Katherine Lawrie Jewellery

Designer & Maker

Tag: westsussex

My working life is divided into making, teaching and selling what I have made.

Teaching goes on all year round apart from a break over the summer and Christmas.

Making tends to go in peaks and troughs throughout the year, but reaches its busiest in the months leading up to winter and in the spring. Previous to big selling seasons there is a lull in sales which gives which gives me the opportunity to reboot, stock take, design new work, try and predict what will sell in the next selling season and then make it. That is where we are now!

My busy selling seasons tend to be May-July and then November -December. All the while working on bespoke pieces and commissions for direct customers.

So the Christmas selling season is so very important to my business, and around 30% of sales are made between November and December.

This year is no exception. There are several opportunities to make a purchase. Most sales are made in person, but I have just added to my FACEBOOK shop and also have work available on FOLKSY

So where can you find my work between now and Christmas?

From the 31st October my work will be on display in a Pop-up Gallery in Worthing its called The Montague Gallery.
Open Wednesday to Sunday 10am to 4pm until the end of December (Closed Christmas day and Boxing day)

The Gallery will be displaying the work by 33 local and Sussex based artists. The venue has been painstakingly decorated to achieve a gallery finish which will really set off the work from the Artists and Makers.

 

 

Light up shoreham event in Shoreham by sea Friday 7th Dec 2018

Light up shoreham event in Shoreham by sea Friday 7th Dec 2018

Steyning arts at ChristmasSteyning Arts at Christmas which I have participated in from its inaugural year. Its such a great show withwork from local artists and Makers, accompanied with Tea and Cake which is sold to raise precious funds for SAfer (Steyning Area First Emergency Responders)  A one stop place to buy all your special gifts!

 

 

 

 

 

 

And last but not least, I will be holding and Open Studio 8th -16th December. 11am to 4pm.

This year is my 20th year in business, and I just though I’d mark this milestone by inviting nine local artists and makers to exhibit in my studio, which was a former stable. It seems quite fitting given the time of year. So, please, do join us in the Stable for a glass of mulled wine and a mince pie, and to enjoy the variety of goods on display for purchase.

 

 

 

Call 07866835640 or EMAIL for more details.

 

The Society was founded by a group of Botanical artists over 30 years ago, and now comprises of over 120 members. As a Society we hold one large exhibition every year, and members are currently working on an pieces for an exhibition which will be held at the Palmengarten in Frankfurt, Germany. We hold an exhibition biennially in Central London too. This calendar is interwoven with regional and themed exhibitions all over the country and abroad.

https://www.soc-botanical-artists.org/about/about-the-society/

Applying to be a member of the SBA was something I had never even considered until I had a conversation with my neighbour, Alice Harman SBA. Being a jeweller I assumed that an artist’s society was no place for me.

My plant inspired work has always been botanically inspired, and often very correct as quite often I use the botanical specimen to create the imprint on my silver. I use a technique called roller texturing which I learnt at college, as every jewellery student does. Once I left college this technique became the main focus for my work, I usually concentrated on leaves and flowers.

I offered my work for selection for the Open Exhibition and a few years down the line, my work having been selected every year, I was very pleased to be offered Associate and then Full membership. Over time I have seen the Societies’ exhibitions as a focus to create slightly more challenging and sculptural pieces. These have been very well received both by the Society, and my customers.

I was very honoured to be asked to design and make Sandra Wall-Armitage our President’s leaving present earlier this year. Which was presented to her at the Society’s AGM.

I am constantly looking for new inspiration in my surroundings, a walk in the countryside, around the garden or at the beach is always an excuse for a photo shoot to seek out the next piece of inspiration.

Follow me on Instagram to see what inspiration I’ve found recently!

