From concept to completion - by Stewart Wright

For my latest artwork, I made an exciting transition to metalwork; the methods used to create each decorative piece are detailed in the description below.

The first pendant was carved as a green wax model of our Kelpie with the intention of casting it in silver at home. However, with no silver on hand, I redrew it in CAD and sent the file to a foundry in Auckland. Once the piece was returned, I removed the casting sprue and hand-finished it. I then added a jump ring so it could be worn as a necklace.


“Ellie in silver”

At 17.44g, it has a high-quality, solid, and premium feel that is comfortable to wear and warms naturally to the body.
(Sterling silver - 92.5% )

(Click on picture to enlarge)

All subsequent pieces have been designed, cast and hand finished entirely at home.


New work

My original bone-carved fantail was too large for silver casting, so I sculpted a smaller version in clay and cast that in silver instead. I then used this silver piece as a master to make a second casting, which reduced the overall size by a further 10%.

“Fantail in silver”

One of only two castings. The master piece weighs 20.6g, and the second piece weighs 17.8g.
(sterling silver 92.5%)
(Click on picture to enlarge)


On a clear night, the sea of stars seen from our house is truly majestic and inspired me to mix a touch of Celtic, Kiwiana, and sparkle into the following pendant, called Orion's Belt after the three aligned stars in the Orion constellation.

“Orion's Belt”

To accentuate the pattern, this piece has been oxidised to provide a darker relief, and the silver of the scrolls has been polished back to a vibrant lustre.
(10.11g sterling silver 92.5%)
(Click on picture to enlarge)


As a tribute to the family holidays we enjoyed in Sitges, Spain, during the 1960s, the following pendant is based on the classic Spanish comic detective, Mortadelo. He is one of a set of collectible plastic figures that came free in promotional packets of Dunkin bubblegum. These nostalgic toys, known as Bruguera figures, are highly sought after today. Mortadelo is one of 9 figures we recently discovered in my late mother’s personal effects, treasures she must have secretly kept for the last 58 years.

“Mortadelo”

The piece is perfectly balanced, allowing it to either stand as a figurine or be worn as a pendant on a chain.
(10.46g sterling silver 92.5%)
(Click on picture to enlarge)


The next pendant is based on Pepe Gotera, another classic 1966 comic book character from the same publisher, illustrated by Francisco Ibáñez, the iconic Spanish cartoonist who also created Mortadelo."

“Pepe Gotera”

The piece is also perfectly balanced, allowing it to either stand as a figurine or be worn as a pendant on a chain.
(10.11g sterling silver 92.5%)
(Click on picture to enlarge)


The final piece in my current comic book series is Carpanta, originally named Carapanta Hambrón, the iconic and constantly hungry character created in 1947 by Spanish cartoonist José Escobar."

“Carapanta”

This slightl;y heavier piece is also perfectly balanced, allowing it to either stand as a figurine or be worn as a pendant on a chain.
(13.6g sterling silver 92.5%)
(Click on picture to enlarge)


“Ellie is a gem”

This restyled pendant is slightly lighter than the original design; however, at 12.44g, it still has a solid, quality feel. The additional tear-shaped gem, most likely garnet, was recovered from a piece of antique jewellery and adds a touch of sparkle.
(Sterling silver -92.5%)
(Click on picture to enlarge)

For my next piece, I wanted to bring a splash of colour to an iconic NZ native. The images below capture the design journey, tracking its progress from an initial sketch to a stylised finished artwork. The final design draws heavy inspiration from the opulent, jewel-adorned creations of Fabergé.

“Design process”

From pencil sketch to 3D model carved in wax.

“Faberge inspired kereru”

Like all my pieces, this pendant features a 3D design that can be worn facing either way. One side highlights the clean lines of a stylized kereru, while the other is filled with vibrant color, allowing you to easily switch up your look to suit any occasion.
(9.2g Sterling silver -92.5%)
(Click on picture to enlarge)


“Kereru in silver”

The tail of this second piece has been modified to reflect the natural lines of the kereru, featuring a single, small melee gem that subtly enhances the eye on one side
(14.5g Sterling silver -92.5%)
(Click on picture to enlarge)

Carving

The image below is my initial venture into greenstone (“Pounamu”) carving. It is a challenging material due to the cracks, and often unseen microfractures, found naturally in many stones.

