I have this favourite hammer that I modified for my silversmithing pieces and I love the look of it’s marks and how well I know it’s effect on the metal. But if I could call my hands a tool, I would definitely say that they are my favourite. They are the most direct and reliable tools. 

I think that it must be my professor, Kye Yeon Son. In university, I did an independent study with her. I think this is where I first really got to know myself and my own work. She was very insightful and really showed me how to see my work and grasp the forms that I wanted to make. Her approach really left an impression on me.

I think I love enamel because I love to draw and it is a lovely way to add colour to my work. Unlike precious stones, the enamel can be an image, like a painting or drawing captured in a glossy gem. I like that it is so authentic feeling, unlike plastics, it has this feeling of being real— in it’s heavier weight, crisp sound, and glossy flowing texture. There is just something really magical and luscious about enamel and the potential it holds. The down side to working with enamel is that is it very fussy and particular. It will crack, or get bubbles, or be a different colour than you had hoped for. A very gentle, precise, and patient attitude is needed.

I really care about wearability. I think it is a fascinating challenge that jewellers have to make something wild and beautiful, but also comfortable and conscientious for the person who wears it. Admittedly, I wear only a few pieces regularly. I have my favourites, which are mostly classic looking shapes from afar, but close up they have my own artistic flare.