To how I ended up making them

People often ask me the dreaded question. “So, what kind of jewellery do you make?” Sounds like a pretty innocuous question. Right.
My interests are so diverse that it’s difficult to distill an answer into a few lines. I um and ah then say: ‘Oh well, it’s all about curiousity.’ Resulting in a bewildered look. Then I try a different tack. “Well, the latest pieces I’ve been working on is inspired by science.” Some comprehension, followed by bewilderment.
So I figured it’s best to take it one step at a time and explain the process of my butterfly jewellery.
Where did it start?
I love chasing butterflies. Whenever the opportunity presents itself hubby and I plan holidays to high bio-diversity areas. Yes, that’s right. We try to find places with a high critter, low human ratio. Somewhere along the line we got a macro lens as well. And that is my favourite activity. Finding and photographing interesting insects.

The most interesting places we’ve been to take photos were in the Amazon and South Africa.
My love for reading books on science and taking photos of insects is the starting point for the butterfly series. And yes, they’re both due to my innate curiosity.
You said it was about science. And reading.
As an artist my interest were piqued by Seven Deadly Colours written by Andrew Parker. This book is the second in a trilogy on the evolution of vision.
The part that struck me at the time, was when the author mentions a painting Monet was working on. It was a still life with some pheasants. And the problems he had to replicate the iridescent affect of their feathers.
It was also a problem I was unconsciously trying to solve in my jewellery. It took me a long time to find a technique replicating the effect I was looking for.
The other main influence from science are the naturalists. I’ve started reading a lot of books on the history of science and have a particular fondness for Ernst Haeckl work. If only I could go back in time, I would like to journey with Alexander von Humboldt and, of course, on the Beagle with Darwin.
And what about process?
With the image transfer work I’ve been doing, I started working a lot more in bronze and copper. The colours coming through on the image transfers were exciting and beautiful. As my work in bronze and copper progressed I started doing a lot of heat colouring.
I love the process because with a bit of practice you get these amazing iridescent colours on the metal.
With these different, seemingly disparate parts, the butterfly range started to come together.
The moment when I consciously realised the iridescent quality of the metal I linked it up with my colour problem and started working creating these pieces.

And it is by no means the end of the range. Now I just need to plan that new holiday to a high bio-diversity area.
Ja, OK, do you understand why I call them scientifically inspired now?
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