Over the years jewellers have invented new tools to ‘do the job’. Many items remain the same as they simply can’t be improved upon, and are still similar in design to those that were used in mediaeval times. Some are redesigned and just don’t work as well as the original. Other redesigns were a huge success.

medieval jewellery workshop

I have a mixture of second hand and ‘new to me’ tools. My Father’s studio was left fully stocked when he immigrated to America, so I was very lucky to inherit several wonderful bits of kit.

These are my favourite pliers designed for bending rings; I assume were second hand when my dad bought them as I believe they were manufactured in the 1940/50s. I also like using a big chunky pair of Maun parallels. (www.maunindustries.com)

I have two rolling mills, one is a Durston (www.durston.co.uk) and the other older set is probably as old as my pliers, not sure of the manufacturer. I assume they are both made in the UK. They made things to last back then. I use the bigger one for doing all my roller texturing work. Its survived being miss treated by students, and having sweets crushed in the cogs by me kids when they were small. The kids are now older enough to know better, but they were banned from entering for a few years.

I have several saw frames, but my two favourites are:

One which I bought new when I was at college, can you believe that’s over twenty years ago? And the other lovely rose wood handled frame which is great for slightly bigger work, which I bought at a car boot sale.

My polishing machine has seen better days, but is still going strong. This was purchased new from Hatton Garden back in the 1070s when my mum was pregnant with me. I’d love to update it, but there’s really no need whilst it hangs in there.

My newest piece of equipment was a birthday gift from my dad. It’s an amazing all singing and dancing setting clamp. Which makes setting a lot easier. It comes off the bench and then is replaced by my peg when not in use so is multifunctional too. (www.grs.com)

Lastly, but not least, is my ‘can never be replaced’ setting tool. Made from a jewellery tool handle and a screw! I can’t use anything else, as it just doesn’t work. This little mushroom sits in the palm of my hand and is just right.

Tools are like old friends, you pick up from where you left off, and they support you no matter what!

If you fancy learning how to use some of these wonderful tools or just come to visit my studio and showroom over the summer all my details are available on my website:

Jewellery Workshops or simply message me via Contact

Memorial Jewellery

Jewellery made in memory.

Jewellery has contained symbolism and has been part of the rituals in life for as far back as history has been recorded.

Angels wings

Adornments and jewellery have been used to represent and remember those who have died.

The ancient Egyptians valued personal adornment highly. The deceased were adorned for their send off into the afterlife. The symbols within these adornments were equally important to those alive and in memory for those who had died. The rarer the gemstones and materials the better, as this was a sign of great wealth and success. Gemstones where carved to emulate symbolic forms like scarab beetles which conveyed renewal, regeneration and endurance of the soul. Snakes were used as a representation of spirit guardians and the spirit, and also a symbol of ever lasting love.

Memento Mori jewellery (16th-18th Century) was created to remind us of the inevitability of death. This often contained skulls, coffins and skeletons, and were often worn in remembrance. Also the wearing of such jewellery would be regarded as a kind of talisman and was worn as protection and a constant reminder.

This idea has been modernised in line with contemporary life. One can now have jewellery made containing your loved ones ashes, and even have their remains made into diamonds.

It is possible that a jewellery was comparable to a photograph in todays society. To commission a painting may well have been too costly where as a token piece of jewellery might have been a more achievable price.

In present times we think of the Victorians being most noted for their mourning jewellery. White enamel would represent a single person, black a wife or husband and the use of pearls in a piece of mourning jewellery represented the death of a child. Inscriptions were often included in these pieces of jewellery.  The mourning period during Victorians times had strict rules and etiquette. Both women and men wore mourning jewellery.

Different stages of mourning were represented by different colours. After a period of time the mourner could progress to colours other than black or white. The colours of Blue, Grey and Purple would have been reflected in the jewellery that was worn.

Often money was left in a will for the purpose of creating morning rings for specified list of mourners. Jewellery often contained a piece of the relatives hair.

I have had the honour of making several pieces of jewellery which were commissioned in memory of someone who had died.

turquoise

Turquoise is know as a stone of protection.