A Brave New World

In pre-colonial times, in India, the designer and craftsperson were often the same people. Designers emerged as a separate entity owing to art and design schools opened by the British.

Gradually the designers were given an elevated status in our society post independence as well as seen through various policies and the establishment of design schools. The urban Indian came to look down on working with their hands and aspired almost always to be a designer.

Most designers too patronize a craft, not the craftspeople, but don’t think twice about promoting their own name rather than just their design. The craftspeople as a result, often remain anonymous.

As a jewellery student, many many years ago, I learnt that Gems & Jewellery Export Promotion Council (GJEPC) gave artisan awards both to outstanding craftspersons and designers, which is both progressive and pathbreaking. Unfortunately, this has not led to the levelling of the social status between goldsmiths and designers. When we buy jewellery as customers, the first thing we compromise on is craftsmanship which we have dismissively and conveniently termed ‘labour’. Consequently, the number of skilled and innovative goldsmiths have been progressively dropping in the industry.

I also find that the local crafts associated with Delhi have all but vanished, particularly in jewellery, not having received any encouragement or patronage either from the state or from the craft organizations, who seem to be focused primarily on textiles. There are no artist craftspersons selected for craft shows or represented in craft organizations from Delhi either.

Craft organizations tend to patronize (not too happy about using that word, but that is the truth of the matter) rural and indigenous artists and craftspeople over the urban ones. Instead of encouraging a dialogue and an exchange of perspectives between the two, they tend to reinforce the divide.

I strongly feel money is a facilitator, not a creative input. The creation of a piece involves both the designer and the craftsperson and should ideally be known as a collaboration, but is often known by the name of the financier.

One of the reasons I started my jewellery studio in 2009, apart from of course my love for manufacturing, was to challenge the unfairness in-built in our systems.

There needs to be change. Craftspeople need to speak up and take up space in our society, for them and the designers to come together to move towards a fairer system of creation and for our society to support them in this endeavour.

He was a quiet man-2

I developed this brooch for the Transmission-Exposition, curated by Sebastien Carre and Florine Menant at Studio 411-Galerie, France. It is in continuation of my ‘He was a quiet man’ series and also documents my love for Delhi and its natural habitat.

Living in a culture that aggressively generates noise and pushes for constant talk-time, silence can allow for those lesser voices to be heard that are constantly under threat and in danger of being wiped out.

In this piece, the mind is mapped by the autumnal colours of an urban forest of Delhi: Sanjay van that is fighting to surviveĀ  encroachments, illegal construction, deforestation and neglect. It is dotted with beautiful lakes and streams and a plethora of flora and fauna that seem to peacefully co-exist with the city scape of a noisy and urban Delhi.

When all is dark and hush, the lesser heard voice of the sparrow can be heard, chirping, chirruping and whispering in the quiet man’s ear.

The exhibition showcases the works of 53 contemporary jewellery makers from 21 countries andĀ runs from October 17 to December 12, 2015 at Studio 411-Galerie, Montpellier, France.

He was a quiet man

He was a quiet man

He was a quiet man

Brooch

Sterling silver

2015

Below is the map of Sanjay Van

map of sanjay van

map of sanjay van

Kapaleeshwar Temple, Chennai

The Blog-o-sphere Think Tank topic for July: ‘Where I went this summer’

The top view of the gopuram

The top view of the gopuram

Kapaleeshwar Temple
Mylapore
Chennai
India

I recently travelled to Chennai, to attend the opening of the Contemporary Jewellery show I was participating in. There, I also attended a talk by art historian Chithra Madhavan on ‘The Navrasas in art and sculptureĀ from South India’, organized by Apparao Galleries.

The rasa (mental state) of Karunyam (compassion) was illustrated through the story of rishi Bhringi, carved on the gopuram (a gateway-usually a monumental ornate tower at the entrance of the temple complex) of the Kapaleeshwar temple in Mylapore, Chennai. The top of the gateway traces many other stories of Lord shiva and his consort Goddess Parvati through innumerable sculptures.

