Blog 5: Meanings and Messages

Meanings and Messages is the title of the current touring exhibition of the Association for Contemporary Jewellery (ACJ) that opened on 30th April 2022 at the St George’s Art Centre in Gravesend.

In my February blog I wrote about a brooch I made as my entry for this exhibition. I was thrilled that my piece Elpis (Hope) Brooch was selected as one of the 60 participants for this show and decided to travel to the opening day with my family.

Prior to the exhibitions, all entries were beautifully photographed by Simon B Armitt for the printed catalogue that was produced and the show was curated and displayed by the ACJ team, notably Exhibition Manager Joanne Haywood and ACJ Director, Terry Hunt.

Each entry came with a statement that explained the thoughts behind the piece. This statement was not shown next to the cabinets so as to encourage your own thoughts when viewing the pieces, but they were printed in the catalogue.

As the pandemic prevented many such physical shows from being organised it was a real pleasure to take part in the opening day and meet and catch up with old friends.

I wanted to use my May Blog to write about some of my own favourites of this exhibition:

All selected pieces were sorted into broad categories to make the display easier and these were:

1. Social Justice and Societal ChangeA fairer world for all, technology, consumerism and conflict

2. SupernatureCelebrating the wonder of the natural world

3. Tributes and personal narrativesFor our heroes and loved ones, personal reflection and biographical pieces

4. Our beautiful planetClimate change, conservation, sustainability, ecology and animal rights.

5. Coronavirus (Covid-19)Personal reflections and global impacts.

6. Love, hope and faithHumanity, lore, talismans and amulets.

I was very moved by the different approaches of the makers to the theme of the exhibition and the thoughts behind the pieces when reading the catalogue. I will choose one piece from each section:

1. Social Justice and Societal ChangeZ(eros) No Ones by Emma McGilchrist. I had the pleasure of meeting Emma at the opening and we chatted about our respective pieces in the exhibition and our thoughts behind it. I love the different layers of meaning behind this brooch, especially the one challenging Freud’s interpretation of women as Zero “a gap, absence of maleness and therefore lesser being.”

Z(eros) No Ones brooch by Emma McGilchrist

 

2. SupernatureCity Garden Brooch by Sophie Martin-Glinel. Sophie’s brooch is a beautiful interpretation of her urban surroundings. She notices the beauty present even in her built-up, often industrial surroundings where one would not often suspect nature to be. Sophie notices that, and her brooch signifies how nature finds ways to fight its way through the most challenging elements of urbans landscapes.

City Garden Brooch by Sophie Martin-Glinel

 

3. Tributes and personal narratives – This section of the exhibition was particularly touching and it was hard to pick just one entry. So I picked two – both moving tributes to lost loved-ones.

a. Jane Sedgwick’s brooch Forget-Me-(K)not pays tribute to the skills passed on from mother to daughter and she uses threads from of her late mother’s sewing box to make her piece. Incorporating the threads her mother touched and worked with is a particularly moving memento – significant perhaps especially to a fellow maker, for whom materials and touch are important elements to how we live, view and interpret the world.

Forget-Me-(K)not brooch by Jane Sedgwick

 

b. Anne Walker’s brooch Fragility of Life: Dear Tam – This brooch is a beautiful tribute to the recently deceased Tamizan Savill, long-time member and Chief Executive of the Association for Contemporary Jewellery. The brooch is Anne’s final farewell letter to Tamizan. It is composed of long pieces of printed paper strips “with a jumble of messages and mixed emotions” which are loosely laced together and – like paper – signify the fragility of life.

Fragility of Life: Dear Tam brooch by Anne Walker

 

4. Our beautiful planetBefore it’s too Late Brooch by Sarah Jane Wilmott: Sarah’s brooch is a call to action to remind ourselves that so much more still needs to be achieved to tackle climate change. The brooch is made from charcoal and fine silver, with the charcoal leaving a mark on the wearer – just like human action has had on the planet. A beautifully evocative piece that should all make us think and renew our commitment to preserve and protect our planet.

