For the last year or so I have been directing my creativity towards painting, sculpture and creative writing.  Designing and making jewellery  has been my main occupation for some 10 years now but the time has come to follow other paths. The jewellery shown here will be the last pieces I make barring commissions, so if you like bold, geometric, sculptural jewellery, take a look at my collections and visit my online shop.

All Photographs by Matthew Booth unless stated otherwise.

Geodesic Dome Pendant
Geodesic Dome Pendant – photo by Sally Wakelin

The geodesic Dome pendant can be worn rolled into a partial sphere or spread out flat like a cobweb as seen below.

The matching earrings which can be re-arranged in the same way.

Geodesic Dome Pendant
Geodesic Dome Pendant and Earrings
Compression Bangles and Gold-plated Ring
Angled Compression Bangle
Angled Compression Bangle and Rings
Angled Compression Bangle and Rings
Trace Pendant , Earrings and Spinning Ring
Trace Pendant, Earrings and Spinning Ring

Creating Cast Shadows

Somehow I seem to have found myself moving almost full circle in my use of scale.  I began with intricate delicate jewellery in silver and moved abruptly in a dramatic change of scale to a few bulky fabrications in painted MDF, then mild steel sculpture as big as I could make it. I yearned to go bigger, larger than life but for that you need money, strength, a whole workshop full of specialist equipment, space and hopefully a commission. After a liberating but all too brief dalliance with pleated paper and an even briefer sojourn with copper sheet, I adopted a more restrained approach,  all white sculpture on a domestic scale in a medium quite new to me until now, cast plaster. Gradually and almost without realising what was afoot, the scale has slid back down, close to jewellery sized pieces.
Throughout this whole exploration of materials and processes, runs my habitual theme of repetition, it seems to be the one constant, indeed it is undeniably quite my favourite. And of course my second favourite, the aspect that sits so well with repetition – cast shadows.


Sally Wakelin pleated paper installation

Relueaux Triangle Sculpture

Soft daylight casting shadows over hemispherical arrangement

48 plus one

Experiments in casting

Hopefully I have learned enough from the last two experiments to make a good casting this time.

I set up the wok again with Plasticine walls and a slightly larger saucepan lid and made up a much larger batch of plaster hoping to cast the whole thing in one go.

I poured the plaster into the wok and started swirling it genlty, hoping to make it stick to each part of the surface – impeded somewhat by the thick layer of petroleum jelly. During the next 10 minutes the plaster gradually thickened and began to build a smooth layer over the whole surface area. As I swirled the liquid it behaved like a tidal wave coming around and around in a regular sweep but as it began to set it grew thicker and was in danger of leaving a literal tide mark in an unsuitable way. I set the wok down to rest and watched as the excess plaster solidified in an almost even spare-tyre kind of shape  in the centre.

I decided this time not to try to manipulate the surface in any way and I am pleased to say that it is smooth and even, though somewhat thicker towards the centre with a discernable swelling about 2 cms from the pan lid,  it looks pink here but it dries white.

second casting

I suspect that the outer/upper edges are fairly thin and that I will need to make another pouring.

Experiments in casting

I wanted to make a “stone” version of a form I have made often as jewellery, the Reuleaux Triangle – the original form developed by the mechanical engineer Franz Reuleaux  in the late 19th century.

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  • I needed to mark out my new wok – I couldn’t  find a set of dividers large enough – 25cms, so I made a very simple one from strips of wood. I borrowed a wing nut, bolt and nut from something else, cut two pices of 30cms and one 18cm long, drilled some holes at roughly .5cm intervals on the short piece and used two nails to fit them together, added some points just with sellotape.
  • I marked the wok roughly in blue felt-tip pen and then found the centre-point using the dividers, drew a circle, divided that into six. I drilled a small indent at three of those points and used those as the centres to draw the three arcs.
  • I made Plasticene walls along the scored lines and set a  saucepan lid at the centre to form the central hole. I hoped that brushing the whole thing with petroleum jelly would make it easy to remove when set.
  • Using Cassini’s plaster from Maragon,  I mixed up a test bacth that was enough  to coat only about half  of the mould, I added progressively both by making more mixture but also by scraping the surfcae and using that to infill gaps. Not a good idea as it turned out.
  • The plaster becomes very hard and waterproof after maximum of 5 days but is workable to varying degrees for 2-3 days, at 15 minutes it seemed a bit like cheese, almost rubbery and not easily spread out or carved, though i did try to scrape the surface smnooth with a swan-necked cabinet scraper and what is charmingly called an Alabaster Knife from Tiranti, sculpture suppliers in London
  • 24 hours later it was dry enough to slip clear of the wok, petroleum jelly works but the uneven inside surface was terribly difficult to work on, dimpled, rough and flawed and the outer surface was marked with poorly patched areas, badly mixed plaster (small inclusions of plaster dust), rust and ink stains as well as bubbles!
  • So – it had to go in the bin . . .