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Goldsmiths are very discerning about the artists that they choose to show at their annual fair, making any visit there one of pure delight.

With stand after stand of exquisite handmade jewellery and silverware, it is clear that the exhibitors have been curated from the finest craftspeople in the UK; and that the astronomic price of precious metals has pushed their creativity to new places.

To choose 'highlights' from this event would seem something of a misnomer, as the quality of workmanship and design is so consistently outstanding, so perhaps I should describe these jewellers as 'my own personal favourites'. It was a treat to see the work of Emmeline Hastings whose audacious treatment of mixed media has culminated in an unusual but eminently wearable collection; of Zoe Arnold whose carefully detailed narrative pieces are works of art in themselves; and, of course, of Shaun Leane without which a visit to Goldsmiths would seem incomplete.
It was an afternoon of pure indulgence.
Jayne Coulson

Andrew Lamb
stand 71




 

 

 

 

 

 

Andrew uses precious gold and silver wires in his jewellery, creating pieces by layering, twisting and overlapping these 'threads' to create rippling textures and subtle colour variations, playfully drawing in the viewer and creating a moment of surprise. His work is inspired by linear patterns and structures abundant in nature and woven textiles. He is also influenced by illusion and the mesmerizing visual effects of optical art. He strives to emulate the perfection found within the natural form, yet highlights the imperfections in the way we see and the way we perceive.


Elaine Cox
stand 59



 

 

 

 

 

 

Elaine's jewellery is highly individual. Each hand-crafted piece is the result of her experimental and intuitive use of textures, colours and materials within a carefully considered form. The work has a sculptural quality and resonates with her feelings about the land.
The principal materials are silver and 18ct gold, used on their own and with precious and semi-precious stones and minerals. Rough stones encrusted with dirt or salt or 'poor', humble materials are often used. When precious stones are included they are usually unpolished and uncut, challenging the traditional 'preciousness' of jewellery whilst celebrating the natural surfaces of the land. Diamonds, rubies, sapphires, calcite, galena and haematite are all used in a raw, crushed or un-polished state, evoking industry, farming and geology.


Emmeline Hastings
stand 9



 

 

 

 

 

 

Emmeline combines constrasting materials in a unique process to create striking and beautiful, wearable and non-wearable objects. She is inspired by the visualisation of sound waves, music and correlating natural phenomena. Her jewellery holds moments of 'resonance' captured in static forms of perspex, wood, stainless steel, titanium and precious metals. They are tactile, one-off pieces that play with optical effect to create an illusion of movement and fluidity. In her collection, Emmeline explores how many elements brought together can create energetic surfaces and forms.

John Aristizabal
stand 55

 

 

 

 

 

 

 

 

John Aristizabal's designs aim to converge contemporary and timeless pieces. His distinctive elaborate designs gleam with the matt surface and colour of his trademark material, Tumbaga - an alloy of gold and copper that dates from Pre-Colombian times. Warm in colour, the alloy was originally created as an offering to the Gods and its mystical, sensuous properties live on through the rich narrative of John's work, bringing a fresh outlook to a traditional technique.



Julian Stephens
stand 76

 

 

 

 

 

 

 

 

Julian's music box collection encapsulates all the magic and intriguing beauty of the Victorian curiosities that inspired the range. Against the mirror of a gently curving back element, the play of light through intricately hand pierced fretwork is distorted, drawing the viewer into a fascinating miniature otherworld of light and shade, shadows and reflections. Echoes of romantic Pre-Raphaelite design marry with modern clean lines and flawless surfaces in a contemporary celebration of antique craftsmanship.



Tom Rucker
stand 72

 

 

 

 

 

 

 

 

 

Tom draws his inspiration from architecture, aeronautics and nature, using state of the art technology in laser welding to create his jewellery and objets d'art, all of which are entirely unique.



Zoe Arnold
stand 20

 

 

 

 

 

 

 

 

Zoe Arnold works from the realms of the surreal and ethereal, yet her pieces are strangely grounded in truth and social comment, drawn from human emotion or desire and inspired by her poetry, which when read presents a subtle window into the meaning of her work. Each item depicts a moments thought, be that a memory or question, to be unpicked and perused, but though each piece tells a story, the artist rarely describes their meaning in detail, leaving an open ended question for the wearer to form their own answers to.

 

Disa Allsopp
stand 68

 

 

 

 

 

 

 

Gold is a very important part of Disa's new collection and she uses it in a very textual way through hammering, forging and reticulation. She has a deep interest in ancient jewellery and transposes this awareness into her work, producing a collection that is both timeless and contemporary in its appearance.


Shaun Leane
stand 89

 

 

 

 

 

 

 

Drawing from a love of nature and the beauty of the British countryside, Shaun Leane presents the stunningly crafted Blackthorn collection at the Goldsmiths' Fair this year. Dramatic silver thorns frame glistening black spinel leaves and lustrous dark pearls, creating a collection that is modern and luxuriously elegant.


Mikala Djorup
stand 80



 

 

 

 

 

 

Mikala uses precious metals to create her exquisite, tactile, modern jewellery, incorporating diamonds, pearls and coloured gemstones. This year, part of the collection uses rosecut diamonds of various colours as a focus.


Milly Swire
stand 7



 

 

 

 

 

 

Milly Swire is greatly inspired by the harmony and rhythms within nature, such as waves in the sea or patterns in the sand. Whilst studying at Le Arti Orafe in Florence, she began to experiment with mark making in wax using a variety of tools and techniques to create interesting and tactile surface textures. A very important aspect of Milly's jewellery is that no two pieces are the same. Each mark is unique and can not be identically repeated as she does not produce moulds. 

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