Before it’s too Late Brooch by Sarah Jane Wilmott

 

5. Coronavirus (Covid-19)Lonely Fish brooch by Mandy Nash: Mandy’s brooch resonated strongly with me. The impact of the pandemic on children and young people was particularly strong and are still felt. The absence of social contact with friends, the known rhythm of life and school and a certain predictability were hard to cope with. Although speaking to the children about these things, adults struggled with them too. Anxieties remained and – as depicted in the brooch – children and adults still appear on the outside as ‘jolly fish’ but are in fact “struggling to keep the head above water” and feel like they are “swimming against the tide.”

Lonely Fish brooch by Mandy Nash

 

6. Love, hope and faithAll You Need Is Love brooch by Joanne Haywood. My own brooch also came in this category, but one brooch I particularly liked was Jo’s. The warmth and compassion of her thoughts really stirred me. To respond with kindness, compassion and understanding to other people in need and especially in such turbulent times as the last few years, not only helps others, but also lifts our own spirits and adds meaning to our own lives. The use of her materials, colour and symbolisms underlines the above.

All You Need Is Love brooch by Joanne Haywood

 

As part of the main exhibition, exhibitors were also asked to send in samples or test pieces they had made for their brooches. This was to enable especially visually impaired persons to experience the exhibition. This was a particularly lovely part of the exhibition. As the actual brooches were shown in glass cabinets it was fantastic to be able to touch and feel the materials and textures used in the pieces.

If you are able to go I would encourage you to see the exhibition and/or buy the catalogue to read the thoughts behind each piece. The following are the tour dates and locations:

30th April 2022 – 29th May 2022: St Georges Arts Centre - Gravesham Borough Council - in partnership with LV21

1st -3rd July 2022: Exeter University – Conference Pop-Up exhibition

19th September - 28th October 2022: Vittoria Street Gallery – Birmingham School of Jewellery

16th November – 21st Dec 2022: Mission Gallery in partnership with Swansea College of Art UWTSD

9th January – 24th February 2023: Goldsmiths Centre, London

4th April – 18th June 2023: New Brewery Arts, Cirencester









Blog 3: Understanding What Makes Jewellery Ethical

Last week I took part in the Fair Luxury Open House Zoom session on Provenance Power: The Positive Impact of Traceable Gold. It promised to be interesting, given the current background of war between Russia and Ukraine and the relevant question whether Russia may use its gold reserves and gemstones to finance its war.[1]

These Open Houses have been a great source for understanding what makes jewellery ethical. I will use this third blog to clarify my thinking on some aspects. There are many people more expert in this field and the article below is just a starting point for me to grasp the different concepts.

 ***

To make jewellery ethical is a complex task and requires knowledge in diverse and multifaceted areas. Thus far my efforts have concentrated on the small-scale, manageable aspects of my business, such as studio practices and the sourcing of some materials. As I mainly use silver, little gold and no gemstones, my knowledge of the various ethical standards and initiatives was limited.

Fairtrade / Fairmined

Last year I investigated the conditions for signing up to using Fairmined gold/silver as I was hoping to include more gold in my work. After careful consideration I concluded then that it would have to remain a future aim until I could be sure to financially warrant the cost of using this scheme. I turned instead to the newly-established Single Mine Origin (SMO) gold, offered by Betts Metals.

I remained interested to see what the community of ethical jewellers thought about SMO gold and was keen to hear the discussion at the up-coming Fair Luxury Open House, which was to include a speaker from Betts talking about SMO gold. The other speakers were Rachel Brass from Levin Sources, and Greg Valerio. Rachel Brass is the Project Director for USAID's Zahabu Safi (Clean Gold) Project. This project “aims to develop and deliver activities to establish a commercially-viable, responsible and conflict-free supply chain for artisanal and small scale (ASM) gold from eastern DRC.”[2]

Greg Valerio, a veteran in the ethical jewellery movement, spoke about his involvement in the PeaceGold© initiative, also in eastern DRC, that aims to establish local gold mining cooperatives that benefit the community and which employ decommissioned militia men, thus also acting as a peacebuilding project.

