MALLORY WESTON, USA

My jewellery locates itself within the absurd world of artist-made comic books and cartoons.In some of my past work I have explored the cloud form. I thought continuing the series with Acid Rain Cloud and Acid Rain Drop would be an interesting interpretation of green. While still maintaining a playful cartoon form and aesthetic, these two pieces hint back to more sinister ideas such as environmental destruction and decay. Brooches (Silver, nickel, spray-paint,
leather, cotton)

LAUREN TICKLE, USA

My work is an experiment in the concepts of value and adornment. The Values Exploration process takes currency of defined value, distills it to graphic elements, then resynthesizes an object of much greater value. How and why are these notes distanced from their face value? Idea, concept, process, and labor create value. Is this new, finished form a microcosm of industrial production? Or a parody? ($65.00 US Dollars, silver, latex, surgical steel, monofilament)

HILDE DE DECKER, Belgium

'Wedding ring turns up in potato after twenty years' - this was the starting point for Hilde De Decker’s project. In this piece she explores how a vegetable reacts to precious metal; fitting the jewellery over the tender young fruit. (Gold, tomato, jar with vinegar, label).

Crafts Magazine interview

Sarah Brownlee from Crafts magazine just interviewed Lesley about Lesley Craze Gallery's upcoming 30th anniversary exhibition. Article will be in the Nov/Dec issue. #30YearsintheMaking http://tinyurl.com/p3wvsyz

KELLY MUNRO, UK

My inspiration is drawn from my heritage and homeland. I was born in a small town in the far north coast of Scotland, well known for its historical fishing industry. I am surrounded by small abandoned ports around the coast, and have had a particular interest in fishing equipment used in the past and present such as lobster pots. This has evolved through stages of material exploration and settled at the combination of ‘weathering’ wood and traditional metal techniques. Double Barrel Neckpiece (wood, paint, ink, neoprene rubber, copper)

NAN LI, China

In traditional Chinese culture, women are thought of as introverted, modest and fertile. I however want to glorify the female in the opposite way. Many archaeological artifacts show evidence of ‘vulva-worship’ and many symbols of fertility include symbols such as flowers, fish, frogs and so forth. Inspired by nature and female physical characteristics, I combine these elements, rebuilding them into a hybrid creature which conveys the alluring beauty and even dangerous attractions of female genitalia Blooming brooch (Fimo, thorns, acrylic paint, stainless steel)

 

KATHARINA MOCH, Germany

I create flamboyant, sculptural and wearable pieces that combine ambivalent aspects of appeal and repulsion. Jewellery that attracts attention, pieces that catch the eye and demand self-confidence and conviction to wear, thus challenging the boundaries of what constitutes jewellery. My work unsettles the borderline between beautiful and ugly in order to tease the perception of the beholder and to evoke reactions. Ring (Plastic, Cubic Zirconia)

MICHELLE KRAMER, Luxemburg

Clouds… accumulations… high up in the sky… untouchable… force of nature... white and fluffy or dark and threatening. Every cloud has a silver lining, but at the same time every silver lining has a cloud. It depends on what way you’re looking at it. So are you an optimist or a pessimist? Are you walking on cloud no. 9 or do you see dark clouds on the horizon? However does a toxic cloud provide much opportunity for optimism? Or could it be seen as a warning signal for humanity to finally wake up? (Balsa wood,acrylic paint,sand, silver leaf, silver plated aluminium, silver, steel)

FREDERIQUE COOMANS, Belgium

‘Nothing is lost, nothing is created, everything is transformed’ is the principle of Lavoisier. Applying this principle, my jewellery is crafted from recycled high value (Upcycling) waste materials, gathered from workshops of other artists (weavers, textile designers ...) and artisans (wood waste from local carpenter), off-cuts from designs that have already had a life. Bonds are woven to give birth to this new textile jewellery developed between me and the first creators through the harvesting of raw materials and through the searching of forms and textile techniques to realize the final outcome. (Waxed plywood, knitted cotton)

HELENA JOHANSSON LINDELL, Sweden

With a low-brow attitude, a predilection for things kitschy, childish, cheap, I choose materials, colours and shapes. The process of choosing is for the most part intuitive and the making is low-tech. I am not trying to be smart or “heady” about “things”. I am interested in bodily experiences - the emotional, the sensual, the energetic. My intention is to create jewellery that affects the body rather than the intellect. I want my pieces to infuse a sense of 'permission', that everything is allowed and without judgment. I want my pieces to create a ripple effect of bright, playful and uninhibited creations and actions in the world. (From Water to Wine neckpiece, Plastic, aluminium)