Bird and Bough Necklace Commission

I recently completed a commission for illustrator Carol Tratt. The piece was a gift for her birthday and my brief was to design something that she could wear for special occasions, suitable for work-related dinners and events. The ideal design would look like she was wearing one of her illustrations!

After meeting with Carol and her husband, I took away some copies of her work to help me with the design. The scrolling bough and leaf designs and also the swags of hearts, moons and stars, feature frequently in Carol’s work, so I produced design ideas based on these. The bird gave the focal point in the centre panel of the necklace.

Moons and stars feature frequently in Carol's work

It felt it was very important to make sure that the finished necklace worked in 3 dimensions rather than the 2 dimensional style it was based on. To this end, I created the scrolls from forged bar and cut each leaf out individually, shaped and curled them, and soldered them in position.

I pierced out the little bird from silver sheet, filed the details on the tail to give contours and cut the wing from a separate piece and soldered it on.

To lift the design further, I cut yellow gold details such as stars, crescent moons and hearts and added them to the front with articulated rings. Their movement brings the piece to life when it is worn. They are highly polished in contrast to the frosted silver – this helps add definition, interest and makes the difference in colour more pronounced.

The beaded part of the necklace was made up of the elements from Carol’s swag designs. Again, I chose to mix polished yellow gold with frosted silver. The shaped beads are threaded onto a strong silver chain and I added an adjustable length fastener at the back.

The finished piece detail with gold moons, stars and hearts

Carol wearing the finished necklace

Carol commented that “My husband, Peter, and I have always loved Erica's work, so you can imagine how excited I was when he handed me a box on my birthday tied up with Erica's ribbon. I was overwhelmed when I lifted the lid to discover the most beautiful necklace I had ever seen. Erica created the design using key elements from my illustration work which has made the necklace extremely personal. Although I knew about the necklace before my birthday, as Peter had wanted me to have some input, I was not prepared for how beautifully and creatively Erica had interpreted our ideas. I will treasure this necklace forever.”

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The Mine Beneath the Sea

In April this year, to further my work with precious metals and Cornish tin, I undertook an artists residency on the dramatic and beautiful West Cornish coast – the area which is the source of my tin and inspiration.

As a result of spending time in and around the mines, my work entitled ‘The Mine Beneath the Sea’ was formed. It will be exhibited for the first time in the Best of the Best section at Art in Action.

The Levant tin and copper mine ran out over a mile beneath the sea, and to depths of 600 meters. Miners were able to hear the waves crashing and the sea rolling boulders and rocks above them when they were working.

On October 20th 1919, the miners were making their way to the surface at the end of their shift, when the antiquated and poorly maintained ‘man engine’ they were being transported on broke. 31 miners were killed and the operation to rescue survivors took five days.

Raw materials for 'Mine Beneath the Sea'

Making the chain for the piece

I crafted the wire wave sculpture (which can also be worn as a cuff) from recycled silver. During my residency I spent a lot of time with the sea on that coast – it was stormy and I took to ‘drawing’ the wave shapes with wire, it was a more immediate way of capturing their energy than pencil and paper (and it didn’t matter if it got wet!).

Hanging from the wave is a chain necklace entitled ‘The Edge of the World’. To make the chain, I alloyed Fairtrade & Fairmined 18ct red gold – the red colour reflects the red of the rock and mud from the mine. There are 31 links, in memory of each of the miners who lost their lives. I forged the shapes from square wire and added a simple loop at each end to link them. The necklace falls inside the plinth where, at the base, is a Kerensa Surf pendant of silver and Cornish tin. In presenting the necklace in this way I hope to portray a little of how it feels to stand at the top of a mine shaft.

The Finished Product

Find out more about my Cornish inspiration by visiting my 'Diary from the Tinner's Coast' blog: http://www.ericasharpetinnerscoast.blogspot.co.uk

Making the Flame Brooch

This was a rather special commission for a high profile event (more of that at the end!). The brief was to design and make a brooch / pendant inspired by the theme of a flame, and incorporate the colours bronze, silver and gold!

I decided to use rose, white and yellow golds - perfect to reflect the colours of bronze, silver and gold. To add strength and gradients to these colours I chose to use coloured diamonds set into the gold panels of the same colour. The diamonds would also add a glittering effect as the piece as it is worn, especially set into rolling curved surfaces, thereby enhancing the flame theme.

I knew all those hours of gazing into the flames of our open fire would pay off one day!

After drawing the design to scale and painting it with watercolour and gouache, I could plan how much gold I needed and get a selection of diamonds to choose from. At this point the cost was confirmed and the commission was confirmed as a 'go-ahead'.

The final watercolour and gouache design, drawn to scale.

Raw materials, 18ct rose, white and yellow golds. Fancy yellow, cognac, champagne and white diamonds.

