n h a r r i s ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

hand piece brass, acrylic, m agnets

muhuachen_design@outlook.com

14 - 15

only wearing a piece of Muhua’s childhood you are also

BA (HONS) JEWELLERY DESIGN

SHIYUN CHEN The starting point for Shiyun’s collection was an investigation of the quality of skin. As our interface with the world, skin communicates a state of health or illness, evidence of injury, embarrassment and response to temperature. These signals change not only the look and shape of our body but also affect how others perceive us.

By using a variety of precious and non-precious materials, Shiyun’s desire is to create beautiful jewellery that overlays the body’s surface. i n t er p r e tat i v e t e x t i n co l l a b o r at i o n w i t h b a

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

arm piece

(d e ta i l )

s wa r ov s k i b e a d s , s wa r ov s k i cr y s ta l s , ch i ffo n

shiyunchen27@gmail.com

16 - 17

imitating and exaggerating the colour and texture of skin,

BA (HONS) JEWELLERY DESIGN

CRYSTAL CHENG Crystal’s collection is inspired by crumbs you might find on your clothes when eating. These inadvertent “brooches” are generally considered something to be brushed away as soon as you notice them, but Crystal’s brooches are made to last. Real pieces of food waste have been frozen, coated and then cast in metal and enamelled to resemble the residues of chocolate or biscuit – a perfect example of how lowly materials can be the

i n t e r p r e tat i v e t e x t by t e r e s a fo g o l a r i ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

brooch pins p r eci o us w h i t e m e ta l , en a m el pa i n t

crystal1992cheng@hotmail.com

18 - 19

inspiration for elegant and smart jewellery.

BA (HONS) JEWELLERY DESIGN

OLIVIA COSH HALL Olivia’s pieces investigate the connection between jewellery and familiar objects. Fascinated with the idea of distortion, she focuses on the way that metal appears a more fluid substance when viewed through water in a glass. For example, a ring is transformed from a solid structure to an abstracted form held within the glass. Utilising traditional silversmithing techniques, she makes use of things we connections we would not usually notice. i n t er p r e tat i v e t e x t p r ov i d ed b y b a

(h o n s)

cr i t i cis m a n d cu r at i o n

object found gl a ss , copper

olivia.coshhall@hotmail.com

cu lt u r e,

20 - 21

commonly come into contact with so as to uncover hidden

BA (HONS) JEWELLERY DESIGN

ALEXANDRA CRATHERN Paying tribute to her heritage, Alexandra’s collection reflects on the hardship endured by the Welsh miners whose labour fuelled the industrial economy. Fascinated by the iconic depiction of coal miners’ hands covered in coal dust, she uses anthracite sourced from her home town to tough and bulky qualities conceal its dual nature: beneath its surface are hundreds of delicate cracks. Alexandra’s creative process is therefore necessarily slow and intricate; the results are bold and contemporary. i n t e r p r e tat i v e t e x t by e l e n i s a m r a ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

ring anthr acite coal

Alexandracrathern@outlook.com

22 - 23

explore the relationship between skin and coal. Anthracite’s

BA (HONS) JEWELLERY DESIGN

FRANCESCO D’AURIA Crossing boundaries between jewellery, accessories and fashion, Francesco’s alluring and seductively sinister collection embodies femininity and female empowerment.

He has created pieces that focus on expressing the essence of womanhood in a threatening manner. The bold colours and iconic, lipstick-shaped silhouettes highlight how makeup can be made into the deadliest of weapons: beauty

i n t e r p r e tat i v e t e x t by g r ac e a h n ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

arm pieces l e at h er , b r o n z e

FrancescoDA_@outlook.com

24 - 25

used to entice in a dangerous game of deceit.

BA (HONS) JEWELLERY DESIGN

NOORA DAVID A recollection of a distant, eclipsed past, Noora’s metalwork is intimately rooted in Assyrian cultural symbolism and mythology. Raised in England, she creates works that communicate and carry forth her ancestry in tangible, multi-faceted forms. The introspective pieces play with lines and arrangements that intersect harmoniously and echo her Assyrian identity. She explores ideas of creation beyond the region’s contemporary tragedies. i n t e r p r e tat i v e t e x t by h e l e n a ze i d l e r ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

brooch s i lv e r p l a t e d c o p p e r , s t e e l w i r e , s w a r o v s k i c r y s t a l s

