The other day I was walking by the river and started to think about what inspires my jewellery designs. I was looking at the paved path cutting through the trees, and the structures of the old, abandoned railway that have been clawed back by nature over the last century. The vines take on any shape as they reclaim and encompass old bridges and structures but the newly paved path is so stark and unaccommodating in comparison.


As I walked I was thinking of this push and pull between nature and industry, how each of them have such distinct traits, and how their aesthetics sort of overlap and blend in time. I think this relationship is always somewhere in my mind when I sit down to create a piece of jewellery.



FutureDeco represents the industrial aesthetics I use in my jewellery. These are pieces with lots of parallel lines, hard edges and concentricity. As an engineer I worked a lot with these things called waveguides. They’re very precise rectangular tubes used for guiding radio frequencies around a satellite. These waveguides became a sort of symbol for me - representing the minimalist and explicitly functional nature of industry, but somehow still carrying their own satisfying aesthetic, being as precisely machined as they are. You can see these properties all over the industrial landscape in the architecture, products and tools alike.


The name FutureDeco actually came from a friend of mine, but the more I think about it the more it makes sense for these designs. The presence of industry in art, and thinking about the fact that it’s the 20s again, feels like enough of a reason to want to call it this.


LiGrain represents more natural themes. I have these books that do a really good job of explaining the science and nature of certain aesthetics. In one of these books there is a brief page on “Li Simmetery”. The example textures are really similar to the grain structures and patterns that I like to recreate in a lot of my pieces. On further reading it seems that ‘Li’ refers to the underlying reason for organic patterns developing in the way they do - the way nature organises itself as it grows. You can find examples of these patterns everywhere: the texture of tree bark, the way that vines weave around one another, textures formed in sand, water and sky, and almost any other texture or pattern that is naturally occurring.


The patterns that I make are meant to be reminiscent of the patterns that appear in nature and are intended to follow the same growth as these, so it’s interesting to read about Li Symmetry as the principle that governs these patterns.


Both FutureDeco and LiGrain feel like very complimentary aesthetics and seem to contribute to this narrative of Nature vs. Industry so I tend to use them a lot in my pieces.

Harmonic Jewellery

Initially this project was all about representing music in jewellery. I've read a lot about how, because of streaming platforms, musicians don't really have a tangible outcome to their work like a vinyl, cd, cassette etc. You'd get the Wavs and the artwork and all that, but you can't hold something and say 'this is the music.' So the idea of creating a sculpture or some jewellery that 'is the music' intrigued me for a long time. Over the course of the project the concept has broadened because there's so much beauty and compatibility in the science and the tech. That's to say: you can represent more than just music in this form, randomised patterns look incredible, voices have their own look too - and I'm sure the more I dig the more I'll discover. It's a very life enriching project.

Natural Impressions

Natural Impressions are pieces of handcrafted jewellery where I’ve taken patterns and shapes directly from nature. I always enjoy experimenting with molten silver and seeing what natural forms I can get it to take on. The two most satisfying styles are the WoodGrain pieces and the InnerShell. Sterling Silver melts at 893°C and can cool to a solid pretty quickly. It’s a versatile material that can be reused and melted down infinitely. So repeatedly melting it and pressing it into various organic materials such as wood or sea shells can create really beautiful results.


The WoodGrain style is one of the first techniques I came up with and I still find the process and results satisfying enough for me to want to share with you. It’s particularly good for repurposing old jewellery in an affordable way, giving it a new lease of life on a budget. (Commissions welcome innit)


The InnerShell is a result of wanting to create a fibonacci spiral. I’d been reading about fib numbers and looking at art produced using its ratio. This was really interesting to me so I wanted to make something similar. After a while of chasing various doomed ideas I realised that there wasn't any point in trying to recreate something that nature has already nailed. So I started pouring molten silver onto natural examples of fibonacci spirals with really pleasing results.