This body of work moves through paper, mixed media, fabric, and embroidery as a quiet yet powerful language—one that does not speak directly, but carries memory, inheritance, and emotional continuity. Rooted in the intimate world of jewellery, the work repositions adornment not as decoration, but as an archive of lived experience.
Jewellery, within this practice, becomes a vessel of meaning: a family archive, a dowry, a museum of intimate objects. It holds layered associations—care, protection, prayer, status, rebellion, self-preservation, and silent power—particularly within systems where value, voice, and visibility are often negotiated through what is worn, given, or kept.
The work begins with the artist’s mother, whose relationship to jewellery was not purely aesthetic, but deeply practical and emotional. For her, adornment represented foresight and care—a way of holding security in an uncertain world, and of preserving something for an unknown future.
Now, ten years after her passing, these inherited objects become a living archive. They hold presence not through loss alone, but through continuity. Transformed into embroidered surfaces, layered paper works, and material fragments, they shift from personal inheritance into collective reflection.
These works do not aim to monumentalise jewellery, but to slow it down—reframing it as a site where memory is carried gently, silently, and materially across generations. Through this process, adornment becomes language: not spoken, but held.
