Folded squares: Making jewellery

I started by setting out my copper squares with other types of squares to spell out words. I decided to use tin plate steel to make some squares, and I acid etched one side, so the inside was different when folded. I spelled out the word 'hide' using the braille alphabet

 I then decided to try some clay squares using the same folding method, but I found these were more curved because of the nature of the clay. I enameled the clay to show the cross pattern more clearly. I had to try to make the clay squares the same size as the metal ones, and this was fairly difficult because clay bends in a different way to metal, and it also shrinks during firing.

 I then decided that it would be better if there was a colour scheme, so it wasn't just random, so I decided to take the warm colours from the copper and brass, and use enamels in these colours on the clay squares.

 The clay squares on this one spell out 'unnoticed'. I stuck the squares together with masking tape to make sure they were lined up, before sewing them onto a fabric base. I stitched wadding inside the fabric, to make a padded base. I then sewed the edges together, to create a cuff.

 I tried to make the stitching as invisible as possible, so the pattern wasn't interrupted by the seam.

I used the same method to make two other pieces, a bracelet and a necklace, spelling out 'hide' and 'observe'

Textile and mixed media: repeated diamonds.

 I have been looking at Polly Binns and Ealish Wilson, who both use a technique similar to smocking, but on a very large scale. Wilson uses various methods of securing her fabric, including cable ties and different threads.

 I tried out the same method, using embroidery thread to secure my calico. I knotted each piece of thread and left the tails long for added decoration.

 I then thought about possibly adding pieces to the textile backing, in the holes, so that there are smaller pieces of pattern, inside the textile.

 I have decided I would like to try to make quite a large wall hanging, so I wanted quite a few diamonds, to put in various places in the textile piece. I made diamonds from both clay and metal, using punches, enamel, pewter casting and reticulation to make the brass crumple and make a texture. I also used stamps to decorate some of the clay ones. I then used seed beads to weave one.

Wire work with ceramics and textiles

I wanted to include a textile element in one of my ceramic pieces, and also use metal to create a mixed media piece.I decided to use brass wire, and I made the wire frame curved, so as to be a statement necklace. I made the frame so the textile element could be woven through and sewn on to the wire. I used the large ceramic piece as the centre piece, and had two smaller ones on each side. I kept the colour scheme neutral so the ceramic pieces stand out and are the focal point. I pleated and stitched parts of the ribbon to add detail without taking the focus away from the ceramic pieces. I may add further textile parts to it at a later date, but I don't want to make it too busy and spoil the subtlety of it.

Ceramics: Using the plaster mold.

After making my two part plaster mold, I found that one side of it was not hard as I expected it to be, but spongy and crumbly when I touched it or tried to put clay in it. For that reason, I decided to put it in a drying oven, and just use the other half, to see if I could get any casts of my glove from that while the other half was drying.

I think this worked well, because the textile texture transferred very well to the clay, and was very realistic on the surface.

Next, I coloured some clay, and put some of that in before the rest of the clay, so it would come out on the surface. I liked the effect this had, but unfortunately, the clay had dried out a bit, and the thumb cracked off. At first I thought I would just crumple it up and try again, but I felt this was a waste of the spot pattern I had made, so inspired by my research into Tania Covo and Cleo Mussi, who both use shards of reclaimed pottery in their work, I decided to carry on, and used a needle to make holes in both pieces, to sew them back together later. Just because it wasn't perfect, didn't mean it couldn't still be used. After this, I decided to do some more research into casting, and found Janet Haige, who also used stitching in her casting, and used textiles and lace to make imprints in clay.

 In my next casting, I cracked it even more, so there would be more emphasis on the sewing.

When the other half of my cast came out of the drying oven, the plaster was a bit harder but still stuck to the clay quite a lot, and made it very difficult to get the clay glove out of the cast. My clay glove from the two part cast also cracked and stuck in the cast, so I made holes in this one as well to sew back together later.

One of my casts from the two part mold did come out whole, and I used the coloured clay to make patterns, but I found that this didn't look as exciting as the ones to be sewn together.

Close-up of the coloured clay and texture of the glove.