It was interesting to note that these speakers all had personal involvement in the Fairtrade/Fairmined (FT/FM) programs that have now existed for 15 years. However, they all seemed to imply that although the FT/FM standards presented a perfect model in terms of standards for small-scale and artisanal mining it was sometimes difficult to apply this ‘all-or-nothing’ approach in other settings.

Kyle Abram recently wrote an interesting article entitled ‘Are Fairmined and Fairtrade Gold Elitist?’[3] Although he concluded in the end that they are not, he made various thought-provoking points and seemed to support the above idea that the FT/FM standards are perhaps too rigid and need re-adjusting. He cited statistics to support his thinking which I briefly elaborate on below.

According to the report 2020 State of the Artisanal and Small-Scale Mining Sector,[4] there are currently 44.75 million people in 80 countries who rely on Artisanal and Small Scale Mining (ASM) as their main source of income. Taken together with all those who work in related industries, there are 134 million people whose livelihoods depend on ASM.

Whilst it is difficult to get exact numbers, at least 30 % of these people are women. To quote the World Bank 2020 report cited above, “Quite simply, women are not being counted.”[5] Although women make up an essential part of the workforce – often working in the processing of the minerals – there are disagreements on definitions of what constitutes a ‘miner’ and as a consequence women may just not be included in the count. Women of course also suffer “Adverse side effects of mercury use, unequal pay for similar work, sexual harassment, and inability to own land or mining titles without permissions […].”[6]

Abrahm notes further that of all small scale miners “100% are Black, Indigenous, and People of Color (BIPOC)”[7] – an important point if we consider the issue of racism within the industry.

In terms of output it is worth noting that ASM produces 25% of all globally mined diamonds, 20% of all gold and 80% of all sapphires.

These figures become even more interesting when contrasted with data of large-scale industrial mining operations, which supply the majority of these minerals. Compared to the number of people working in ASM, there are only 7 million people who are employed in industrial mining (please note that this data is from 2013).[8] 

With respect to the Fairtrade/Fairmined programs Abram makes the further point that these operate in 15 mines in Peru and Columbia and support overall 1,800 miners. He questions the success of these programs when contrasted against the number of 44.74 million people working in ASM globally.

Looking at these statistics in context highlights the need that the minerals we use as jewellers should ultimately benefit those who mine them, in other words those circa 45 million artisanal and small scale miners and their communities worldwide.

Another point worth making in reference to the locations in which FT/FM operate (Peru and Columbia) is by looking at a map that shows the locations by density of ASM operations.[9] What stands out are the countries in dark pink with more than 1.5 million people working in ASM.[10] These countries are DRC in Africa and China, India and Indonesia in Asia. This explains possibly the focus of the above three speakers on Africa and the need to establish structures there that support ASM communities.

SMO Gold

Back at the Open House, Duncan Marshall of Betts Metals was a representative of corporate mining and spoke about Single Mine Origin (SMO) gold – their new project. The gold is mainly sourced from their Yanfolila Gold Mine in Mali and the company promises “socially and environmentally responsible gold mines and ensuring such projects are beneficial to their host communities.”[11] The idea of SMO gold is to provide full traceability of the gold, from mine to finished product. So, when purchasing gold I am given a QR code which traces this gold batch to the mine it was produced from.

The big difference between SMO gold and Fairtrade/Fairmined gold is the size of the mines and who operates and benefits from them. Whilst FT/FM miners are local individuals working with little and low-tech resources in rivers and pits to find gold, SMO gold is mined by a large corporation with great financial backing.[12]

Bearing in mind that Betts Metals also offer FT/FM gold, a member of the audience at the Open House questioned Marshall about SMO’s position vis-à-vis FT/FM gold. Marshall defended his company’s efforts by stating that corporate gold mining was a fact (given the quantities mined) and whilst it would continue to exist, SMO gold was an ethical alternative to other corporate mines. He acknowledged the continued value, aims and achievements of the FT/FM programs but explained that SMO was trying to fill a gap in terms of ease of access and affordability to jewellers who would like to use ethical materials but could not quite afford to sign up to becoming a licenced FT/FM jewellers.

