FRAGMENTS OF MEMORY

How can I find a sense of familiarity in a new technique, a new language?

For several years, my practice has revolved around jewellery and sculptural objects that explore fragility, fluidity and ornament. During this residency, I felt a desire to move somewhere quieter, creating objects that feel less like functional pieces and more like silent artefacts.

These first experiments are inspired by antique jewellery boxes, forgotten reliquaries, shells, nests and imagined relics from ancient civilisations that never existed.

I find myself increasingly drawn to the idea that memories are not always preserved through stories, but through objects. Objects that survive us. Objects that carry traces of lives we can only imagine.

Glass feels uniquely suited to this. It is both fragile and enduring. Transparent, yet capable of concealing. It preserves while remaining impossible to fully grasp.

These pieces are the beginning of an ongoing body of research exploring memory, archaeology, mythology and the quiet poetry of collected fragments.

One of the most rewarding discoveries during this residency was exploring a new glass technique based on delicate networks of fine glass threads.

Unlike glassblowing, which is fast, physical and driven by momentum, this process unfolds slowly. Every line must be placed with precision, demanding complete concentration and patience. It is almost architectural in its construction, where each gesture contributes to a larger structure.

Working this way has expanded my relationship with glass. Rather than responding instinctively to the movement of molten material, I found myself entering a quieter rhythm—one built through repetition, care and contemplation. In many ways, the process became a meditation, inviting a different kind of presence in the studio.

This is only the beginning, and I'm excited to share more of this journey with you over the coming months.