Colour that will not be hurried: Ten firings for one blossom

This story was first published in Garland Magazine, issue G49, as part of the 2026 Crossing the River series. It is republished here with thanks to Garland.

Blossom, 2026. Fine silver, pink and yellow sapphires, vitreous enamel. 53 x 23 x 13mm.

What is it?

Fine silver worked into organic, flowing forms and set with small pink and yellow sapphires. Two enamel champlevé and cloisonné cherry blossoms hang beneath, hand-engraved and built up in colour over more than ten kiln firings. Stone, silver and enamel all in the one piece.

Why was it made?

I wanted one piece that let all three of the things I work with sit together. Most jewellery chooses one of them and lets it lead. Here the silver is organic and a little unruly, the sapphires are small and quiet, and the enamel blossoms carry the colour.

How was it made?

The silver body is formed and worked by hand into organic forms, and the sapphires are set into it. The blossoms are enamelled separately, using both champlevé, where the cells are cut down into the metal, and cloisonné, where fine wire forms the cells. The colour is not one firing. It is built up thinly over more than ten passes through the kiln at 800C, because a layer laid on too thickly will craze. The blossoms are hung last so that they move against the body of the piece.

Where was it made?

At our workshop on the Central Coast of New South Wales.

What is it made from?

999 fine silver, pink and yellow sapphires, and vitreous enamel. The sapphires are faceted stones bought in. We cut much of our other lapidary work in-house. The silver is mined in Australia.

Who made it?

Natalia, artist, jeweller and gemcutter. I describe the work plainly: art in metal and stone that happens to be wearable. “Artistry meets quality”—we always strive to create the best quality heirlooms for our customers. Every piece is made to be worn and treasured, not just for the wearer but for the people who will inherit it.

What did you learn from making it?

Enamel does not allow you to hurry. More than ten firings means more than ten chances to lose the piece, and the colour only arrives if every layer is thin enough to be patient with. Setting stones alongside it taught me to plan the order of the work backwards, so stones do not go in the kiln.

Read the original article, Colour that will not be hurried: Ten firings for one blossom, in Garland Magazine. Garland publishes the stories behind what we make; you can find more at garlandmag.com.