Another criticism of SMO gold comes from Edward Fleming of the Ethical Jewellery blog. In an article[13] he elucidates one of the principles of FT/FM gold – the requirement of external independent audits of the mining operation. These ensure that the FT/FM standards are upheld and provide assurance to the buyer of the gold.

The SMO and Hummingbird Resources[14] website have perhaps not been updated but they differ in the information they offer. Between the times of publication of Fleming’s article in October 2021, and now the wording on the SMO website seems to have changed. It now states:

“Rather than creating a brand-new standard, SMO uses existing major assurance standards to define a responsible source. The standard used for the current SMO mines is the World Gold Council’s Responsible Gold Mining Principles (RGMPs). The International Council on Mining and Metals Mining Principles (ICMM) has equivalency with the RGMPs and would also be deemed as a suitable responsibility standard by SMO. The Mines signed up to these assurance standards undergo independent auditing to ensure they employ international best practice across all areas of their operation.” [15]

Hummingbird Resources does not appear on the ICMM website as a member and it is therefore difficult to establish the meaning behind ‘signed up to these standards’. As Fleming also points out, the World Gold Council is a marketing organisation for the gold industry and therefore hardly an independent organisation. SMO needs to be clearer about who the independent auditors are and their auditing process to ensure consumer confidence in its product.

African Initiatives

Going back to the other current initiatives taking place in Africa, Kyle Abrams in his article and Greg Valerio in his Open House presentation both illustrated the human perspective of ASM in the Democratic Republic of Congo (DRC). Valerio talked about the desires of ex-militia men to decommission their weapons and withdraw from conflict to build sustainable futures for themselves by building structures to enable them to make a living through gold mining. The peacebuilding effects these projects could have and consequent wider impact on local communities are immense.

In his article Abrams (commenting on a visit to the DRC project Zahabu Safi) also provided examples of the complex situations on the ground that do not easily fit the ‘gold’ standards of FT/FM. Whilst child labour should be condemned for example, he quotes a local landowner, who cautions:

“You have to understand the situation on the ground. Here, you'll meet a 15 year-old boy who has two wives. Or a 15 year-old girl who has two children of her own. So, for the purposes of child labor, do we consider them children or adults? They have families to provide for, and if their income is taken away, they will rebel.”[16] Likewise, Abram comments that he would prefer a seven year old child to attend school rather than working as a miner, but asks “[…] what if there’s no school within 100 kilometers?”[17]

Human stories such as the above do much to illuminate what lies behind the often difficult to grasp and abstract concepts of sustainability and ethics. Whilst there is a lot of jargon in the industry, it is important to bear in mind that behind all the policies, the standards, the definitions are people who live and work in often harsh and dangerous conditions, who want to earn a living for themselves and their families and that the circumstances in which they work and the fruit of their labour has a direct connection to my work as a jeweller here in the UK.

So, how does all the above fit into my thinking and current work? Listening to the Open House presentations (and discussions afterwards), reading various articles and distilling it by writing this blog helped to clarify my thoughts. Whilst it remains a vast field, I have started to understand the complexity of the interconnected issues that are at stake. As so often, simple solutions for complex problems do not exist and even tried and tested methods may need adjusting to fit new situations.

To sum up what makes jewellery ethical, Marc Choyt provides a good explanation:

 “[…] chain of custody, traceability, and transparency are all foundational to ethical practices but true ethical jewellery must have one other main feature—a focus on small-scale mining communities. […] For jewellery to be truly ethical, a jeweller should be able to confirm his or her purchase from these miners is actually maximizing benefit to their local economy.”[18]

Edward Fleming provides an even shorter, more succinct definition: “Ethical jewellery is jewellery that has been made with materials and using manufacturing processes that cause minimal harm to the environment and that benefit the communities involved.”[19]

As an independent jeweller and small business I have the power to make certain choices and whilst financial considerations play a significant part, I must weigh them against what is right. These choices do not just include the sourcing of precious metals and gemstones, but encompasses also studio practices and other activities that would contribute to making my work ethical. It remains an on-going process.

