I produced the image for my silk scarf by bead weaving on a loom; the image is that of a lace collar. One of the reasons I was interested in depicting an image of lace through beading was because both processes share similar characteristics: slow and repetitive craft. I pixelate an image of lace which I then go on to bead. I am essentially taking away its delicacy by blurring it, and then reintroducing that intricacy with my own set of skills, it’s like a way of discussing craft and the artisan.
Scarlett Bunce - Jewellery and Silversmithing
"I was inspired by archival imagery of lace garments from museum collections and the way they are documented online, often laid flat upon a black background. I find these striking, sometimes surreal images."
Interview by Eva Coutts
What is your graduation project about?
This year I have focused on beadwork; threading together beads to form a structure. Each bead and its placement forms an integral part of the finished pattern, it’s a very deliberate and meticulous way of working. Inspired by the versatility of the technique I decided to make two separate bodies of work: a jewellery collection and a silk scarf. Both demonstrate different beading techniques.
My jewellery collection focuses on how I’ve formed the work: each stitch I’ve made is visible through the clear glass beads like a map. The devotion and concentration that the project required is made evident for the viewer of these little maps.
How do you best like to work?
I enjoy working from a detailed plan with a clear idea and taking the time to test techniques. The grid structure of graph paper and Excel were useful in developing patterns. This logical way of working ties in with my sensibilities as a maker, and complements the almost mathematical technique of beading.
Can you tell us about some of the things which inspire you and your work?
When I begin working I often don’t have a definitive subject matter or influence from which I work; it is more the technique that I work with that inspires my work and direction. The more familiar I become with the technique and its possibilities, the more space I find for experimentation within that medium.
Working towards my silk scarf I wanted to reference a similar craft to beading which also has historical significance. I was inspired by archival imagery of lace garments from museum collections and the way they are documented online, often laid flat upon a black background. I find these striking, sometimes surreal images.
How have the events over the past year affected your work?
I suppose I’m someone who likes to be readily prepared and have a plan, so this year, anticipating that it was unlikely I would be allowed access to the studios, I began to think about alternative ways of making jewellery. This led me to explore beadwork as I knew it was something I could do remotely. Fortunately it was a way of working that sustained my interest and became the basis of my final year project.
Before the restricted access to the studio I had been producing my own beads with different metals by making tiny jump rings. I was quite excited by the direction this was going in and whilst this is something that I would like to return to, the unexpected change to beadwork has led my work in directions that I am keen to continue exploring.
Beads are so readily available, they’re cheap and they come in lots of colours in large quantities. The transparency of the glass beads emphasises the threading process itself. I find pleasure in these non-precious materials becoming pieces of real value, through the time consuming work invested in each piece.
Have you got plans for after graduating?
I have plans to begin producing new works in the coming months. With support from the Scottish Goldsmiths’ Trust I am excited to have the opportunity to work with gold on three brooches, which I will make over the summer. These pieces, alongside my recent brooches and silk scarfs will be available to view and purchase through my website.
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