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Theresa uses fold-forming andhammering techniques to make herstunning silver with sensuous surfacetextures and of undulating forms.Silversmith Brett Payne explains:"Silver is a delicate metal, it demandsprecision and refinement during itsworking. Traditionally, silversmiths workthe metal cold, but if treated with careand respect it can also be worked hot."Although hot forging silver has a longtradition, it is not much practised todayand Brett is one of the few silversmithswho uses this technique to produce hishighly innovative silverware. Surface decoration, as well as form, isan important part of contemporary silver.For Angus McFadyen, ornamentation isan integral part of many of his designs,which he achieves by low-reliefengraving, a painstaking techniquewhich involves cutting into the surface ofthe silver with a sharp tool 'graver'.Aside from an artistic aptitude, a verysteady hand is vital! Engraving andchasing also feature strongly in the silverof Graham Stewart, while BrianWilliamson uses hammer chasing toproduce his distinctive textural slightlypitted finish, which he calls "orange". In contrast, the silver of silversmithingduo Carl Padgham and Andy Putland isnotable for its smooth clean lines withplain high-polished surfaces and detail of design.No strangers to NADFAS, Carl and Andydesigned and made the NADFAS 40th-anniversary commemorative silver badge.Another technique to be found at theFair is mokume gane, a centuries-oldJapanese metalworking technique whichinvolves soldering different metalstogether, producing a sandwich effectwith a woodgrain-like appearance henceits name, which means 'woodgrainmetal'. A number of British silversmithshave become experts in this technique,notably Alastair McCallum and WayneMeeten. Both use it to great effect,producing highly individual pieces, whilejeweller Craig Stuart uses his ownGOLDSMITHS' FAIR34NADFAS REVIEW / AUTUMN 2010www.nadfas.org.ukcontemporary adaptation of mokumeganeto make his stylish jewellery. Another exacting and challenging craftassociated with the work of thegoldsmith is enamelling. Enamelling isessentially a form of applying decorationby means of coloured powdered glass,which is then fused onto a metal surfaceby firing at a very high temperature. Dating back to the ancient Egyptians,the methods of enamelling have beenpassed down, largely unchanged, throughthe centuries. Once the powdered glasshas been melted and fused the surface ofthe enamel becomes hard, smooth anddurable. There are various forms ofenamelling technique the most widelypractised being basse-taille, champlevé,cloisonnéand plique-à-jour. Fred Rich, a regular exhibitor atGoldsmiths' Fair, is regarded as one ofBritain's most dynamic and exciting artenamellers. A gifted artist andconsummate craftsman, his mastery ofenamelling brings vivid concepts anddreamlike scenes into being in finesilverware and gold jewellery. Fred explains what he loves aboutenamelling: "It positively glows and givesthe feeling that light is emanating out ofit. To me, anything with enamel on it hasa type of magic or mystery about it -thelustre and quality of colour is just notpossible with any other medium." Freduses what he describes as a hybridof three different types ofenamelling techniques,namely a mixture ofcloisonné(wires fired intothe enamel), champlevé(enam el recessed into themetal), and basse-taille(recessed on a carved or chasedground), developed over the years toproduce his mesmerising silver objectsand gold jewellery. Even after 30 yearshe is still constantly experimenting andpushing the limits of technicalachievement. He is currently working onencrusted enamel, so instead ofenamelling onto a smooth surface, he isapplying enamel onto silver in high reliefproducing an exciting fresh look. Another enamellist, Alexandra Raphaelspecialises in plique-à-jourbowls. Shespends hours bending and shaping herribbons of fine silver and gold wire towhich she gradually applies a thin layerof ground glass, which is then fired. Thispainstaking process is then repeated -layer upon layer of translucent enamelFrom top:Artistsat work-WayneMeeten, TheresaNguyen andenamellist FredRichLeft:An AlastairMcCallummokume ganebowl. Another ofhis bowls ispictured bottomright

