Appointments to participate in JiMS (Jewellery in My Space) – the playful and exciting installation that I’ve worked on with the amazing Zoe Robertson – are booking up! Be quick and following link to avoid disappointment:

JIMS poster ZR 2.pdf BIG

JiMS is a collaboration between artists Zoe Robertson and Rachael Colley of the newly established HSKTEEMN research centre. Together they actively explore relationships between the body and space in a playful environment, specifically designed for Odox Arts’ project space. This site-specific installation has been created to engage audiences by offering an immersive experience which has been designed to enable participants to physically interact with and wear the space. Drawing ideas from the fields of science and sport to encourage playful participation, Zoe and Rachael have created an exciting space where designs have been informed by their early fun physical learning experiences, such as PE (Physical Education) in the school environment. Through processes of active involvement, the duo encourages visitors to reflect on their personal experiences of inhabiting their bodies, with the aim of observing and questioning limitations imposed by both the physical body and society’s views of the body.

Participating in the experience is by appointment only, emulating a visit to the doctors, performance in a bleep test or some other physical form of examination. Participants are challenged to tackle this jewellery gym by undertaking a fun assault course, with elements that focus on different areas of the body, the aim being to find #MySpace in and amongst this environment.

30-minute appointments available from 11 am – 4 pm, Fridays & Saturdays from 15 – 30th November 2019.

To book your appointment use the following link:

I was delighted to attend the award ceremony of the 2019 ITAMI International Craft Exhibition on Saturday 16 November in Japan, where my Sha-green series was awarded the grand prize. It was a pleasure to have the chance to thank the museum staff and judges in person and to celebrate with the other award winners and exhibitors. I’m proud to say that the piece featured on the poster will join the museums growing international collection of art jewellery.

Design Anthology UK has published an article by Deborah Nicholls-Lee titled The Experimental Eater in their current issue – Issue 3. This feature includes my Cutlery Combs, which were used in Steinbeisser’s series of Experimental Gastronomy events in Amsterdam from 14-16th June 2019.

From the 19-22nd of September I was selected to exhibit in BioDesign Here NOW at Open Cell London as part of London Design Festival 2019, where I showcased a range of developing works, including brooches with wooden frameworks and naturally adhering food waste veneers, such as beetroot peel.

I was delighted to have the opportunity to undertake a residency at Clayhill Arts during the first week of August 2019. This experience gave me the opportunity to make use of Clayhill’s amazing range of spaces and facilities to further my creative practice by exploring opportunity and scale. On Thursday the 8th of August Clayhill Arts hosted an interactive lunch, alongside a talk and in conversation event featuring myself and art jeweller Lynne Speake of Precious Collective. The interactive food-based event enabled me to further my research into the wearing of jewellery created using food waste, whilst also eating food with a series of challenging ambiguous implements from my collection of the same name.

A range of jewellery from the continuously developing collection Re:mains will be exhibited internationally in the USA, China, Germany and France this summer. The above images show some pieces from the Sha-Green series, where discarded citrus peels are used to create a vegan version of the traditionally animal-based luxury surface finish shagreen (ray or sharkskin). These pieces are included in Arm Candy: An Exhibition of Food as Jewelry & Body Adornment curated by Carolyn Tillie at ACCI Gallery, Berkeley, California and in the 2019 Beijing International Jewellery Exhibition, which will be held at the Zhongguancun Fashion Industry Innovation Park.

Pieces from my Cutlery Comb collection can be purchased from Steinbeisser’s Jouw Store

I had the best time at Steinbeisser’s Experimental Gastronomy events in Amsterdam! Thanks to Steinbeisser and photographer Kathrin Koschitzki for these great images

On 14, 15 and 16 June Steinbeisser ​will bring one of Asia’s best chefs, André Chiang, to Amsterdam for a new edition of Experimental Gastronomy that will feature my Cutlery Comb and for-K-andle pieces. Chef André Chiang will create a special organic vegan tasting menu in collaboration with fifteen artists who will craft custom cutlery and tableware especially for the occasion. Experimental Gastronomy is a unique immersive experience that brings together acclaimed chefs and artists to create an exciting and radically different way of enjoying food. For more information and to book your experience please visit

I’ve recently been having fun re-purposing Sheffield made stainless steel cutlery seconds to create a set of awkward eating implements. Above are some the awkward fork proposals – Playing forks, Collapsed forks and Fork-screw (which is actually quite handy for eating spaghetti/noodles!).