n9423@hotmail.co.uk

26 - 27

and destruction, birthing a narrative of the ancient nation

BA (HONS) JEWELLERY DESIGN

LUCIE DAVIS Challenging the conventions of jewellery, Lucie’s work brings a bit of magic to daily routines. Her pieces create entertaining collisions between nail art and travelling by Tube, washing up and instant rings, or point-of-sale fruit stickers and fine enamelled brooches. Although seemingly light-hearted, her graphic and punchy pieces reconsider value in their materiality and use, offering the wearer an 28 - 29

active role in interaction and interpretation. i n t e r p r e tat i v e t e x t by g r ac e a h n ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

touch in and out with oys ter c ard acrylic nail s

-

with the

r fi d ch i p at yo u r fi n g e r t i p i t ' s t h e fa s t e s t way t o pay !

luciedavis7@hotmail.co.uk

BA (HONS) JEWELLERY DESIGN

NATHAN DICKSON Nathan looks to the human form as inspiration and translates ideas of intimacy and space around the body. His collection uses the transformative qualities of plaster to create the forms directly from the body, and explores this immediate and personal way of creating jewellery forms. These sensual, elegant and ungendered pieces emphasise the intimate relationship people can have with their jewellery.

ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

bo dypiece pl aster

nathandickson@hotmail.co.uk

30 - 31

i n t e r p r e tat i v e t e x t by g r ac e a h n

BA (HONS) JEWELLERY DESIGN

SIMONE MARIA FAURSCHOU Simone’s collection emerges from an obsession with footwear, the codified categories of which are emblematic of gendered fashion histories. The foot is a fetish-object, its curved lines triggering unexpected satisfaction in the viewer. Making use of metal forging, which requires fluid shapes from a hard and rigid medium, which suggest effortless and carefree movements for those wearing them. i n t e r p r e t a t i v e t e x t b y j e p p e u g e lv i g ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

ankle piece b r a s s , s i lv e r p l a t e

faurschou.s@gmail

32 - 33

delicate processes of hammering, Simone achieves soft,

BA (HONS) JEWELLERY DESIGN

ANNA FINCH Paper is usually considered a non-precious material, but with global warming and increased deforestation, however, it may become a precious resource. Using discarded newspapers and numerous shopping receipts as her basic material, Anna explores its potential, through extensive experimentation, including pulping, carving, cutting, laminating, heating and sanding. Here, it is inlaid with for formal shirting, proving that materials we discard every day can be beautiful and wearable. i n t e r p r e tat i v e t e x t b y a r av i n s a n d r a n ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

coll ar piece pa per r eceip t s , b r a s s

annafinch@hotmail.co.uk

34 - 35

pearl and silver to make decorative buttons and cufflinks

BA (HONS) JEWELLERY DESIGN

K AY G U O Kay’s Buddhist philosophy provided her with the idea of a peaceful detachment from all the elements in our lives that have a provisional nature. Offering a twist on traditional mourning jewellery, her pieces are also a reflection on the way people’s attitudes to memories have altered in recent decades. They represent a metaphor for the fluid process of loss and change.

ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

ring ox i d i s ed p r eci o us w h i t e m e ta l , h a i r , p e a r l s

Kayguo.c@hotmail.com

36 - 37

i n t e r p r e tat i v e t e x t by r e b ecc a d e r i n e

BA (HONS) JEWELLERY DESIGN

STACEY HUANG A visit to Tesco’s is a part of a student’s everyday routine, and Stacey’s collection is inspired by their packaging. In today’s world of consumption, this packaging has become an international language that people from different countries understand and use. Her designs echo the many signs of promotion that we find in supermarkets. The aim is to invite people to rethink the value of fast-moving consumption by

i n t e r p r e tat i v e t e x t by c a r lot ta c l e r i c i ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

earring g o l d p l at ed b r a s s , p e a r l

www.staceyhuangdesign.com

38 - 39

transforming these signs of commerce into fine jewellery.

BA (HONS) JEWELLERY DESIGN

YA N A I S TO M I N A Inspired by the changes that aging causes to the skin and the shape of the body and by the mixed feelings that these changes can arouse, Yana’s provocative collection features nude and black leather body pieces, laser-cut with abstract interpretations of wrinkled skin. By transforming the aging body into decorative jewellery pieces that incorporate metaphorical wrinkles, Yana’s innovative work blurs the

i n t e r p r e tat i v e t e x t by i m o g e n h a r l a n d ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

bo dypiece l e at h er

jana9191@mail.ru

40 - 41

line between biological fate and performative agency.