A trip to the temple inevitably became my next stop.

Gopuram door with bells

Gopuram door with bells

Detail of a building housing a shrine

Detail of a building housing a shrine

There are numerous halls and shrines inside the complex, though the two prominent ones of Shiva and Parvati have impressive flagstaffs outside the buildings housing the sanctum sanctorum.

Agamis playing instruments on a pillar in the hall

Agamis playing instruments on a pillar in the hall

Agamis playing instruments on a pillar in the hall

Agamis playing instruments on a pillar in the hall

The flagmast outside the main shrine

The flagmast outside the main shrine

Bottom detail of the flagmast outside the main shrine

Bottom detail of the flagmast outside the main shrine

Lord Krishna carved on one of the pillars of the main shrine

Lord Krishna carved on one of the pillars of the main shrine

Can you see sage Bhringi, the 3-legged devotee of Lord Shiva?

The 3-legged Bhringi with Lord Shiva and Goddess Parvati on their bull Nandi

The 3-legged Bhringi with Lord Shiva and Goddess Parvati on their bull Nandi

According to mythology, Bhringi only wanted to worship Shiva. Shiva’s consort, Parvati, however, took offence at not being worshipped too and sat on her husband’s lap. Bhringi became a snake and slithered between the two.
Shiva, then merged his body with Parvati, taking on the famous ardhanarishwar form. But Bhringi adamantly turned himself into a bee and tried to gnaw his way between the two.
Annoyed, Parvati cursed the sage to loose all parts of his body that came from his mother (In Hindu mythology, bones come from the father and flesh and blood from the mother)
Weakened, Bhringi collapsed on the floor and sure enough, learnt his lesson.
Lord Shiva, then gave Bhringi a third leg to help him stand upright.

Garlands of flowers and lotuses for sale outside the temple

Garlands of flowers and lotuses for sale outside the temple

 

Hungry for more? You can read posts of my friends on the same topic here:

andes cruz:Ā http://wp.me/pe2OM-Ml

tosca teran:Ā http://wp.me/pigO-zi

20 Brooches: a 2014 personal challenge

When I picked up my work again after a gap of 2 years, in 2014,Ā I decided to give myself a challenge of the never-before (…or atleast not since I started my studio practice in 2009).

And 20 brooches took shape.

Some have been blogged about earlier.

Here they all are….in one post šŸ™‚

Ā 

Under the night sky(front)- 2014

1. Under the night sky(front)- 2014

Under the night sky (back)- 2014

Under the night sky (back)- 2014

A simal spring- 2014

2. A simal spring- 2014

Gulmohar (front)- 2014

3. Gulmohar (front)- 2014

Gulmohar (back)- 2014

Gulmohar (back)- 2014

A simal spring- 2014

4. A simal spring- 2014

Sunken treasures- 2014

5. Sunken treasures- 2014

7. Pushing the boundaries- 2014

6. Pushing the boundaries- 2014

8. buried treasures- 2014

7. buried treasures- 2014

8 & 9. Tit-elation- 2014

8 & 9. Tit-elation- 2014

10. The simal in Autumn- 2014

10. The simal in Autumn- 2014

11. Shiva emerging from the pillar of fire- 2014

11. Shiva emerging from the pillar of fire- 2014

12. The vigil of Utka (front)- 2014

12. The vigil of Utka (front)- 2014

The vigil of Utka (back)- 2014

The vigil of Utka (back)- 2014

13. The limp of the royal buffoon- 2014

13. The limp of the royal buffoon- 2014

14. And still I live (front)- 2014

14. And still I live (front)- 2014

And still I live (back)- 2014

And still I live (back)- 2014

15, 16, 17. he was a quiet man- 2014

15, 16, 17. he was a quiet man- 2014

My passion stands like a blackened doorway- 2014

18. My passion stands like a blackened doorway- 2014

19. And still I live(2)- 2014

19. And still I live(2)- 2014

20. Autumn Lovebirds- 2014

20. Autumn Lovebirds- 2014

321 studio jewellers, 52 rings each- The 2011 Ring-a-Week Challenge

In 2011, 321 studio jewellers answered to a Flickr challenge to make one ring a week and post a photograph of the finished piece to the community group. The challengeĀ was conceptualized and initiated by Thomasin Durgin. There were no fixed rules. Rings did not need to be made of metal, nor did they need to be tangible objects.