www.nadfas.org.ukNADFAS REVIEW / AUTUMN201035Left: Enamelbrooch byAlexandraRaphaelGOLDSMITHS' FAIREVENT DETAILSWEEK ONE Monday, September 27 to Sunday, October 3WEEK TWO Tuesday, October 5 to Sunday, October 1090 exhibitors each week Closed Monday October 4 for change-overMonday to Friday 11am to 7pm (last admissions 6.30pm)Saturday and Sunday 10am to 6pm (last admissions 5.30pm)ADMISSIONBy catalogue purchasable on the door (£7 for one week, £12 for two weeks)Goldsmiths' Hall, Foster Lane, London EC2V 6BNTel: 020 7606 7010www.thegoldsmiths.co.uk UNDERGROUND STATIONSSt Paul's, Mansion House, Barbican,BankBUSES8, 11, 25, 100, 242, 56, 521CAFÉOpen daily for sandwiches, salads andhot meals, champagne, wines, tea,coffee and soft drinksuses modern technology tofabricate previouslyunimaginable forms withincredible intricacy andaccuracy. At the otherend of the spectrum,jewellers Tina Engell andRos Millar use thecuttlebones from cuttlefish tocast their jewellery, a techniquewidely used by Renaissancejewellers. The result is an attractivegrainy texture, which looks both antiqueand yet simultaneously very modern. Allthese techniques are the completeantithesis of machine-made jewelleryand none more so than CatherineMartin's exquisite gold and platinumcreations made by a rhythmic textiletechnique of hand-weaving together finegold and platinum. The result is quitebreathtaking and not surprisingly herjewellery can be found in importantprivate collections and public institutionsaround the world. Numerous other Fairexhibitors have work in majorinternational museums, proof thatcontemporary jewellery and silver is verymuch a recognised art form. An offer of two for the price of oneentry to the Fair is available to allNADFAS members on presentation ofNADFAS membership cards or a copyof this article. See page 57 for detailsoverlap each other and thebrilliance and depth of colouremerges with each newapplication and firing. Afinal polishing and anexquisite work of art ofbreathtaking delicacy andbeauty is the end result.Alexandra also makesfabulous cloisonnéjewellery, often incorporatingsemi-precious stones such asaquamarine, amethyst and moonstone,their delicate colours echoed in thesubtle shades of enamel. Many leading jewellers also useenamel to add detail. Ingo Henn'sstunning jewellery is a good example.Ingo starts with an exceptional gemstonearound which he bases his design.Matching the stones and the enamel andperfecting the grading and variation ofthe colour so that the enamel not onlycomplements the stone, but is also afeature in its own right, is a majorchallenge. According to Ingo: "It'simportant to balance all the components:gemstones, engraving and enamelling sothat the result is a jewel of great beauty." But the Fair isn't just about theancient, traditional skills -cutting-edgetechnologies are also much in evidence,which makes it an even more excitingand relevant event. For instance, a newexhibitor at the Fair, Kevin Grey, spent25 years in the luxury automotiveindustry hand-making bespoke piecesfor some of the word's most famouscars. Having transferred his talents tosilversmithing, Kevin combines hisaccumulated knowledge with newtechnologies. He creates unique piecesmade almost exclusively by laser andTIG welding techniques, enabling him tojoin individual hand-raised and formedpieces of silver into seemingly seamlessvessels, remarkable for their simplicity ofform, line and volume. Lucian Taylor's silver is also well worthlooking at. His playful skeuomorphicpieces revel in the contradictory yetintriguing results of fusing the preciseaesthetic of computer aided design withthe tacit uncertainties of traditional andnot-so-traditional hand techniques.Modern technology is also making animpact with jewellers. For example, TomRucker painstakingly laser welds fineplatinum wire to produce his jewels,remarkable for their complex molecularlace-like effect. Similarly, David Goodwin