Interview: Natalia Milosz-Piekarska
Is your creative process organic or organised?
My work process is very organic, I think there’s a degree or organisation within that but it is definitely organic. I do decide on what to make and then there is a subconscious process that informs each piece as I create it. Ideas don’t occur in a vacuum, when I begin making a piece I let it unfold in a very gentle way, it’s form or colour predominately dictates the process for me.
What is the process of creation of your work?
The process of creating each piece really depends on the project. I firstly consider the requirements…the concept, the materials and the processes needed to create the piece. If it is to be made in silver or gold, I will begin shaping a wax model. If on the other hand it is to be made from timber, I will begin carving and shaping. Each piece has a unique process. I usually start with a few sketches, but the piece nearly always evolves and changes as I start working on it.
What place, space or country has surprised you most?
London recently really surprised me. I interned there for a fashion jeweller for six months in 2011. While I had previously lived there for a couple of years, this time around it was a whole new experience, quite the contrast. I had some good friends there who were very active and well entrenched in the cultural pulse of the city. I saw some very interesting art, theatre, dance, heard wonderful music and ate amazing food, and in that context my experience there exceeded all expectations in a vibrant and rich way. Melbourne certainly has that sense of cultural and artistic vibrancy only on a slightly smaller scale. I do think Melbourne is more loveable than London. Our international isolation here challenges our creative culture in a surprisingly great way too.
What do you hope for when you expose your work to the public?
When I expose my work to the public I hope that it will resonate with people who connect with jewellery on a high spirited and deep emotional level, who are struck by a piece in a charming and talismanic way. It is my goal that my pieces are an instant favourite, a totem, a treasure. I’m still light hearted about jewellery, I have fun with it, and I also hope for people to connect with it in an intrinsic way. I’m fascinated by what qualities drive a feeling or instant desire. At the end of the day I simply want people to enjoy my work and play with it. I have injected that philosophy into my new precious collection. Tapping into those qualities of instant ephemeral value in a warm and human way, organic and soft.
What are your thoughts on your new precious range?
My new precious collection has been an incredibly authentic artistic experience for me, it involved confronting my insecurities and fears about jewellery designing and making whilst at the same time paving a risky venture ahead of me to produce work that would not only be admired but also coveted. With any piece, the artist confronts the fear between reality and their vision. I do feel fear about losing touch with the idea in reality, but without attempting to bring it to life there is no hope or purpose as an artist.
My precious range has been inspired by my fantasy of historical jewellery. I have always wanted to create a sense of a slightly more primitive and naïve body of work juxtaposed with precious gems and a subtle and sincere reference to formal jewellery. I wanted to capture a rich sense of charm in an earthy way in my precious range.
