Im primarily self-taught jeweller from an art based background having actually done a fine art textiles degree at Goldsmiths College, University of London throughout the YBA period however I was constantly more of a hands-on maker. I have actually subsequently taken many courses (consisting of a summer season school with Cristoph Zellweger, a workshop with Dorothy Hogg, a stone carving week with Charlotte de Syllas, a night class with Mark Nuell) and see it as a continuous process as I take pleasure in experimentation within strategies, concepts and materials.
Let us know a bit about yourself, detailing your background, study and training in the jewellery making industry.
I have shown primarily within craft arena however likewise including fashion– Kate Moss photographed wearing wood pieces commissioned for W magazine (2004 ), Iris Apfel often photographed in her bioresin bracelets (2014 onwards, see connected picture), white resin pieces released online magazine The Bite (Summer 2012).
Author Sarah King has won numerous jewellery awards, consisting of the Association of Contemporary Jewellery Prize and a number of commendations from Goldsmiths? See what inspires this jewellery maker and more by seeing our interview with Sarah listed below.
My early work was minimalist silver which offered in department stores such as Barneys New York and The Conran Shop. For the last 20 years I have been checking out alternative and more sustainable products for jewellery and originated the usage of bioresin, a casting resin developed by a German chemist from sunflower seed oil.
Inform us about your work– are there any particular materials or techniques that you favour?
My work is sculptural and tactile and I take pleasure in methods that benefit creating fascinating types, such as casting and sculpting, whether it remain in wax, plaster (to create forms for rare-earth element pieces), wood or bioresin. I like exploring to see how I can push the possibilities of the products and their intrinsic qualities, the reflective qualities of metals, the warmth and sense of time intrinsic within wood, and the translucency and colour possible in bioresin. I have actually experimented with innovations such as laser cutting, laser welding and Selective Laser Sintering but I return to approaches that I can have control of in the workshop and that I can alter as I deal with them.
How would you best describe your design style?
I choose a pared down aesthetic and play around with the focus and balance of the piece to get rid of any extraneous information. I like work to be tactile, have a sensuality and an unwinded mindset and to look womanly but modern. I try to resist work that shows off its technicality. My clients tend to be arty types, artists, curators and architects who react to the sensibility and visual of my work rather then it being a status symbol.
Where do you like to get your motivation from for your pieces?
I find questioning around galleries of abstract art and sculpture are productive places to wonder around sparking off concepts and then I discover one piece resulting in the next– I miss no longer living on the 56 bus path to Tate Modern! There are particular preferred artists that I constantly go back to– Robert Ryman, Constantine Brancusi, Barbara Hepworth. Im searching for that visceral feeling I get when seeing a work that grabs me– a lightness of touch or a spatial sensation.
Do you have a piece that you have made which you favour or are particularly happy with?
It was for this program that I developed the pierced hollow bioresin work which ended up being signature pieces, such as the white egg neckpiece in the Craft Councils collection. The work looked very fresh then, as it was before the days of prevalent use of 3D printing. See the fantastic acclaimed picture of Iris Apfel wearing my bangles by Guerin Blask.
I do not think I can choose out one particular piece however there was a group of work that I established for a solo program in Tokyo in 2003 entitled Light Constructions that was the result of lots of experimentation and to which a still refer back to. It was a series of hand-constructed rings and bracelets in silver and translucent or white bioresin.
What is the one item in your jewellery making workshop that you could not live without?
Its a very modest item however Im truly lost without my vernier gauge as Im reaching for all of it the time to inspect the size of whatever.
What upcoming trends do you see being popular quickly?
We are all influenced by the world around us, but Im not a fan of trends as I desire my work to be classic and for customers to enjoy it over an extended period. I would not want it to look too outdated and I like to do my own thing, so I attempt not to take much notice of them. This mindset seems all the more relevant as awareness around sustainability issues grow. I do delight in watching on what brand-new innovations appear.
What is the most valuable lesson you have gained from your time in the jewellery making industry?
Never ignore the power of relationships– those with the suppliers and with the customers. When you are displaying as you never know what the discussion may bring or what you will discover, talk to everyone.
Do you have any specific advice that you would provide to up and coming jewellery designers, or somebody thinking about entering jewellery making?
I would state enter into the jewellery industry if you are really enthusiastic about it. Think what truly inspires you and why you want to make specific work? Think of where you would place yourself amongst the jewellery already out there. I like having a balance of workshop experimentation which is quite singular, with the more collective elements of teaching, and working with photographers, graphic and industrial designers.
Time for a bit of fun in our quick-fire round!
Tell us your favourite …
Colour– WhiteBiscuit– FlorentineDrink– MargaritaPlace– Anywhere having an adventure with the household or cultural city break without children!Animal– WhaleGemstone– ChalcedonyFood– JapaneseSport– Wild SwimmingFilm — I cant select simply one!City– London
And finally, what was your motivation behind your book and what would you want individuals to gain from it?
I was commissioned by Judith More of Fil Rouge Press who had spotted how little had been written about wood as a jewellery medium and I right away concurred as I knew that there was a lot exciting work I could consist of. I wanted to challenge prejudgments and show wood as a ingenious and modern sculptural medium for jewellery.
I was initially composing for a UK audience, Im delighted to have received messages from readers in Europe, the US and even as far away as Australia …!
I hope the book will expand knowledge of techniques from low tech to high tech and be a starting point for novices or a referral for the more experienced makers. When looking at other publications, I tried to consist of those crucial information that I desired to understand.
I likewise welcomed the chance to explore more sustainable sourcing of woods and other information to enable readers to make informed decisions. It was a specific satisfaction to include profiles of popular studio jewellers (Inni Parnanen, Terhi Tolvanen, Beppe Kessler, and Lina Peterson), all of whom making sensational work without using exotic woods.
Lots of thanks to Sarah for sharing her insight and jewellery making journey with us
View Creating Jewellery In Wood: Skill Building Projects And Techniques By Sarah King
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