 


[1] See also today’s (31/3/3022) article in The Guardian (UK), Major jewellers to cease buying Russian-origin diamonds after increased scrutiny, Tess McClure  https://www.theguardian.com/world/2022/mar/31/major-jewellers-to-cease-buying-russian-origin-diamonds-after-increased-scrutiny as well as Guardian article Jewellery industry accused of silence over Russian diamonds, by Tess McClure, 29/3/2022 https://www.theguardian.com/world/2022/mar/19/jewellery-industry-accused-of-silence-over-russian-diamonds

[2] https://www.levinsources.com/who-we-are/team/rachel-brass-cvcfg

[3] Are Fairmined and Fairtraide Elitist? Kyle Abram, 23 February 2022, https://ethicalmetalsmiths.org/blog/are-fairmined-and-fairtrade-gold-elitist

[4] World Bank. 2020. 2020 State of the Artisanal and Small Scale Mining Sector. Washington, D.C.: World Bank. The 2020 State of the Artisanal and Small-Scale Mining Sector is a collaboration between the World Bank’s Extractives Global Programmatic Support Multi-Donor Trust Fund and Pact. https://stateofthesector.delvedatabase.org/#KeyFindings

[5] World Bank. 2020; p90

[6] World Bank. 2020; p5

[7] Kyle Abram, 23 February 2022

[8] Intergovernmental Forum on Mining, Minerals, Metals and Sustainable Development (IGF). (2017). Global Trends in Artisanal and Small-Scale Mining (ASM): A review of key numbers and issues. Winnipeg: IISD. https://www.iisd.org/system/files/publications/igf-asm-global-trends.pdf

[9] See the map https://delvedatabase.org/data

[10] It is worth noting here too that the data sources for some countries seem quite old and one could assume that the current number is much higher.

[11]See SMO website: https://singlemineorigin.com/what-is-smo-gold/origins-of-smo/

[12] See here also Pioneers in Jewellery, Edward Fleming, 28 October 2021 https://www.ethicaljewelleryblog.com/home/pioneers-in-jewellery

[13]Pioneers in Jewellery, Edward Fleming, 28 October 2021 https://www.ethicaljewelleryblog.com/home/pioneers-in-jewellery

[14] The British company owning the gold mines. See https://www.hummingbirdresources.co.uk/

[15] https://singlemineorigin.com/what-is-smo-gold/smo-responsibility/

[16] Kyle Abram, 23 February 2022

[17] Kyle Abram, 23 February 2022

[18] What Makes Ethical Jewelry Ethical?, Marc Choyt, https://ethicalmetalsmiths.org/blog/what-makes-ethical-jewelry

[19] What is ethical jewellery?, Edward Fleming, 10 July 2021,  https://www.ethicaljewelleryblog.com/home/what-is-ethical-jewellery

Blog 2: The Greek Shard - Elpis Brooch

Another cold, but sunny morning. I have just walked around the frosty field, trying to order my thoughts for the day’s work ahead. It has been a busy few weeks since my last blog and for my second I wanted to follow on from where I left: ‘my Greek journey’. The visit to the museum was accompanied in the weeks since by more reading and listening to audio books on the same theme. The Greek heroes, stories and gods are everywhere in my head. I studied the various photos I took, the books I bought and already had and I thought that in this blog I want to show what all this has resulted in so far.

So, how does a piece come into being? What is my process for translating an inspiration, an idea into a piece? I will try to explain this by following the design and making journey of my new Elpis brooch.

Inspiration

Going in my mind through the rooms of the British Museum once more, recalling the pieces I saw in the cases, the books as well as other archaeological artefacts, I was trying to distil what so captured my imagination. It was most obviously the patterns on the vases, the stories, but it was also something else. It was this magical connection between a ceramic shard – found under layers of soil, showing half a pattern of a once beautiful vase, retelling the story of a mythical Greek hero perhaps – and its finder or viewer. It is this shard – this tangible eye-witness to a past so long ago – that allows the imagination of the viewer to connect with this past, to travel back in time and to immerse oneself in the stories of imagined lives lived long ago.

