My different practices are definitely intertwined and I like when there isn’t a clear distinction between the two, so I don’t necessarily have a favourite. Most of my jewellery is created through the method of lost-wax casting which involves sculpting into wax before casting it into the metal. This part has the most affinity to the traditional sense of sculpting; some of my jewellery, for example, contains residual fingerprints imprinted on the surface of the metal as traces of the hands-on process. However, both my practices also converge with more industrial aesthetics and processes, such as powder coating and plating that altogether remove the hand of the artist.
At times, my sculptural work can be more conceptually grounded, whereas the jewellery, although from the same world, can draw more simply on visual cues and aesthetic judgements. But perhaps the main difference is scale. Typically, my sculpture requires more space, larger tools and usually results in a lot more mess (a bit more than what my current studio in North London can take). Because of this, my art-making is somewhat nomadic; working outdoors in the summer, visiting friends’ workshops or attending residencies. Last summer, I drove with my welder, plasma cutter and glass-blowing equipment to Amsterdam, where I was taking part in a residency at Door Foundation.