THE MERAKI MAKING PROCESS

The making process starts by researching various cultures. I look at ceremonial costume, architecture, patterns and markings used in various forms of decoration. Traditional objects that are used daily from utensils and table ware and functional objects also inform my designs. I look closely at the construction of different and varying objects and how they are used, constructed and placed in the lives of the particular culture I am interested in at the time.

 
Traditional crafts and the history and stories behind these crafts and the making process are a really important aspect of my work. There is so much to see and gather from thousands of years of human life that informs what I make.
 

I start to do some drawings of shapes and markings and put these ideas into place when I get to the making process. I make a lot of samples and discard a lot of things, although these are not really thrown away but put aside for the right moment for them to inform another idea.

I then start working with clay, fibre or metal. Depending on what I want to show in the work I am going to produce. I move around these three mediums quite a lot as each material has its own quality that gives me very different outcomes.

Once I am happy with the sampling, I then start to produce more work. Importantly I don’t make a lot of multiples of the same piece. Each piece is unique in its own way and shows the makers hand. I am not interested in making mass produced work. I want my work to reflect who I am as a maker and I want the wearer to really feel that they have a piece that is unique for them, that there was something about that piece that connected with them at that time of their life.

I don’t believe in making pieces that are too easily thrown away because they no longer fit a fashion trend or a fleeting moment. I want each piece to be worn and a memory to be held in that piece for the wearer.