I have always been drawn to linear, organic, layered patterns. I've always loved cross-cut concentric tree rings, close-ups of finger prints, topographical maps, and of course, wood grain. I can't put my finger on why exactly they are so appealing, but here are some thoughts: I find these patterns dynamic yet peaceful, ordered yet unconstrained. Somehow they are strangely comforting. I think they stand as a reminder that things don't have to be perfect to be beautiful. Nesting inside each other, fitting perfectly, folding over themselves, creating their very own paths. And maybe, extrapolating a little bit, they stand as a visual reminder for my own ideals: don't focus so much on perfection, but instead, allow for some disruption, exploration, and deviation from the line.
So with all this in mind, naturally these are the kinds of markings I tend to use and make for my work.
For this experimental series I gathered a handful of olive leaves from my own little olive tree, and pressed them for several weeks to dry. Once fully dried, I layered them between soft white resin, designing them so that they would be cut cross-wise, showing off delicate layers, rather than one specific leaf.
And the result? A small series of subtle, intimate, and softly neutral pieces, with matte surfaces and fine silver and 14k gold-fill components. Every piece is a little different! My personal favourite pieces are the rings, which are especially delicate and detailed, showing off the lovely, dynamic layers of deep grey-green olive leaves.
I'm delighted to share this experimental series with you today. Thank you for taking the time to read through the process and thought behind the series.
My Olive Leaf series is online & available now!