1 year=52 weeks=52 rings.

I’d never taken on such a challenge before and jumped right into it. The results surprised me too, as I pushed the limits of my technical and narrative skills each week, with each piece.

Here they all are. Yup! All 52 of them inĀ one post šŸ˜‰

RAW 1

RAW 1

The Lovebird family: Front & Back

The Lovebird family: Front & Back

RAW 3- And spring surges forth

RAW 3- And spring surges forth

RAW 4- Marigold: Summer blossom

RAW 4- Marigold: Summer blossom

RAW 5- a late april shower

RAW 5- a late april shower

RAW 6: Spring birds

RAW 6: Spring birds

RAW 7

RAW 7

RAW 8-Beaten and weathered...O! but it's new ; )

RAW 8-Beaten and weathered…O! but it’s new ; )

RAW 9 & 10- The ante stone and the stone ring

RAW 9 & 10- The ante stone and the stone ring

RAW 10 & 11- the stone and the ante stone ring

RAW 10 & 11- the stone and the ante stone ring

RAW 12

RAW 12

RAW 13

RAW 13

RAW 14- The gathering at dusk

RAW 14- The gathering at dusk

RAW 15- Marigold: Winter blossoms

RAW 15- Marigold: Winter blossoms

RAW 16- at the threshold

RAW 16- at the threshold

RAW 17- Winter always turns to Spring

RAW 17- Winter always turns to Spring

RAW 18- bends & turns

RAW 18- bends & turns

RAW 19- nest

RAW 19- nest

RAW 20- a ring for viswakarma day

RAW 20- a ring for viswakarma day

RAW 21,22,23-the seed, the germinating seed & the flower

RAW 21,22,23-the seed, the germinating seed & the flower

RAW 24- Sprouting

RAW 24- Sprouting

RAW 25- cleansed

RAW 25- cleansed

RAW 26- Delhi's monsoon

RAW 26- Delhi’s monsoon

RAW 27: The silhouette

RAW 27: The silhouette

RAW 28

RAW 28

RAW 29- The homecoming

RAW 29- The homecoming

RAW 30- Almost a circle

RAW 30- Almost a circle

RAW 31 & 32: the ante stone rings

RAW 31 & 32: the ante stone rings

RAW 33 & 34- the artefact and the new

RAW 33 & 34- the artefact and the new

RAW 35

RAW 35

RAW 35- winter flowers

RAW 36- winter flowers

RAW 37- winter flowers

RAW 37- winter flowers

RAW 38 & 39- winter flowers

RAW 38 & 39- winter flowers

RAW 40, 41, 42, 43- Paper Thin

RAW 40, 41, 42, 43- Paper Thin

RAW 44-49: Metamorphosis

RAW 44-49: Metamorphosis

RAW 50- A sacred time

RAW 50- A sacred time

RAW 51: om ring

RAW 51: om ring

RAW 52: an ugly ring

RAW 52: an ugly ring

Niels Schoenfelder

Romeo and Juliet Apartment buildings, Stuttgart, Germany

Romeo and Juliet Apartment buildings, Stuttgart, Germany

Niels Schoenfelder

Niels Schoenfelder

1. Please tell us a bit about yourself and what defines your design aesthetic.

Architect by training and practicing design of anything related to the built environment my focus is certainly on spaces and objects which are un-pretentiously searching for poetic subtext in the mundane.
Aesthetically this leads to rigorously simple solutions often reaching back to the pre-modern. Its a search for depth beyond stylistic conventions of today.
2. What prompted you to create jewellery?
Ā Not what but Ā who? : Sharan Apparao of Apparao Galleries, did.

