I have always found the edges of things intriguing, they can be the limit of an object or a physical or conceptual place. I grew up in a peripheral housing estate in Dundee, and my research can best be described as existing at the edge of the jewellery & metal design discipline where it intersects with others for example the sciences. Much of my work has involved collaborating with others in Biology, Psychology, Anthropology and most recently Chemistry. Like an alchemist I am interested in creating things with some mystery. I love the quote from Anthropologist Tim Ingold who says “… the alchemist is interested in materials and what they can do - not what they are!” In silver too, I like to play with the edges of my vessels. I take inspiration from seaweed and the shoreline. In Dundee the river Tay is frequently in view and a major influence on the city and my practice.

I am passionate about working with materials and the power of making. Silver and gold are beautiful materials with a long history and I am interested in the value of traditional techniques and approaches in addressing contemporary issues. I use a variety of techniques including hand raising, casting and engraving. I also love old tools such as hammers/ steel stakes, and I have a growing collection of lady leg calipers. I also have a keen interest in traditional Japanese metalwork techniques such as making copper alloys, patination, and different types of inlay for example nunome zogan.

My jewellery & metal design has won awards from the British European Designers Group, The Audi Foundation and the Scottish Arts Council. I have also taught working with wax and metal casting at the Penland School of Craft in North Carolina, USA.

My research is funded by various research councils including the Engineering and Physical Sciences Research Council, the Arts & Humanities Research Council and the Economic and Social Research Council. Other funders have included the Carnegie Trust for the Universities of Scotland, the Incorporation of Goldsmiths of the City of Edinburgh and the Goldsmiths Centre.

Full member Contemporary British Silversmiths

Professional Member Visual Arts Scotland

Freedom of the Goldsmiths Company

Contributor Art Jewelry Forum

Co editor of Issues 1 & 2 of Journal of Jewellery Research