But even more, I think it is especially this shard, this broken part of something once-whole, this half-pattern, this hint of a story – now lost – painted on the vase that inspires the imagination. What was the vase like as a whole? What figure was painted there? What story was it trying to tell? These are the things I think are magical about the pieces I saw and these were the elements I was trying to use in my work.

Brief

To focus the mind deadlines always help to get things done. A call for submissions for an exhibition entitled Meanings and Messages by the Association for Contemporary Jewellery (ACJ) seemed the perfect opportunity to focus my ideas and design / make a brooch which would hopefully also become the starting point for this year’s collection.

Design Process

With all the above in mind I started by drawing patterns and shapes. This process is usually free and just ‘happens’. What emerged, were rounded, irregular shapes with Greek-inspired golden patterns. The idea of the accidental, the damaged, the half-lost pattern fascinated me.

Thinking about the brief of ‘Meanings and Messages’ I wanted to include something subtle, a message not immediately visible but upon closer inspection revealing a story and endowing meaning to the piece.

One of the Greek characters I was particularly fond of was Eos, ‘rosy-fingered goddess of dawn’. I was drawn to her tragic love story with the mortal Tithonus and liked her depiction as bringing with each sunrise to mankind a sense of hope, renewal and the possibility for a new beginning.

After some deliberation I felt, however, this was somewhat too subtle and chose instead the more well-known spirit of Elpis, the spirit of Hope. She was amongst other spirits in a jar given by Zeus to Pandora. When Pandora opened the jar, all the evil spirits escaped into the world. Elpis alone remained trapped in the jar when - in horror and despair at what she had done – the lid was hastily closed.

Whilst interpretations differ, I like the depiction of Elpis as a young woman, bearing flowers, the hopeful bringer of spring and renewal. Whilst no longer relying on benevolent gods for our fortunes, it is still Hope for a better world and Hope for things to heal and improve that often drives us forward in this world.

These were the thoughts I was hoping to impart in the piece and specifically in the patterns on the front of the piece. Developing the initial ideas led to further drawings and the final design I settled on (images below).

The golden shapes were meant to be like an accidental sample of a continuing pattern in the stylised shape of blossoms with the barely visible lettering of ELPIS underneath, inviting questions as to the meaning of the word and the whole piece.

I wanted the main part of the brooch to be rounded, curved and irregular, reminiscent of a ceramic shard found in an archaeological dig. Thinking about the piece functioning as a brooch, I wanted the structure to be part of the design and opted for holding the ‘shard’ in a setting, similar to the frame in which a ceramic shard may be held or displayed in a museum cabinet. This also allowed me to use the frame as a structure to hold the brooch pin mechanism securely.

Construction

I started by making the silver ‘shard’ with the gold pattern and stamping the letters ELPIS into the silver. Getting the size and shapes of the gold leaf shapes and positioning them correctly was paramount to the design. Once on the silver, the gold pieces could not be changed (other than starting again, of course). The gold was applied in the Keum-Boo technique. See here for more info on the technique.

Making the frame to hold the shard was next, followed by making the pin mechanism and the prongs to hold the shard in place. There are many ways to make a pin mechanism. I wanted a hinged mechanism, made entirely from silver and therefore opted for a slightly heavier pin thickness. The pin was also to have a pin rest at the front of the hinge and was to be restricted in its opening movement to 90°. Once made, the components were soldered onto leaf-shaped plates on the back of the frame.

When making the prongs I needed to consider their position as well as the curvature of the shard. This required the making of small steps within the prongs to securely hold the shard on the frame. When all was finished I set the shard onto the frame and riveted the pin into the hinge mechanism. Below are some images of the finished piece.

I was really happy with the result and felt that I had managed to capture some of the magic the Greek artefacts hold for me. It remains to be seen whether the piece will be chosen for the exhibition. Fingers crossed! In any case, it was a good starting point and I have since made further pieces on the same theme.