BA (HONS) JEWELLERY DESIGN

E L E N A KU R G I N YA N Through the meticulous study of hands and their expressive movements, Elena has crafted emotive pieces that explore a contemporary dialogue between object and user. Grounded in Elena’s cultural heritage, each piece boasts an intrinsic, internal narrative that challenges perceptions of our reality and within our contextual framework. The dichotomy between the kinetic quality that our hands possess, and understand, results in a bold and elegant representation of form and subjectivity. i n t e r p r e tat i v e t e x t by h u g o lu c i e n ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

hand piece gilded brass

subilin57@gmail.com

42 - 43

the visual language which we subconsciously but precisely

BA (HONS) JEWELLERY DESIGN

I LYA KU R S A L I N Ilya uses simple pattern and repetition to create a series of complex three-dimensional leather ruffs that are flexible and comfortable to wear and reveal an interior of contrasting colour and surface. i n t er p r e tat i v e t e x t i n co l l a b o r at i o n w i t h b a

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

44 - 45

n e c k l a c e l e at h er

ikursalin@gmail.com

BA (HONS) JEWELLERY DESIGN

XIAOSHA LI Every day, flower shops throw away many living blooms that are destined to become mere landfill. Xiaosha recycles these flowers, first drying them and then placing them alongside discarded flower-arranging materials such as fabric, beads, wire and cellophane to create pieces that express her concerns with wastage. In order to show that “waste” can be beautiful, she has crafted frames that use traditional clean shapes. One frame holds a single “fresh” blossom, reinforcing the dichotomy between beauty and decay. i n t e r p r e t a t i v e t e x t b y r o b e r t a a m a n d a h a w k i n s b e lt r a m e ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

h e a d p i e c e m i l l i n er y wi r e, si l k , b e a ds , r ec ycl ed l e av es

Janetli1223@hotmail.com

46 - 47

millinery methods to create modern, geometrically

BA (HONS) JEWELLERY DESIGN

TIANYI TIA LIANG Combining traditional metal work with digital 3D printing, Tia’s collection is primarily based on the form of the Chinese rice bowl. She removes it from its familiar use as a household item and re-scales it so as to create simple and striking pieces. Her work places delicate pearls alongside the rice bowls, combining symbols of wealth and power with empty vessels in a collection which explores the shame

i n t e r p r e tat i v e t e x t by i m o g e n h a r l a n d ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

n e c k l a c e ox i d i s ed p r eci o us w h i t e m e ta l , p e a r l

tialiang jewellery@163.com

48 - 49

of hunger as a universal experience.

BA (HONS) JEWELLERY DESIGN

H AYA J A H A N G I R LUTFULLAH Reflecting the inspiration that she finds in Eastern classical music, Haya infuses her pieces with musical rhythms. The hammered texture of her jewellery is created by punching copper to the beat of the tabla, a drum commonly heard in music from the Indian subcontinent. Potentially, the stain impression music can make on our bodies while the use of flowing lines and circular shapes creates the impression of a melody overlaying the drum rhythms. i n t e r p r e tat i v e t e x t by i m o g e n h a r l a n d ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

neckpiece copper

Haya.Lutfullah@gmail.com

50 - 51

of the copper on the wearer’s skin symbolises the lasting

BA JEWELLERY DESIGN DEGREE SHOW

ELIZABETH MARTIN Elizabeth’s collection consists of images depicting large, sculptural body pieces that abstract the human body through the use of photography. She uses flexible and synthetic materials which distort and refract light in order to facilitate the literal wearing of light and to explore how that luminosity appears in photographs. By combining 3D and 2D forms and layering images on top of each other,

i n t e r p r e tat i v e t e x t by i m o g e n h a r l a n d ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

d i g i ta l p r i n t ace tat e

ecmartin94@gmail.com

52 - 53

Elizabeth’s work creates an ephemeral and poetic effect.

