,Clevedon based silversmith Gabbie Gardner explains the inspiration behind her hand-made silver jewellery as well as the process she uses for creating these beautiful, individual pieces.

Having lived in Clevedon since 1998, I am lucky enough to be surrounded by beautiful landscapes, water, plants, creatures and what feels like a million other inspirational elements; all of which are a rich source of ideas for my jewellery designs.

My “Impressions” collection grew from a desire to use Clevedon Pier as an inspiration, but in a less strictly representational way than is often seen. The history and construction of the Pier is fascinating, an excellent example of Victorian design, much loved by locals and visitors alike. My aim was to create a range of jewellery which would give the wearer their own little piece of the pier!

Handcrafted using traditional techniques

Without exception my Impressions collection is made by me, by hand – often involving many hours of concentrated effort and continuing a long tradition of silversmithing skills.

“In a world dominated by mass production, the invisible thread which connects maker and wearer, via design, craft processes and materials is an element of my work that is very important to me.”

The jewellery begins with a flat sheet of silver which is measured and marked into the desired shapes for the jewellery using a sharp scribing tool. Using the same tool, I then draw the designs onto the silver. Earrings often have opposite halves of a pattern to make a pair without both being identical.

The designs are then painted with an acid resist solution and dried, before immersing into a nitric acid mix for between ten and thirty minutes. The acid will eat away the unpainted silver, while the painted patterns will be left in relief. After the acid and resist are cleaned away, the marked out shapes are sawn, filed and smoothed; each shape is curved into a more 3D form using hammers and rounded blocks.

Soldering on rings and fittings is next and then a lengthy polishing process to highlight the raised patterns leaving the lower etched areas with a more matt finish to give maximum contrast.

The final addition of ear wires and chains completes the items ready for wearing. The process means that every piece of jewellery will be different even when patterns or shapes are repeated. I have also made variations with added gold accents or small pearl droplets.

Gabbie’s Pier inspired “Impressions” collection is exclusive to Fizz Gallery. It’s timeless, classic elegance has made this collection one of our longest held ranges.

The intricate designs of the Pier metal work reflected in Gabbie’s jewellery:

Christine’s work –1st firing

The Great British Throwdown has ignited a huge increase in the number of people having a go at pottery, both the thrown kind (made on a wheel) and hand built ceramics (made from a slab of clay). In this issue’s Spotlight, we take a look at the firing process known as Raku, one of the most unpredictable and exciting techniques in pottery.

Like every profession, those at the top of their game make it look easy and here at Fizz we are very lucky to work with some of the most respected ceramic sculptors in the UK including Paul Jenkins and Christine Cummings.

Christine and Paul both use Raku firing in the making of their beautiful animal sculptures. Raku firing is a real hands-on technique with glowing hot ceramics, smoke, flames, and a big helping of unpredictability.

Raku firing has its origins in 16th Century Japan, but a Western version has evolved over the centuries and it is this that most of us in the UK are familiar with. In Paul’s and Christine’s work it is this Raku firing processes that produces the lovely crackle lines on their work.

Christine Cummings – finished Raku pigs

When using the Raku firing technique, the piece is removed from the kiln when it reaches a bright red heat and is immediately placed in a post-firing “reduction”. This means it is placed in a container of combustible material (often sawdust, leaves or hay) where the oxygen is reduced.

This carbon rich atmosphere produces smoke which then blackens the raw clay and causes “crazing” in the glazed surface.

When cooled the piece is cleaned with abrasive cleaners to remove the carbon before being dried. At this point the crackle lines are revealed and the piece really starts to come alive.

We asked Paul how long it takes to make one of his hares and what the biggest challenge is for him.

Paul Jenkins – finished Raku hare

“Due to the nature of Raku firing every sculpture is unique and each one, large or small, takes approximately 2 weeks to make. The first firing is a bisque firing (low temperature) and then I apply the glaze and fire for the second time. The final firing is the Raku firing at very high temperatures.

The worst problem is pieces breaking in the Raku firing due to thermal shock. This can be both frustrating and expensive when it has taken two weeks work to arrive at that point but that’s the nature of working with Raku.”

Pottery is a wonderful creative technique that anyone can have a go at, young or old. So, if this has fired your creativity why not try one of the many taster sessions run by potters all over the country. For one in the North Somerset area try http://www.clayability.co.uk/.