My First Blog: Ancient Greece

Over Christmas 2021 I planned a new project for this year: an exciting and hopefully inspiring and sustaining idea for me. I am going to write a monthly blog. One article per month about … anything really. Anything that has relevance to my work as a jeweller and creative person. I often wish for a space to explain more, talk more and I think this might be a good space for it. We will see how it goes. I hope you will find it interesting!

Here now my first article, maybe a little different from the others I am planning, but I wanted to start with something special, something more personal …

Ancient Greece

Friday morning, 21st January 2022. I am on a train to London, excited as a child on her first school trip. I have not been to a museum in a long time and this is therefore really special, a gift to myself. The kids are in school and I have around six hours to get to London and back, walk to the museum and look around.

The weather is cold, frosty and the sun is somewhere behind the clouds but I am just getting in the mood, thinking about the hot sun in ancient Greece. It is taking me back to September 1997 when I went to Greece on a four-week travel scholarship to research contemporary Greek jewellery. This came at the end of my three years at Central St Martins for my jewellery degree. I had really needed a break. The trip took me to Athens, Crete and Ioannina. I visited countless museums, saw endless Greek vases, jewellery and just really enjoyed being away from London.

24 years later, a book gift from my husband and time over Christmas got me reading. I had already started on Greek mythology a year ago when both my husband and daughter read the Greek myths. Reading all these stories, imagining the scenes, landscapes and art I longed to be close to Greek history, Greek artefacts again. I have numerous books on Greek art, patterns and jewellery but seeing them in real life is different.

I finally get to the British Museum. It is still early but in the end I only manage to see two rooms but take in every last detail. School children with their notepads run around, trying to find this or that object on their list. It does not really interest them. I understand. What has changed for me? The time has come, it is the right moment. It makes sense.

Room 12 is about Minoan Crete and Mycenaean Greece in the Bronze Age, apparently the time in which Homer places the events of the Illiad and the Odyssey. Standing in front of the cases holding pieces of jewellery, pottery and carved stones seals I feel humbled and amazed. I have a book, entitled Greek Gold, of an exhibition I had seen at the British Museum in 1994, just as I was studying jewellery design. The close-up images are wonderful to look at to really appreciate the workmanship and detail of the pieces.

However, standing in front of the show-case of pieces found on Crete I am blown away by the scale. Minute, tiny balls of granulation and the most delicate filigree wires adorning the body of a fly or bee. No more than perhaps 20 mm long, the gold is worked with amazing expertise and skill.

(My image does not do justice to the piece.) Imagining the simplicity of tools and equipment available then - 1700-1550 BCE - the pieces attain yet another level of wonder.

Slowly, I work my way around the exhibits until I reach the next room: 13 – Greece 1050-520 BCE. Getting even more excited I cannot wait to see the painted vases with scenes of the Greek myths. But before I do, there are the examples of the Geometric period – the patterns I had come for.

I come to a vessel entitled The Elgin Amphora (760-750 BCE), this piece encapsulates the beauty of ancient artefacts for me. I stand in close proximity to this amphora, I can almost touch it, touch what a person, an artist created almost 2800 years ago. I can see him (I guess it would have been a man) in my mind, I can imagine a person with daily struggles, with a certain taste, how he sits in a workshop painting the vase. I see the perfection he created and yet, how the passage of time has added an extra dimension, a historical, imperfect, human dimension.

But it is not just the passage of time that I can see as damage and decay in the pieces on display, it is their use, their interaction with people from that time. I imagine how the jewellery adorned the women, the occasions they wore them, the person using one of these ceramic vessels for storing grains or oil – and to me this is the essence, the beauty of history: when objects open a window to a past world, to the lives and struggles of people long forgotten but whose lives somehow live on in these objects.

Finally, I turn around and come to the vases with mythological scenes. I smile under my mask and it feels as if I am meeting long-lost friends. I admire the beauty of the composition of the vessels, their proportions, the delicately drawn faces, limbs and clothes on the vases and the scenes come to life. I want to remember it all, but know I will buy another book to carry them home with me to live with me, to nourish and inspire my own work for some months to come.

[Amphora depicting Heracles bringing the Erymanthian boar to Eurystheus during his twelve labours; made in Athens around 550BCE.]