Bling (Series: Glow)
2012
Nylon (white), 3D print
(Selective Laser Sintering SLS),
Swarovski crystals, 5 x 8 x 8 cm

GLOW is a work made solely using digital tools. It is a work of jewelry, designed collaboratively with a traditional trained and working silver smith, Silvia Weidenbach. At the time of the collaboration, she had previously only been working with traditional tools and materials of the trade. The project GLOW, a commission by the Sir John Soane’s museum, contains no silver, no gemstones, or gold in the project.

Totoro (Series: Glow)
2012
Nylon (white), 3D print
(Selective Laser Sintering SLS),
Swarovski crystals, 5 x 8 x 8 cm

If argued from a physical material point, the project would certainly stand in opposition to craft due to the lack of materiality or material amalgamation. This complete transition from physical to digital form can be seen as a controversial form of digital craftsmanship discussed in the context of Transfer and Transform – both directionally conveying immaterial data to become materialized. Yet, the project resulted in a material-specific narrative and resulting design.

Doppelkopf (Series: Glow)
2012
Nylon (white), 3D print
(Selective Laser Sintering SLS),
Swarovski crystals, 5 x 8 x 8 cm

Glow
2012
Nylon (white), 3D print
(Selective Laser Sintering SLS),
Swarovski crystals, 5 x 10 x 12 cm

Coral (Series: Glow)
2012
Nylon (white) coloured
with dylon dye, 3D print
(Selective Laser Sintering SLS), 5 x 14 x 10 cm

The project is best reflected in the words of Richard Sennett who states, “Every good Craftsman conducts a Dialogue between concrete practices and thinking, this Dialogue evolves into sustaining habits, and these habits establish a rhythm between problem-solving and problem finding.” As Sennett states or the lack thereof, the craft can exist without initial material feedback between the craftsman’s hand and the materials such as clay, wood, metal, or gemstone setting. Instead, it is a dialogue of practice and thinking.