Here and There, Then and Now
CSM Graduate Collection, 2024
The collection presents a contemporary interpretation of high jewellery through varied outcomes of final pieces and gouache paint ups of designs to be realised, rooted in the traditional practices of high jewellery savoir-faire.
Diaspora posits “tensions between here and there, then and now” writes scholar Paul Gilroy. Diaspora is visualised through the metaphor of sowing seeds, which is an analogy that can be found throughout its scholarship. This collection tells a personal narrative following Joey’s family’s journey of migration. Gemstones represent seeds that scatter and disperse. She experiments with weaving and wrapping methods that reference basketry and traditional forms of packaging to hold gemstones.
Chapter I
To carry, to hold, to wrap.
An experiment with unconventionally ‘setting’ stone.
[Right] Clear topaz wrapped with hand-drawn silver wire. The stone is held in the same way produce is strung together by cord and hung to dry; preserved out of necessity. Referencing methods of traditional Japanese packaging, the earrings are inspired by the aesthetic philosophy of wrapping objects, a process which can only be achieved through the hand.
[Left] Gouache painting. Black opal double cabochons which are bound by silver wire form the individual links of this statement necklace which features a centre stone that sits to the side. The design alludes to seeds fallen where the stones held in each wrapped link gradually become absent as they scatter towards the clasp.
[Right] An iteration of the ‘Wrapped Topaz Earring’ referencing a binding technique found in ‘How to Wrap Five Eggs’ by Hideyuki Oka. Hand-carved black opals bound by a singular wrap of hand-drawn silver wires. Black opals delicately hand carved from an offcut into two rectangular double cabochons. Earrings resembling seeds and pod, with the gem suspended and held through abstracted wrapping.
Silver, Copper, White Topaz
Silver, dead-stock brown crystal
[Left] A square cut topaz scattered and bound to an oval ring. Oxidised copper wire holds the gem in place, binding contrasting forms together. The wire secures in a fine knot around the bottom of the ring shank: a detail only known to the wearer. The displacement of the gem suggests an unpredictability of where a seed takes
[Right] A voluptuous brown quartz bound to the hand. The bottom of the quartz sits against the skin, held on the silver ring shank by a single wire travelling around the jewel. The ends of the wire overlap on the surface of the stone: a fine setting detail. Designed in collaboration with Socrates Achilleos.
Chapter II
Gilding metal, copper, hand carved orange opal offcut
Copper, silver, hand carved blue opal offcut
Copper, silver, hand carved blue opal offcut
Scattered ‘seeds’ are wrapped tightly. Referencing the bending and coiling of bamboo within basketry craftsmanship. Hand carved blue opal oval double cabochons woven in the bend of bamboo textured copper, bound by silver.
Bronze, silver, hand carved white opal offcut
Bronze, silver, hand carved white opal offcut
A statement cocktail ring featuring a hand carved white opal. The ring follows the form of the high dome opal cabochon. Fine silver wires traverse the bronze shank, interlacing metals and weaving around the opal, setting it in place.
Chapter III
White freshwater pearls, sterling silver, silk thread, copper
Bent Bamboo Pearl Earrings
Bamboo textured silver, oxidised copper wire, white freshwater pearl
Bamboo textured silver, oxidised copper wire, white freshwater pearl
A pearl finds itself held by the bending form of silver; bound tightly by copper wire.
©JOEYZHONG