I was delighted to be selected to exhibit in Schmuck|Schmock, an exhibition designed to coincide with Munich Jewellery Week 2019, curated by TempContemp at Northcity4 Gallery in Melbourne, Australia

The premise of this exhibition really interested me, as the curators are keen to ask questions and provoke discussion around the field of art jewellery. Here’s a section of the curators call-out explaining their Schmuck|Schmock theme –

Schmuck = jewellery

Schmock = the ring of skin removed from the penis after circumcision
While TempContemp were brainstorming possible exhibition themes, we noted an ambiguous comment on a Facebook thread, questioning the judicial choices that govern the official Schmuck selection. The conversation went something like this (paraphrased):
Question: Why is it that every year, the judging panel for Schmuck changes, yet the selected artists remain the same?
Answer (one of several): Schmockmeaning the ring of skin removed from the penis and discarded after circumcision.
Let us discuss: is it about criticism? The Act of judgement that deems a work unnecessary or unworthy of the narrative and casts it aside? Or Who makes the choices about what we see and recognise officially as contemporary jewellery. Or is it about What has been accepted or rejected (e.g. a ring of skin might be rejected for aesthetic or sanitary reasons)?

I’m excited to have the opportunity to exhibit in two group exhibitions during Munich Jewellery Week 2019 (12th-17th March), #72 FERROcity and #85 Put it On – take a look at the MJW site for further details – I’ll be showing a range of my Tongue works from the Re:Mains series in both exhibitions.

FERROcity presented selected artists with the opportunity to focus on iron, in all its forms, as inspiration. My fascination with food naturally led me to study iron as a mineral required by the human body to make hemoglobin; of which dried fruits, such as mango, are a non-heme source (iron found in plant-based foods). The neckpiece Tongues, from the Re:Mains series, transforms mango stones to uncannily resemble that organ, suggesting pimpled skin, flesh, meat and external, wearable muscles. In creating material dupes from a range of predominantly organic components, I generate intriguing wearables that are designed to draw in the viewer/wearer, both attracting and repelling them. Visually referencing body parts, like the body boundary-shifting internal/external tongue, and using food waste to re-present them on the body in the form of jewellery seeks to shift and highlight our bodily awareness. Enhancing sensory perception and re-connecting with our internal organ’s processes of consuming food means absorbing its minerals and essentially, ‘wearing’ metals from within.


FERROcity, after having been shown in Munich, will tour to the Vittoria Street Gallery at the School of Jewellery, Birmingham, UK. More information about the exhibition can be found on Klimt02 –

My solo exhibition Re:Mains at Sheffield Institute of Arts continues until 16th March….

Each Wednesday for the duration of the show I’ll be holding a series of interactive eating events, where participants are invited to wear the exhibited jewellery and use the ambiguous implements to consume their food. I’m delighted that these sessions are fully booked and that the participants are being really creative and playful in their approach. A massive thank you to everyone who’s taken part!

I’m excited to announce that the launch event of my solo show Re:Mains will take place from 6-8pm on Friday the 15th of February 2019. The event will be catered by Food Works Sheffield Please RSVP and book your ticket!

The exhibition will take place from 16th February – 16th March 2019 at the Sheffield Institute of Arts Gallery, Sheffield Hallam University. Opening times: 10am – 5pm Monday to Friday; 10am – 4pm Saturday.