3. You have made jewellery for the first time. What challenges did you face? And what factors did you consider in the design andĀ fabrication of the pieces? I did not make anything! Together with Jean-FranƧois Lesage I conceptualized the making of these pieces. They are made by master embroiderers of Lesage interiorsā€¦

This is to say that there where no technical or physical challengesā€¦ The design contemplates the architectural drawing as a cultural record transformed into wearable piecesā€¦ a monument of epic proportions becomesĀ the little, pretty adornment for an evening ā€¦ we find this contrast irreverent and poetic.

Gwalior Fort, Madhya Pradesh

Gwalior Fort, Madhya Pradesh

4. You have collaborated with the atelier of Vastrakala, one of the top names in luxury embroidered home furnishing. How did that come about?
Jean- Francois Lesage is a good friend and hisĀ business Ā partner MalavikaĀ Shivakumar happens to be my wifeā€¦
Ā 
5.Do you see yourĀ jewellery collection as aĀ continuation of your design aesthetic/practice as an architect or as a separate entity?
Our practice includes interiors, objects .. so these do have a connection with the work of the studio.

St. Peter's Basilica, Vatican City

St. Peter’s Basilica, Vatican City

6. On what basis did you choose the monuments? Can you tell us more about your chosen format in terms of materials used, product type and display?
They are chosen across time and cultures and building typology ā€¦. and yet they all have jewel like qualities.
7. What direction do you see your future jewellery collections taking?
it would certainly be interesting to probe deeper into this subject of ā€œre-craftingā€ drawings ā€¦ other artisans and crafts could interpret very differently and the potential for this to turn into 3 dimensional objects is huge too…
8. Where can one buy your work? Apparao Galleries
10. E-mail architects@mancini-design.com
11. Currently: On the bench:Ā a river beach landscapeĀ 
Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā  On the wall: a design for a villa by my great grandfather
Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā  In the drive: construction photographs
Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā On the shelf:Ā books Ā – need more shelves…

Chateau de Chenonceau, France

Chateau de Chenonceau, France

He was a quiet man: a set of 3 brooches

He was a quiet man
Often society ‘urges’ people to fit the mould. People who look a certain way, talk a certain way and behave a certain way are donned with the mantle of cleverness and intellect.
This brooch is the first in the series of “He was a quiet man’, that ‘urges’ people to challenge this clichĆ©d and archaic perception.

He was a quiet man

He was a quiet man

3 Brooches

sterling silver

Sylvo Schroeder

 

"Sie im Ohr" (she in my ear) 2012 - resin - silver - steel - Zircon

“Sie im Ohr” (she in my ear) 2012 – resin – silver – steel – Zircon

Sylvo Schroeder

Sylvo Schroeder

1.Please tell us a bit about yourself

You can read about me here:Ā http://argentum.bprecious12design.com/?p=97

Ā 2. How would you describe your journey as a contemporary jeweller?

  • Ā  Ā  Ā Ā Completion of a 3 year Apprenticeship .E.Frey Master-Goldsmith,Pretoria,South Africa.
  • Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Invitation by Co.Gueblin, Lucerne, Switzerland to join for an Internship in its Design Ā and Manufacturing Department
  • Ā·Ā Ā Ā Ā Ā Ā Ā Ā  FachhochschuleĀ fuerĀ Gestaltung, Pforzheim, GermanyĀ where I completed M.A.Design with Prof.R.Reiling & Prof.K.Ulrich.Ā  ThesisĀ  -Body jewellery

__ Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā  Ā __________________

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  I work concept and theme wise utilizing sculptural and linear elements.

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  For example the ā€œSpace Invader Seriesā€

Ring from the  Space Invader Series - "Liebes Auge"( loving eyes) 2014 -  14K gold - Zircon

Ring from the Space Invader Series – “Liebes Auge”( loving eyes) 2014 – 14K gold – Zircon

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Majorly I work Ā on an assignment basis through my CAD drawings – love design and manufacturing techniques and the moment a piece is born.

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  I admire work done by artists with innovative /unusual /surprising design elements.

