This collection is based on curb chain a traditional victorian style chain. Necklaces such as jumbled chain and cast chain make a contemporary twist on this well known classic chain style whilst graduated and double graduated chain necklaces are a simple progression in scale to produce a classic design for everyday wear.
This necklace is entirely handmade from recycled fine silver
Available to order in any length, please visit my shop page for prices.
This necklace has a handmade section of graduating links made from recycled sterling silver.
This necklace is a solid cast from a handmade section of chain in recycled sterling silver.
This necklace is entirely handmade from recycled sterling silver. The links are soldered in awkward positions so that the chain hangs on the body in positions you would more likely find it off the body. This is a contemporary twist on a traditional style of chain.
This necklace is entirely handmade from recycled 18ct gold. The links are soldered in awkward positions so that the chain hangs on the body in positions you would more likely find it off the body. This is a contemporary twist on a traditional style of chain.
I have used the traditional technique of rope chain, meaning a construction from individual soldered links, I have developed the technique by increasing the number of links and reducing the wire thickness which allows for small mistakes, slips of the hand or unconscious gestures. These create a feeling of wild time worn rope and bring the technique to life. I want the rope chain to have a quality of movement like rope made from fibres.
The rope chain, comprising thousands of irregular strands, fine like hair, tarnished by the time it has taken to make.
This rope chain necklace is entirely hand made from recycled 18ct yellow gold.
This collection uses recycled 18ct yellow and white gold with diamond beads, using a technique like fused gold which gives the metal surface a texture which is soft and fleshy. The overall style of the collection is ancient and feminine.
This necklace is made entirely be hand using recycled 18ct yellow and white gold with diamond beads using a technique like fusing which gives the metal a texture which is soft and fleshy
This necklace is made entirely be hand using recycled 18ct yellow and white gold using a technique like fusing which gives the metal a texture which is soft and fleshy.
This necklace is made entirely be hand using recycled 18ct yellow and white gold with diamond beads using a technique like fusing which gives the metal a texture which is soft and fleshy
This necklace is made entirely be hand using recycled 18ct yellow and white gold with diamond beads using a technique like fusing which gives the metal a texture which is soft and fleshy
Earrings made from wire and jump rings in 18ct recycled gold
18ct recycled yellow gold. Made entirely by hand from twisted links, these earrings shiver and shimmer when you wear them.
18ct recycled yellow gold. These earrings are made from hammered loops which move and catch the light.
18ct recycled yellow gold. These earrings are an arrangement of links.
All rings are made from recycled gold
'Chain Of Thought'
Sculptural work such as ‘chain of thought’ embodies the unending gesture towards the incomplete. Working to the point of limitations. Making with a concern for time and an emphasis on the handmade 'Chain Of Thought' is made by melting silver grain into ingots and drawing them into wire to make a graded chain which grows so small it disappears.
Glenn Adamson wrote...
‘Each link is ever so slightly larger than the previous one, with the smallest marking the limits of her dexterity and the largest the limits of her strength. This simple progression provides the means by which she transforms her skill into the material of imaginative empathy and astonishment.’
'Rope Is Patient'
Inspired by myth - 'rope is patient' - a huge continuous silver rope chain with no beginning and no end. An eternal unending task represented by a never-ending rope. Or something functional and ubiquitous being rendered precious and useless by the material. I like the paradox of an object something which holds in it many contradictions and leaves you thinking.
A section from an essay by Dr Rebecca Bell, Lecturer in Fashion Visual Cultures at Middlesex University
‘There is an issue here of starting and stopping: where does one material begin and another end, since they have formed one another – the silver has contained the iron and iron led the silver. Gledhill’s hands and knowledge have also poured back and forth in this exchange. Her love of Irish writer Flann O’Brien is potent in this respect, his delight in ‘the life that was bubbling at the end of my fingers’ and the beautiful absurdity of his ‘interchanging of atoms’ between people and bicycles built up through years of cycling in The Third Policeman. This interchange can be read both in the silversmith’s tools as well as the owner’s use of the final object. O’Brien even wrote of ‘standing propped by one foot at kerbstones’, reminding us again of this idea that curbing, or kerbing, is a place of stopping but also of marking a new start whose order or hierarchy is hard to decipher. O’Brien’s idea of the ‘imperceptible’ intrigues Gledhill, where a needle is so sharp it is invisible to the human eye. A sense of continuation that is both unfathomable and penetrating.
Another history at play can be found in a photograph of Gledhill’s great grandfather, which sits in her studio. Against his dark Victorian suit lies the flat fob chain of a gentleman’s pocket watch. The photograph is a static formal portrait typical of its time, in which the shine of the pocket watch contrasts significantly with the sepia background. Gledhill still wears the chain and its one decorative aspect is a small graduation from smaller to larger link. These kinds of subtleties, concerning the occupation of space and time, are writ large in CURB.
Keeping time, control and restraint – themes that recur and rotate around CURB, which pushes and plays with the rules and expectations of its material heritage. The work speaks to softness and hardness, to alchemy and learning, to knowledge and behaviour. Both the proposal and suggestion of its made process remain in the work. The iron is the tool, the original, the master, but also the final object. Containment and enclosure are the expression of its finished result, a partnership and conversation between iron and silver. In previous pieces Gledhill has stacked chain, denying its flexibility and thus questioning its very nature. CURB is also a question: can this be called chain if it is only two links?’