I’m delighted to announce that I’ve been selected by Zoe Robertson to represent the UK alongside herself and Tim Carson (Timothy Information Ltd) in an exhibition that will be held at the international contemporary jewellery triennial KORU6 at the Imatra Art Museum in Finland, August 2018. I’ll be presenting the pieces shown below from the ‘Tongues’ series, as well as some red wine patinated wearable copper drinking vessels, the forms of which have also been inspired by bodily organs and orifices. Please take a look at –

I’ve been experimenting with a variety of food stuffs (lemon, orange, beetroot, raspberry, blackberry, red wine, etc) to see how they react with copper, the idea being to explore etching and patination in a more domestic setting. The initial results of which feature in my article ‘Food-metal alchemy’ in the 6th edition of How Fine a Mess journal


Below and above are some developments from my series ‘Tongues’. These brooches and neckpieces have been created from various natural waste materials – food waste (mango stones), garden waste (bamboo – used to create the brooch backs) and leather waste (scarred/insect bitten veg-tan hides). The leather is also dyed using food stuffs and will therefore change and fade over time, as the dye remains unfixed, and therefore unprotected from the elements and the wearer’s bodily micro climate. The pieces are designed to both attract and repel the wearer and viewer, exploring abject associations and body boundary. Depending on the finish or colouring of a particular piece some of these fleshy, bodily wearables can look, at a glance, like some form of external organ, or the leathers surface blemishes may resemble moles and pimples.

For this final instalment of Ambiguous Implements I’ve been playing with a range of off-cuts and unused components that have been created throughout the duration of this project. These pieces have been reworked to create a Seconds series, referencing the term ‘seconds’ both in production and in food culture. The pieces below are from this series – the viewer/user is intended to interpret their function for themselves. My aim beyond this project is to carry out a series of workshops and events where the public can handle and use the work.

Clockwise from left – Coffee combs, coffee stirrers and walnut; Seconds series, rusted steel, wood and plastic; Seconds series, walnut and plastic.

I’ve produced a new pair of cutlery combs with an incomplete set of fish knives and forks. The piece on the right pokes fun at middle class dining etiquette and the popularisation of food/function specific cutlery. It also comically references the Xmen character Wolverine – the actor Hugh Jackman had to eat a lot of Tuna to play the part!

Clockwise from left – Beet-scoop, beetroot dyed carved wood and copper; Dual scoops, electroformed and plated avocado skins; Urchin comb, sea urchin spines and walnut.

The final instalment of the ACE funded Ambiguous Implements group exhibition takes place at Touchstone Rochdale from the 21st of April to the 30th of June 2018. I’ve been busily making new pieces to build on my collection of the same name….

Sha-Green_still life2

I was honoured to be selected to exhibit this bespoke brooch (below) from the Sha-Green series at Gioielli in Fermento 2018, Italy. This piece was also selected to feature in the exhibitions accompanying meal event It’s made from citrus fruit food waste and forms part of my M(eat) et al collection.

Tongue (brooches); beetroot dyed leather, mango stones, silver and stainless steel. M-eat (intaglio) (brooch); embossed balsa wood, silver, stainless steel and haematite pigment.

The food selfie appears to be second in popularity only to actual selfies across the multitude of social media universes. Places where posting enticing images of what you are about to eat, either publically (of food prepared by chefs and other culinary professionals) or privately (at home) becomes published, normalised and ‘liked’ by peckish viewers, creating a relatively new form of digital social interaction. The presented selection of work from both my M(eat) et al and Ambiguous Implements collections reference the more personal and private aspects of this trend, being inspired by non-professionals documentation of home cooked meal production, the food waste produced and daily eating routines/habits. The public visual presentation of consuming society draws intriguing parallels with other artistic genres that are specifically designed to encourage self-reflection – such as Still Life and Vanitas paintings – reminding the viewer of their mortality and of the worthlessness of worldly goods and pleasures. The presented works aim to do the same, highlighting our relationship with food and its consumption and questioning traditional forms of etiquette and food interaction through the creation of wearable tools for eating and by placing food waste back onto the body as jewellery, thus juxtaposing other forms of nourishing flesh and skin with our own. The degradable materials’ limited lifespan highlights the fleeting and complex nature of human existence and the passing of time, suggesting the ultimate end that conventional jewellery circumvents through its endurance.