Good enough to eat! Natural (not treated) coloured diamonds ready for sorting.

Paper to metal. The cutting pattern outline in the foreground, part-made gold flame (coated with wax to adhere the upturned chosen diamonds) and the original sketch behind.

Once I had cut out, curved and soldered the gold panels, the fun of sorting the diamonds for size, and colour gradation, began. It took two days before I was happy the the selection. I then had to transfer each stone onto a waxed paper lay-out of the flame shape so that they remained in the correct sequence!

Piercing the back-holes

Part of the finesse of a fine piece of jewellery is seen in the attention to, and beauty of, detail at every stage. Once I'd drilled the correct size tapered hole for each diamond to sit in, I shaped the back of every hole into a flowing pattern to complement the style of the brooch and give a pleasing pattern to the entire surface.

The brooch with back rail added, awaiting the hinge and catch.

The back rail enables the piece to sit properly onto a garment when worn as a brooch, it allows a natural space for the hinge, pin and catch, but on this piece it also contains a concealed loop so that it can become a pendant by threading a chain through the top. 

The finished result! 

Once the piece had gone up to the London Assay Office for its hallmarks it was set with the 85 diamonds. The style of setting is know as 'Pavé' - French for 'to pave' - the idea being to cover the surface like a stones in a pavement. The diamonds sit down into the tapered holes that I cut, then small grains of gold are raised/ rolled up over them from the edges. They are rounded to form a series of tiny beads which hold the stones in place.

The presentation of each piece is very important to me - to reflect the care and attention to detail that is given to its creation. I wanted to include details which recorded the story and meaning. In this case, the original design, record of its making and technical specification were included in a beautiful bespoke case. 

With Mary Bignal-Rand and Seb Coe at the Olympian dinner, InterContinental Hotel, Park Lane, London.

The icing on the cake was the kind invitation to the Olympian dinner, hosted by Seb Coe and many fellow Olympians, where the flame brooch was auctioned (for the highest bid of the evening!) to raise funds for the Millfield Foundation scholarships and bursaries. It was wonderful to meet some of the world's top athletes and hear their fascinating stories of success.

Find Erica on Facebook: https://www.facebook.com/erica.sharpe.96 

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Diary from the Tinner's Coast

For more about my recent artists residency, where I continue to learn how rock shapes man / man shapes rock, and develop ideas for future designs in Cornish tin and precious metals, follow the link to my 'Diary from the Tinners Coast'.    http://www.ericasharpetinnerscoast.blogspot.co.uk/

John Barleycorn - Inspiration for a New Creation.

When I was a little girl, my mother taught me how to weave and plait straw to make a corn dolly. The transformation of humble plain straws into beautiful three-dimensional forms, twists and patterns in my hands was magical and compelling.

This childhood memory came back to me whilst exploring ideas for the fast approaching themed exhibition entitled 'Songs of Somerset' - work inspired by the songs collected in Somerset by Cecil Sharp in the early 1900s. The song I have chosen to base my work on is 'John Barleycorn'

There came three men from out of the West
Their victory to try,
And they have taken a solemn oath
John Barleycorn should die.

They took a plough and ploughed him in
Laid clods upon his head:
And they have taken a solemn oath
John Barleycorn is dead.

So then he lay for a full fortnight
Till the dew from heaven did fall:
John Barleycorn sprung up again
And that surprised them all.

But when he faced the summer sun
He looked both pale and wan,
For all he had a spiky beard
To show he was a man.

But soon came men with sickles sharp 
And chopped him to the knee.
They rolled and tied him by the waist
And served him barb'rously.

With forks they stuck him to the heart
And banged him over stones,
And sent the man with holly clubs
To batter at his bones.

But Barleycorn has nobel blood,
It lives when it is shed.
It turns a tinker to a lord
It fills the empty head.

It makes the widow's heart to sing,
And turns the coward bold:
It fills the cupboard and the purse
With bread and meat and gold.

It is quite an unusual folk song in its personification of the subject - what a story! I love the description of its brutal processing to eventually provide alcohol, food and wealth. It is interesting to note the almost magical qualities associated with the corn, it appears to rise up from death and has a sense of eternity. The song dates back hundreds of years and it is clear that there was quite a different connection between people and the source of their food. The corn was precious (the reference to gold) and every process involved intensive manual labour, time and an element of luck to reap reward.  

There is something fundamentally pleasing about pattern
 - starting with the symmetry of the ears of the corn or barley themselves.

Reflecting on man's relationship to crops and harvest led me back to corn dollies. Before the advent of the combine harvester and modern varieties of cereals (that do not have hollow stems), corn dollies were traditionally made at harvest time. They were highly symbolic, crafted from the last sheaf of corn as a 'thank you' for the harvest and became a lucky talisman for a successful crop the following year. In many areas each village had its own unique design and after much searching I have found one from here in Wedmore, the village where I have my workshop and gallery.

