My journey began in 2019 when I took a jewellery class in silver clay. I instantly fell in love with making jewellery and went on to attend more classes to learn more techniques. During lockdown, some of the classes were cancelled, so I purchased a small jewellery kit and a fold-up bench from eBay and spent a lot of time exploring what I had learned. The first pieces I made used pre-cut Scottish Stones, but as I already had a collection of stones, I became curious about lapidary and how I could use it in my work to create more freely. I ordered a small trim saw and lap wheel, set up in the spare room, and began to experiment. From there, the lapidary and the jewellery naturally came together. 

Originally, I worked with the traditional bench skills I had learned in my classes, like soldering and working with sheet and wire, which felt quite restrictive in a way. My first collection was built entirely around stone inlay, where the stone is polished flush with the metal. I later discovered wax carving, which I use in the Saorsa collection and in my new collection launching later this year. It is like sculpting in wax, so I find it much less restrictive. Most of my process now begins with the raw stone. I choose stones with unique patterns, often mimicking landscapes, then work them down by hand, shaping and polishing each piece. The stone has become a bigger focus, with the gold and silver supporting it rather than dominating. I feel drawn to designing in 3D, in a more process-led way, where the piece takes form as I work. It is slow and almost meditative.

Some of my influences come from Victorian Scottish jewellery, or Scottish pebble jewellery as it was known. I use many of the same stones, and I love that I can continue that celebration of Scottish materials. I am especially drawn to the inlay work featured in many Scottish antique pieces, which appears again in my new collection alongside the more stone-focused designs. I also love the work of Hilma af Klint. I am drawn to her play with opposites, symmetry, and the colour spectrum. We share the same birthday too! Another artist whose work I love is Courtney Marama from New Zealand. She has a similar practice to mine, working exclusively with native stone that she cuts by hand, alongside recycled metals. I love her style. 

Don’t be afraid to make mistakes, as you will just carry on growing and improving. The best advice I have been given is to stay curious. See everything as an experiment to learn from. It takes the pressure off, so you are never aiming for unrealistic perfection. 

You will be invited into the studio to see what I am currently working on. This is usually a mix of cutting and grinding stone, as well as finishing pieces on the lap wheel. You will be able to see the raw stones that I work with and view a range of work for sale.