Bruised peaches (brooch); iron, beetroot dyed leather, waxed thread and peach stones. Dual scoops (neckpieces) on Re: Mains coaster; electroformed, plated and oxidised avocado skins, oxidised silver, waxed thread and embossed leather.


Sally Collins and Sabine Roth invited me to take part in Selfie-ism, a show exhibiting the work of 6 British-based designers during Munich Jewellery Week 2018.


I decided to kick-off the new year with a flurry of applications for a variety of exhibition opportunities and funding. I was delighted to be selected for inclusion in the 2018 AMBERIF Design Award catalogue with this newly developing Ӕmber series, forming another facet of my M(eat) et al collection of jewellery. These pieces were created after I’d done some experiments combining amber with egg and I’m now aiming to develop this further after receiving this encouraging news and support from AMBERIF.,Jezyk,pid,3886,lang,2.html


The above pieces form part of my Ambiguous Implements collection. They are a new series, titled Seconds, created for the third instalment of the touring Ambiguous Implements exhibition in Birmingham.


Two new Cutlery combs (above) were developed to continue to form part of that series.

The Seconds and Soft sup-sip series are shown below. Seconds was inspired by shovelling in second helpings, as well as being constructed from refashioned steel water jet off-cuts.

The above pieces from the S-lice and P-inch series reference the bad habit I have of picking at my food and cutting it into small pieces. These tools for eating are also wearable, connecting to historical artefacts when individuals would have only had one set of cutlery that they would have carried around with them.

For the third Ambiguous Implements exhibition, at the Vittoria Street Gallery (Nov-Dec 2017) at the School of Jewellery in Birmingham, I created a series of new works including the above pictured Butter Archaeology series (powder-coated steel and silicone rubber). The series is based on a colleagues comment that I “dig for butter”.

This selection of works from my Ambiguous Implements and M(eat) et al collections were shown in Not Only Decoration at Alia & Friends Gallery in Vienna in November 2017, forming part of Vienna Jewelry Days

The Ambiguous Implements exhibition tour continued, moving from Sheffield to Folkestone, where it went on show at B&B Project Space.

iPad 2104

I’m delight to announce that I received the Koyosha Award for promising talent at the 2017 ITAMI International Craft Exhibition. My Vanitas series from the M(eat) et al collection was selected to be exhibited at the Museum of Arts and Crafts, Itami, Japan

Vanitas II_with apple

Vanitas II, M(eat) et al collection, 2017

apple peel, balsa wood and stainless steel

The Untanny, M(eat) et al collection, 2016

beef, leather, walnut and copper

Cutlery comb, Ambiguous Implements collection, 2017

stainless steel

Balsa’d bacon, M(eat) et al collection, 2016

bacon, balsa wood, leather, butcher’s twine and copper

Spat-spoon, Ambiguous Implements collection 2016

copper and walnut

Two-fingered, Ambiguous Implements collection 2015

press-formed copper

Green SenMouSpo portrait

SenMouSpo, Ambiguous Implements collection 2017

copper electroformed 3D printed plastic, steel, bamboo and naturally dyed leather

HH-TB, Ambiguous Implements collection 2017

human hair and walnut

Cutlery comb, Ambiguous Implements collection 2017

formed plastic

S-tools, Ambiguous Implements collection 2007

black porcelain

Petna series, Ambiguous Implements collection 2017

bovine rib bone, leather, bamboo, horse hair and elastic

Green avocado scoops

Dual scoops, Ambiguous Implements collection, 2017

Electroformed and plated/oxidised avocado skins with wood and steel stand

Green avocado scoop

Dual scoop, Ambiguous Implements collection, 2017

Electroformed and gold plated avocado skins, steel, bamboo and naturally dyed leather


I’m delighted to be a featured artist in the 3rd edition of Mess – thanks to Dust, Peddler’s market and ASAP.