BA (HONS) JEWELLERY DESIGN

MIA ZHAOTONG MENG Mia’s work revolves around narratives generated through the interaction of bodies, light and shadows. She fabricates acrylic boxes illuminated by an LED spotlight, into which she places Swarovski crystals. Their reflection creates not only an image of the surface of water but also shadows that without the body’s presence. The imagery, often taken from nature, suggests an idealised setting that recalls the atmosphere of fairy tales. i n t e r p r e tat i v e t e x t by l i l i - m a x x h ag e r ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

hand piece acrylic, led lights

mia_mirror@foxmail.com

54 - 55

evoke romantic scenarios, stories that cannot be completed

Ph oto by : J OH N M CGR ATH

BA (HONS) JEWELLERY DESIGN

AIMANY MOHAMMED In her “Kuchanja” collection, Aimany tackles her Tanzanian heritage through an exploration of tribal scarification (“kuchanja” is Swahili for “scarification”). Intended to imitate the essential nature of the human skin, her leather pieces are laser-cut, a method which echoes the painful procedure of scarification. Closely scrutinising her roots, the pieces consist of 3D patterns that rely on a sense of that is necessary to arrive at beauty. i n t e r p r e tat i v e t e x t by l i l i - m a x x h ag e r ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

n e c k p i e c e l e at h er

aimanyharoub93@hotmail.com

56 - 57

simplicity. The process conceptualises the pain of creation

BA (HONS) JEWELLERY DESIGN

FARAH MOHIDIN Hair loss in women is a sensitive and intimate topic. Farah’s pieces contemplate the complex range of emotions that she has felt in response to experiencing alopecia. From the initial mourning for her hair to the possibility of acceptance and celebration of perceived imperfections, Farah’s pieces reflect on each stage of alopecia. She has created a collection which addresses an under-represented and stigmatised

i n t e r p r e tat i v e t e x t by i m o g e n h a r l a n d ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

headpiece s i l k , s wa r ov s k i cr y s ta l s

Fa r a h _ m @ h o t m a i l . c o . u k

58 - 59

topic with care and courage.

BA (HONS) JEWELLERY DESIGN

OLLY NG The sausage is a term of endearment, has connotations of the male sex and is known throughout the world in different cultures. Olly’s collection draws upon this most humble object. In making her pieces, Olly imitates the sausagemaking process by using actual sausage skins as a mould.

The results are bulbous, bulging pieces that undercut the conventional glamour that we associate with jewellery.

i n t e r p r e tat i v e t e x t by s e l e n e l e e ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

neckl ace c a s t r es i n , p r eci o us w h i t e m e ta l

ollyng521@gmail.com

60 - 61

This jewellery is humorous and affectionate.

BA (HONS) JEWELLERY DESIGN

C L É M E N T I N E M ÂY PLANCHON Clementine’s collection focuses on the emotional and therapeutic influence that jewellery can exert. She aims to construct a physical as well as psychological connection between each piece and its wearer. Every object has a specific purpose that goes beyond aesthetics, acting as a soothing impact. The effect is enhanced by her selection of a neutral colour palette and by the use of simple materials that are mindfully chosen. i n t e r p r e tat i v e t e x t b y s a r a n ya k u n d a s a my ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

hand pieces p r eci o us w h i t e m e ta l , p o r cel a i n

clemplanchon@gmail.com

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calming, tactile meditation aid as well as having a visually

BA (HONS) JEWELLERY DESIGN

SUNIER Sunier’s work pays homage to traditional Chinese jewellery.

Using ancient techniques, including filigree and kingfisher feather inlay (kingfishers are an endangered species so Sunier uses goose feathers), she reproduces traditional images such as honeysuckle, widely used in Buddhist art to symbolise strength of spirit. The jewels’ lightness is enhanced by the elegance of the materials, including earrings and chin and eyebrow pieces, all made in a way that allows them to be worn in different positions. i n t e r p r e tat i v e t e x t by t e r e s a fo g o l a r i ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

ear piece p r eci o us w h i t e m e ta l , s wa r ov s k i cr y s ta l s

melka_sui@hotmail.com

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silver and Swarovski gems. Her unique collection includes

BA (HONS) JEWELLERY DESIGN

JOANNE TAN Joanne’s collection of high jewellery for the face highlights cultural perceptions of beauty and bodily imperfections.

Aware of the surging global popularity of plastic surgery and inspired by the way in which radical forms of tribal jewellery address issues of status and beauty, Joanne designs facial accoutrements that draw attention to the malleable visage.