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  My favourite artists are – RenĆ©Ā Jules Lalique ā€“ Salavadore Dali (yes he designed a lot of fantastic jewelry) Reinhold ReilingĀ – Bruno MartinazziĀ and Manfred BischoffĀ Ā Ā Ā 

Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā 

Ā 3.What inspires you?

You can read about my inspiration here:Ā http://argentum.bprecious12design.com/?p=97Ā 

4.What direction do you see your work taking over the next 5/10 years?

I would be continuing developing my Jewelry, Silver Ware and Clocks

Ā 5.What are your thoughts about the contemporaryĀ jewelryĀ field evolving in India?

Lack of audience – exposure ā€“ will and commitment makes it hard to tell ā€“ the prevailing comment ā€œno resell valueā€ tells it all.

6.List of publications, projects and exhibitions that you’ve been involved in.

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Gallery Ibo ā€“ Klagenfurt, Austria

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Art Association Pretoria and Cape- Town South Africa

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Studio Matthar Ā Cologne, GermanyĀ 

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Yearly exhibition at IINHORGENTAĀ Ā  Munich Germany

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  MUBA Basel Switzerland

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  2004 , 2009.2011exhibited at AMBIENTE Ā Frankfurt, GermanyĀ  Ā 

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Designer Platinum & Gold) Co.Gerstner Pforzheim, Germany.

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Own studio for Jewellery Design in Pforzheim, Germany

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Project Manager for Ā Ā Ā ā€œSchmuck der Galatea ā€œJewellery

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Co. in Hong Kong & Pforzheim

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Consultant for Design Ā Ā Production techniques with Saudi

.Ā Ā Ā  Ā Pearls & Gold Factory,Rijad,Saudi-Ā  Arabia.

Ā Ā Ā Ā Ā Ā Ā  Ā Ā Ā Ā  ProjectĀ  – Design &Manufacturing of Sterling Silver . Table clocks

Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā  Company SoelchĀ Eisingen GermanyĀ Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā  Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā 

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Design & Manufacturing ofĀ  own Wristwatch Collection in Silver, Ā Gold & Precious Stones

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Project – Consultancy for Ā Ā Sunrise Jewellers Pvt.Ltd. Madras, IndiaĀ 

Principal at JewelleryĀ  Ā Ā Product Development Centre New Dehli India

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Invited as Consultant Executive Officer Ā JDTIĀ Noida India

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Design Director Silk and Silver Noida

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Design Director El Unique Delhi India

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Setting up ā€“ Faculty training ā€“ Jewellery Institutes in Karachi and Lahore Pakistan

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Exhibited at the Saffron Auction House in Ā Dehi

Ā·Ā Ā Ā Ā Ā Ā Ā Ā  Since 2013 own Ā Galleria and workshopĀ  in DelhiĀ Ā Ā Ā Ā Ā Ā Ā 

INTERNATIONAL JEWELLERY COMPETITIONS

Ā ā€œDiamantenschmuck von morgenā€œDe BeersĀ Runner-up.Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā 

Ā “Gold”Art Association PforzheimĀ  4th Prize.

Ā ā€œIdar-Oberstein Schmuck & Edelstein Preisā€œĀ Ā Ā 1st Prize & Runner-up.

Ā 

Pen clock - silver oxidized  - covered with leaf gold - Swiss movement - Chrystal glass

Pen clock – silver oxidized – covered with leaf gold – Swiss movement – Chrystal glass

Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā 

Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā 

7.Where can one buy your work?

b’precious Galleria

Birbal Road 4/17

Jangpura Extension

110014

Delhi/INDIA

011 43584011

8.Website

https://www.facebook.com/srsportfolio

http://bprecious12design.com

9.E-mail

Sylvo.schroeder@gmail.com

10.Currently:
On the bench: Tea/ coffee assemblage designing for a demanding clientĀ Ā 