Gold wire sheaves on a spool of golden thread.
To give a sense of scale, pinched in the tweezers is a strand of my hair!

So my goal is to make a golden corn dolly - and specifically the Wedmore one! Pictured are some experiments and samples of my progress so far. Of course wire does not behave in the same way as straw, so although the weaving is possible, achieving the 'look' is going to take some trial and error. The carat of the gold affects its working qualities. The scale of the work in relation to the thickness of the wire also makes a huge difference to the outcome.

Sample triangular spiral with sheaves and a pin for scale.

 

At times I have struggled with old instructions with poor illustrations, often because they are written by right-handed straw workers and my left-handed instincts are to turn and fold in the opposite direction! 

My children have missed their Wikki Stiks - they are perfect for practicing
weave and plait patterns!

The finished piece in gold and platinum 

Silver and gold

Although I will have my first piece ready for the exhibition I can see that this is going to be an on-going project!

Cornish Tin

Kerensa 'Surf' Pendants; Silver and Cornish Tin

In a few months time I will be off on an artists residency to further my work in precious metals and Cornish tin. The studio and accommodation are on the shore at Cape Cornwall and converted from a former mine building - the area is the source of my raw material and also the inspiration behind my designs.

I find it an environment of contrasts. The atmosphere of the deserted mine workings has influenced my designs, as has the beautiful and dramatic coastline, the tales of the sea, mines and the wealth of colours, forms and wildlife.

The time in this special place will allow me to catch up on sketching, observing, recording and forming new designs. There's lots more to be experimented with as far as the working properties of tin with precious metals and I would like to do some more smelting to witness the amazing transformation of rock to metal! I will also be showing local schools how I use tin in my work and I hope I will hear more stories and information about the mining area. I'll be over the moon if 'my' seal pops up to watch me sketching!

Inside deserted mine workings

Victory Shaft (looking up) - Geevor Mine

I've been asked this week to contribute to a Thames and Hudson book on working with metals, particularly in regard to my work with tin. It is a fascinating metal, quite different to the gold, platinum and silver that I am most familiar with. I think its beautiful white colour, softness and relationship to our own heritage and landscape make it worthy of treasure. I have no hesitation in placing it within precious jewellery - flowing it through gold and silver like waves through rocks along the coast.

The 'cry' of tin is a sound that it makes when worked, and was quite disconcerting when I first heard it. To hear it and find out more visit The Cry of Tin film, Erica Sharpe, R&A Collaborations

Kerensa Wave and Shore rings. Gold, palladium, silver and Cornish Tin

The Kerensa Collection by Erica Sharpe

The Somerset Levels

Here are a few pictures and sketches from recent walks. I've got a busy time ahead and it always helps speed up ideas and concepts if I get spend time in the countryside - walking seems to give my brain some space to work things out!

The starling roost on the Somerset levels is incredible to witness and it's right on my doorstep - the 

movement, sound and patterns of the birds never fails to leave me in awe of this natural spectacle.  I was right in the middle of a 'murmuration' last week, at one point a nearby tree looked in leaf but it was full of starlings. To feel air rush over your face from the energy of thousands of beating wings is amazing (and I forgive them for the mess they made of my car)! In the midst of starling watching I was really pleased to show my youngest daughter her first kingfisher - it was skimming across the surface of the water, time and time again, right under our noses. I love their flash of electric blue, it reminds me of the finest opals!

Over the winter the birds have been eating the fallen apples that I've left under the trees. Starlings and redwings take joint first prize for apple sculpture, carefully carving out the fruit between the core and skin leaving beautiful hollow forms. 

British Jeweller's Association Award

I have been selected as a finalist in the British Jeweller's Association Awards 2012! The competition is to design and manufacture a commemorative silver desk accessory for the BJA's 125th anniversary. Their emblem is a unicorn, so I have made the unicorn shape from the numbers 1 (the pen), 2 and 5. The piece is created from forged silver. At the moment the design is on display at the NEC in the Jewellery Show, Spring Fair and voting can be done there or online. For online voting please follow http://www.bja.org.uk/en/125/design-and-manufacture-of-a-commemorative-silver-desk-piece/erica-sharpe-unicorn-pen-stand.cfm Thank you!

I was so lucky to get this design entry in. It took a little longer than anticipated and I decided to work on through the night and sent it on-line that night (actually early morning!). The following day our internet connection stopped working and remained off until after the deadline! 

Frosty Mornings

Frozen puddle in the early morning sunshine.

We've had some wonderful cold, crisp days - I've spent most of my (limited!) spare time out walking, the air and light are so clear and it's very peaceful, especially early in the morning. I love the patterns, textures, colours and forms seen when the countryside freezes over. 

A look back at Christmas in the gallery in Wedmore!