This silver frame-ring, Sea-drift necklace has a blue, lapis lazuli drop, a solid silver heart and a witch stone. The belcher chain and the ring and bar fastening are also silver. The reverse of the frame ring is textured using a beach stone and the necklace can be worn either way.
This penultimate necklace in the sea-drift ring series (for now at least) has a brass, domed, corroded washer from the beach in Cellardyke, a hollow silver bead and silver charm. It has a silver belcher chain, silver frame-ring which is textured using a stone from the beach and my ring and bar fastening.
This silver necklace has a lapis drop, the Forth dolphin and a silver heart all handing from a silver-frame ring. The chain is a silver belcher chain and the clasp is my own bar and ring fastening so it is easy to wear.
The sea didn’t bring me the witch stone direct, it’s from a beach in New Zealand; the glass bead is from Czech Republic and the dolphin charm is obviously a Firth of Forth dolphin. Just putting together some individual pieces for ENOS 2019 which are sort-of sustainable as I’m not buying new stuff.
I finished this piece on Sunday. It is part of a bone counter with a little tab from an old necklace and a hammered silver ring.
I also took a photo of the rising moon as I probably wouldn’t wake up for the eclipse.
This year I’m making jewellery for Open Studios and Pittenweem Arts Festival using what I think I’ll call ‘sea-drift’. The seaweed on which the design is based was storm-cast on the beach. These ‘mermaid’ necklaces are saw pierced silver, hammered and formed. Two have moonstone drops and are oxidised, I have sent these to VAS ALIGHT 2019 in Edinburgh.
We had such fun at the final public event for the Clachtoll Broch project.
Uist Corrigan (who is now at Edinburgh College of Art) joined me and some local folk and volunteer archaeologists. (That’s Uist keeping an eye on the furnace)
We had the bellows from SSW and built the furnace using local clay, sand and horse dung.
We had some local charcoal courtesy of Chris (although most of it came from the Chinese wholesalers in Dundee). Heather Fulton took loads of photos, some of which I’m using here.
We started before dusk and did the final copper smelt of the project.
Just about everyone helped with the bellows, it’s not so easy, but it’s sociable, thanks all who joined in.
We cast the two community bronzes which were lost wax cast.
This is burning out the wax.
Pouring the bronze and, below checking out the crucible for the next pour.
One of the bronzes was a bear foot print, designed by Bill.
I had spent the previous week preparing the waxes, adding runners and risers and then dipping them in a clay slurry mix to build up layers of mould which was then finished by enclosing in a cob clay with a pouring funnel.
We kept the furnace going (and the bellow workers) to pour the last bronzes – One closed oil sand 2-part mould, an open sand box with local sand and clay mix; and a closed 2-part mould (although we ran out of bronze in the end)
Most people went up to hear Gordon’s talk, but I’d promised Mandy Haggith that we’d try a copper alloy. So we switched to the hand blower to melt the copper, including from the local smelting, and added some tin grain to get a very local bronze alloy.
The open sand mould was Roz’s bird over waves design; and the closed one Stuart’s panda:-
The next morning I said goodbye to the Art Studio for 2018 and headed back to my studio to finish the final bronzes.
My thanks to everyone for making the Clachtoll broch art project such good fun.