Using precious materials like gold, diamonds, gemstones to the multiplicity of facial anatomies in both Asian and Western societies. i n t e r p r e tat i v e t e x t b y a r av i n s a n d r a n ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

nose jewellery g o l d p l at ed b r a s s , p e a r l s

joanne104.tan@gmail.com

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and pearls, her pieces vary in structure and scale according

BA (HONS) JEWELLERY DESIGN

FLORANCE BRANAN TEBBUTT Florance’s collection serves as a reminder of the tragedy of mother and child abuse at such institutions as the Magdalene laundries, set up from the 18th century onward to house women considered sexually delinquent.

Memorialising those women, who were abandoned and history, Florance’s work expresses devotional condolence.

She incorporates traditional embroidery and religious ornaments into her pieces, subverting their original context so as to draw attention to child abuse and the victimisation of women through religion-based sexism. i n t e r p r e tat i v e t e x t by co co zh o n g ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

order of pius ix

(d e ta i l )

g o l d w o r k e m b r o i d e r y, c o t t o n

tebbuttflorance@gmail.com

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ostracised by family and society and almost removed from

BA (HONS) JEWELLERY DESIGN

JESSICA TRAFFORD Jessica’s collection questions the future of the creative process, which she feels is in danger of being lost in our digitalised world. Celebrating the art of imperfection, Jessica has transformed the mess and vibrant chaos of an artist’s studio into one-off, hand-crafted pieces which expand our perception of what jewellery can be. Jessica makes explicit the process of creation and her fine jewellery pieces highlight

i n t e r p r e tat i v e t e x t by e l e a n o r s u t h e r l a n d ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

brooches , e arrings , pendants p r eci o us y el low a n d w h i t e m e ta l s , b r o n z e , l a p i s , pe a rl s , g e m s to nes

jessicatrafford@hotmail.com

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the special quality and skill of creating by hand.

BA (HONS) JEWELLERY DESIGN

CHLOÉ VALORSO Chloé’s collection takes inspiration from aspects of existing mythologies to create her own belief system. Using her alter ego “Bob” as a recurring motif throughout her work, Chloé explores the importance of narrative and challenges the boundaries between real and unreal. Each piece has been sensitively crafted from natural materials drawn from Chloe’s own highly personal miscellany. The pieces act as symbolic qualities and deep sense of history – an essential component in this innovative interpretation of mythology. i n t e r p r e tat i v e t e x t by j e s s i e d u n n e ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

neckl ace se ashells, deer antler

iwasborninazoo.com

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amulets that empower the wearer through their compelling

BA (HONS) JEWELLERY DESIGN

HAORUI WANG Haorui’s collection contemplates the complex dichotomy that arises when contrasting elements are brought together. He employs traditional casting techniques to produce delicate twigs from bronze, a natural material which has been used for thousands of years. This natural material and ancient process are paired with innovative experimentations in plastic, using a 3D printer to create results in an intriguing, surprisingly harmonious collection with a focus on craftsmanship. i n t e r p r e tat i v e t e x t by j e s s i e d u n n e ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

brooch b r o n z e , p r eci o us w h i t e m e ta l , p e a r l

whr-jewellery@outlook.com

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geometric forms. This combination of opposing elements

BA (HONS) JEWELLERY DESIGN

YUENJI YI We touch everyday items many times a day, but they sometimes go unnoticed, Yuenji’s work redirects our attention to these by usurping some familiar components so they can be appreciated in a different context. Handbags carry important things we need close to us; the handles alone, collaged into components of necklaces and body wraps, imply these treasures.

ba

(h o n s)

cu lt u r e, cr i t i cis m a n d cu r at i o n

hand piece p r eci o us w h i t e m e ta l , p e a r l s , m a k eu p b r us h

yjiy@outlook.com

76 - 77

i n t e r p r e tat i v e t e x t by c e m h a m l ac i b a s i

WITH THANKS TO With thanks to staf f who have suppor ted this cohor t of students throughout their studies M a r t i n B a ke r

M a r l e n e M cK i b b i n

Caroline Broadhead

Maria Militsi

Lin Cheung

Michael Milloy

Carl Clerkin

Campbell Muir

Sian Evans

Fr i e d a M u n r o

Naomi Filmer

Jane Short MBE

Melanie Georgacopoulos

J e s s i c a Tu r r e l l

Beth Gilmour

Fr a n c e s Wa d s w o r t h- J o n e s

Katy Hackney

M a x Wa r r e n

To n y H a y w a r d

W i l l i a m Wa r r e n

Mar tin Hopton

S i l v i a We i d e n b a c h

Chris Howes

P a u l We l l s

Vo l ke r Ko c h

Scott Wilson

Giles Last

A n a s t a s i a Yo u n g

Hannah Martin

e x t er n a l l i a is o n co o r d i n ato r s n at s a i ch i e z a a n d nicol a dil lon e x t ern a l e x a miner l aur a p ot t er

