Jasmine Watson

I am a lover of the geometric shapes, symmetry and intricacies that New Zealander Jasmine Watson’s work portrays.  She utilises repeating patterns in a graceful and ornamental symmetry that remind me of my grandmother’s intricate and delicate crochet lace work.  Already a trained and experienced jeweller Watson set out to learn the rare and complex technique of enamelling.  The featured works in her 2011 exhibition ‘Subsequence’ are her renowned enamel brooches where she has utilised this ancient technique of hand-made enamel jewellery that has stylised her work and won her many awards.

My work is inspired by ornamental patterns and complex detail based on mathematical principles. I am interested in geometry and tessellations; interlocking shapes that can assemble into elaborate ornamental sequences, repeating to infinity – Watson, J

Many things inspire me about Watson’s work; her use of intricate eastern/western inspired pattern, geometric arrangements and shapes (especially the circle), harmonious colours,  and the great craftsmanship that she displays.  Included in exhibited works, nationally and internationally, Watson also features her drawings as they themselves are works of art, and are an integral part of her creative process of her enamel works.  Using watercolour and pencil she is able to elaborate on the different stages in her design development – a strategy that I would like to experiment with in my own art practice to incorporate colour in the otherwise grey sketches. Maybe this will encourage me to draw more.

Many people know Watson for the elaborate jewellery designs that she created for the motion pictures  ‘The Lord of the Rings’ and ‘The Chronicles of Narnia: The Lion, The Witch and The Wardrobe’.  An incredibly talented artisan!


Images and content retrieved on the 11th March 2014 from:





Metal Workshop – Visionary Structure

Again, in response to the brief, I designed and created a visionary piece, but this time based on Rectilinear and Curvilinear structure made from metal. In all of these structures I have made I needed to always consider how they would be linked eventually to the other objects made by the entire class. Because of this each structure features a gasket plate that will be fixed by screws onto an adjoining structure.

Throughout this brief I have been looking at the Bauhaus, and how as students we are carrying out the task of both conceptual artist and craftsperson in the current workshops. Similarly to the Bauhaus students we have been encouraged to stretch our imaginations and practice becoming free-thinkers in all that we do.

My exercised imagination sees this metal structure as a child’s pinwheel that symbolises childhood imagination and fond memory for me, but it is distorted by the cold, sharp, machine like and hard reality of its media and my reality that I am now aware of in adult life.  This metaphor embodies the Utopian/Dystopian concept that I have researched extensively in previous posts.

Visionary Structures

For this month’s module titled ‘Visionary Structures’; I have been set the task of developing sculptural and 3D design techniques and methods whilst relating my developments and outcomes to historical, contemporary and futuristic special structures.

In this module, more than any so far I have been challenged with the technical terminology of design, new medias that I have not worked with previously and the language of form and space.

Using the medias of metal, wood and plaster I am learning how to create a series of 2D drawings that successfully convey my vision of the 3D design that I have in mind. Being an amateur drawer to begin with I particularly struggled with representing my ideas with a 3D perspective, so I started with the basics and did my best creating works with my limited skill set and knowledge.

For inspiration and motivation to embrace this topic that is quite foreign to me, I started researching artists and designers in the field. Above are some unique structures that I have discovered that in my opinion are quite visionary.

An Artful Life – Marloes Dukyer

Marloes Dukyer is one of my most admired Indie Designers from Netherlands. I first came upon her work last year in Indie Craft’ by Jo Waterhouse and my limited logic regarding drawing was stretched open, as new possibilities came rushing in. I have sat behind a sewing machine since I was 11 years old, and I am definitely in my element here. Never before had I seen sewing as a craft utilised in this way.  The grin on my face enlarged as I realised how I could put my skill sets to a new way of creating art.

Marloes work is an amalgamation of fashion, art and illustration. By sewing freehand she uses the needlepoint in the same way one would use a pencil. She discusses how she enjoys the process of how the illustration is going to turn out, because rather than a controlled scenario, she relies on improvisation, innovation and serendipity to influence the outcome. A spontaneous, stimulating and also beautifully surprising process.

I find it interesting to note that I perceive her work as being both beautifully elegant at the same time as worn and crude, being the result of the distressed materials and harsh textural stitch-work of the machine.

The tactile experience of working with textiles and fibre is gratifying she says, especially in contrast with our modern digital world we find ourselves in. Marloes herself is the brains and body behind her own design agency, Naked Designs, and creates bodies of work for high-profile clients, numerous magazines and books, and also manages to find the time to exhibit her work widely.

She is certainly an inspiring woman in my path to discovering what type of artist I would like to be. I have an incredible sense of gratitude towards her, as now I have the motivation and passion to explore this media myself. Knowing that it will be an organic and experiential process comforts and excites me.


Waterhouse, J. (2010). Indie Craft. London: Laurence King Publishing Ltd.