On the wall: Otto Schroeder –Ā Luederitzbucht – my favorite pastel

On the pod: Steve Winwood

In the drive:Ā American Sniper

On the shelf: Namibian History

Ā 11.Ā Anything else you would like to share about yourself:

Doing commissioned Design work

Needle - wire extravaganza - 18 K gold - real pearls - Stainless steel - 2009

Needle – wire extravaganza – 18 K gold – real pearls – Stainless steel – 2009

Purvi Sanghvi

Blue Brown Desert necklace

Blue Brown Desert necklace

Purvi Sanghvi

Purvi Sanghvi

1. Please tell us a bit about yourself.

School Lady vissangi girls academy , Ā 1987

NarseeĀ monjeeĀ institute Ā management studies ,PGDBM

AmrutbenĀ jivanlalĀ , BCom
John cass , London , MA jewellery 2008
2. How would you describe your journey as a contemporary jeweller?
I had been a trained potter for some years and had specialised in making and designing clay beads jewellery.
There came a point wherein I couldn’t see much in future with the clay jewellery and hence studying was the only option to move forward in my work.
I studied MA jewellery design at the John Cass dept of art and design, London which was a eye opener to contemporary jewellery
I realised during my studies that I loved exploring new materials/ unconventional materials for jewellery making. And I like working with my hands hence all pieces are made by myself.
I discovered nibs to use for jewellery design by chance.
I come from a family which used to manufacture pens and nibs and since the business was closed down, there was a lot of raw stock, including the nibs.
My father wanted to dispose the huge amount of nibs ( raw stock of gold plated as well as steel polished nibs)
I was shocked that he wanted to sell it as scrap. I asked him to keep some for me which he readily agreed.
Ā Currently nibs is a strong element in my jewellery and I feel connected to.
The story behind the nibs in my family
Tedx link :

Forgotten Letters

Forgotten Letters

3.What inspires you?Ā 
It all depends on the phase I am going through. Nothing or anything can inspire me.
However, I am always interested in various cultures, colours , food, materials, textures.
4.What direction do you see your work taking over the next 5/10 years?
I see my work improving, Ā getting more simpler with different and better quality materials and finishes. And which becomes popular and reaches a wider audience.

Green Brown Sea necklace

Green Brown Sea necklace

5.What are your thoughts about the contemporary jewellery field evolving in India?

I believe it will take some time for people to appreciate and buy contemporary Indian jewellery. Jewellery which is not made from traditional materials like gold, silver, diamonds, etc
Indians are enamoured with materials more than the concept or theme based jewellery and believe in wearing gold , silver ,etc as investment and not to wear it to express themselves through the jewellery. It’s a status issue.
Though I must mention that there is a tiny section which craves for and is looking for some thing different , something to express themselves , something which they can relate and connect to. They are open to wearing jewellery which is NOT made from conventional jewellery materials.

6.List of publications, projects and exhibitions that you’ve been involved in.

Legnica ‘silver’- may 2012
Platform gallery, London – Ā April 2011
Publications
Grazia Ā  – October 2011
Youth eye Ā  – October 2012
Creative gaga Ā – Ā nov-dec2011
Livemint newspaper – September 2011
Timeout Mumbai feb-March 2012
Vogue – Ā September 2013
Air India inflight magazine – August 2011
Online :
Credit mention in book : how to design bead and wire jewellery by renata graham
7.Where can one buy your work?
Currently by contacting me through the ‘the other side’ facebook page. And Ā through the website when it’s active.
Website being developed at present . It will take a while.
Until then you can view my work here
9.E-mail
10.Currently:

On the bench: beads, threads, nibs

On the pod: coke studio , pink , ani choyingĀ , one Republic, zebĀ and Haniya , jack Johnson,

In the drive: Maruti swift

On the shelf: DalaiĀ lama’s cat, Paulo coelho, and cook books šŸ™‚

11.Anything else that you would like to share about yourself?

Ā I don’t use leather in my work. And I try and not use any glue to stick /join materials. I would rather find a way of joining by a technique instead of gluing.

Brown Pink Desert necklace

Brown Pink Desert necklace