BA (HONS) JEWELLERY DESIGN

ACKNOWLEDGEMENTS S h i y u n C h e n , C o l i n e A s s a d e , J e s s i c a Tr a f f o r d , J o a n n e Ta n , S u n i e r, N o o r a D a v i d , I l y a Ku r s a l i n a n d L u c i e D a v i s w o u l d l i ke t o t h a n k S WA R OV S K I f o r s p o n s o r i n g their work I n t e r p r e t a t i v e t e x t s b y B A ( H o n s) C u l t u r e , C r i t i c i s m a n d Curation students at Central Saint Mar tins, with thanks

A big thank you to those who have suppor ted this cohor t:

∙∙ ∙∙ ∙∙ ∙∙ ∙∙ ∙∙ ∙∙ ∙∙ ∙∙ ∙∙ ∙∙ ∙∙ ∙∙

Annoushka ASIC Auerbach and Steele Cartier D CK J& J M a r g a r i t a Wo o d Solange A zagur y Par tridge Swarovski T h e L e a t h e r s e l l e r s' C o m p a n y T h e o Fe n n e l l T h e Wo r s h i p f u l C o m p a n y o f T i n P l a t e Wo r ke r s a l i a s W i r e Wo r ke r s o f t h e C i t y o f L o n d o n Winterson Thanks & Acknowledgements

78 - 79

to Course Leader Michaela Giebelhausen and tutors Andrew Marsh and Nick Kimberley

C o v e r i m a g e: b y A m b r i n This catalogue was designed by Suzie Eland and printed by Print East

learned my craft and opened my mind. I can still smell the place! It’s just very special!”…francesca amfitheatrof

| “I was privileged to have had such outstanding teachers and such talented and

friendly classmates at Central School of Art and Design. Being the first foreign student in the Jewellery Department in 1966, and studying not in my native language was indeed challenging. But what I learned from the master jewellers became the foundation of my career as metalsmith and enameller”… tamar de vries winter | “It

gave me a rich technical grounding”…louise vane | “Martin

Hopton: an inspirational and dedicated tutor and Master Craftsman. His technical and design excellence alongside his problem solving abilities stood out for me. In a word… Genius!”…tracy furlong | “The

course in the mid sixties (then led by Brian Wood) gave me the opportunity to

experiment with all sorts of materials and the ability to explore the techniques I needed to make my ideas a three dimensional and wearable reality. I never felt controlled or dictated to, the three years gave me time to grow intellectually and creatively, plus of course I met Leo!!”… ginnie de vroomen | “My three years at Central in the mid 1980s provided me with many happy memories, enduring friendships, and entry into a career that has given me enormous satisfaction”…jessica

turrell | “My

memories are very much tied to the people who influenced my time studying, and the place, the Lethaby building. In some senses the two are inseparable; many of the elements of the course continued Lethaby’s radical approach to the integration of design and craft in arts education (although of course I was not aware of it at the time), but I was always impressed by the atmosphere of the building and the sense of being part of a historic institution. Many of the staff who taught me had been students at CSM, so there was a direct connection to the recent past; I am honoured to be in the same position myself now””…anastasia young | “For me the best thing about studying in CSM is “Shy --> brave” I was shy at beginning but I built my confidence during the Jewellery course in CSM. I have become a brave person due to my peers and the tutors and technical teams’ support.”…lin huang | “Although the time and space was limited and there were so many of us, the support from the tutors and technicans was unlimited, they were really standing by us, thinking for us and helping us with all we needed. I got chance to know about jewellery in all kinds freedom, Individual differences were respected and understood. It shone a light on the way I wanted to go forward ”…yenz

lin | “Central

remains

the best art school in the world and I would not be at the vanguard of jewellery had I not studied here - like all CSM graduates, CSM is in my DNA”…elizabeth

galton | “1980s

London Art

School - technical skills and time to practice - lots of subject know-how unexpected opportunities - life drawing with Cecil Collins using our feet - enamelling panels in the stain glass dept - Reckless Eric playing a set in the canteen in the middle of the afternoon - the car park parties - tutors chain smoking through crits – met loads of people most of them I still know. Leaving with confidence”… giles

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