“Spiralshell”

The weight and texture of the stone spiral is comforting to the touch and will warm naturally to the wearers body.

(Green stone - pounamu) (Click on picture to enlarge)

“Celtic Kiwi”

My latest greenstone carvings below are a remake of Trinity that was origianlly done in bone and a second mix of trinity knots and Koru, both reflecting my Celtic Kiwi roots.

(Green stone - pounamu) (Click on picture to enlarge)



A delicate touch of silver brings the entire Celtic Kiwi design to life.

(Click on picture to enlarge)


I originally started to carve pendants in bone - as the unique texture lends itself to detailed carving designs that are both beautiful and highly tactile in nature. All the following pieces are made from reclaimed bone that has been cleaned naturally, in-ground, over a period of years.

“Trinity”

This carving reflects my Yorkshire heritage and the three points of this Celtic design represent the natural elements of earth, air, and water. It was also originally thought to symbolise life, death, and rebirth before the Celts adopted Christianity in the 4th century AD and thereafter, with the Father, the Son, and the Holy Spirit (or Holy Ghost). The centre stones are turquoise on silver Needless to say it has also now been adopted by my wife Sandy.

(Beef Bone, turquoise, silver) (Click on picture to enlarge)

“Strider”

Like other water-dwelling creatures, the octopus represents purity, creativity and deep psychic emotions, as well as its more obvious traits of intellect, grace and flexibility. The fishbone clasp that joins the braided cord together is one I desgined to complement the nautical theme.

(Beef Bone )

(Click on picture to enlarge)



“Fantail Pendant”

This pendant was claimed by my wife, Sandy, when it first started to take shape. Now fully complete, it captures the grace and elegance of this acrobatic bird in flight. It later became the inspiration for the silver fantail collection.
(Beef Bone )
(Click on picture to enlarge)


“Butterfly Pendant”

The idea of using interlocking butterfly wings to create a longer pendant, for myself, came to me while watching a couple of monarch butterflies fluttering around the swan plants in our garden. However, it also seems to have been adopted by my wife, Sandy and I think I’m beginning to spot a trend.

(Click on picture to enlarge)


“Seahorse Pendant”

This pendant was carved as a gift for my mum, Betty.

As a child, I gave my mum a clay seahorse that I made at school. It still hangs on her wall at home, so 50 years later it was only fitting to make her another.

(Beef Bone )

(Click on picture to enlarge)

“A is for Alison”

The design of this piece uses the shape of two leaping dolphins to form the letter A. It was carved as a gift for my sister, Alison.
The braided black cord has been incorperated into the overall design to create a natural space between the two animals as well as being functional.

(Beef Bone )

(Click on picture to enlarge)

“Feather Touch”

Inspired after finding a feather in the garden, I wanted to see just how thin I could carve bone and still maintain enough strength for a pendant.

(Beef Bone )

(Click on picture to enlarge)


Carving pendants in deer antler. Unlike bone, antlers have a higher volume of collagen, and this fibrous protein gives them the flexibility and strength to bend slightly and absorb massive impacts. Using antler, I have been able to make a thinner piece than would be possible using more brittle mediums like bone.

“The Monarch”

This piece was designed to capture the delicacy of a monarch butterfly.

(Deer Antler)
This is currently my only venture into deer antler carving. If you look closely, you can also see my take on The Vitruvian Man. (Click on picture to enlarge)


Made from a second individually carved wax model and CAD drawing, the piece shown below was sent to an Auckland foundry for my only casting in brass.

“Ellie in brass”

At 14.15g, the weight still adds quality, and the darker texture of the metal helps accentuate its fine detail.
(Brass - Copper/Zinc alloy)
(Click on picture to enlarge)

Design and Composition

The unique textures of a background are integral to the overall design of an artwork. The original painting shown below is called 'Hidden Gem' by Stewart Wright and uses acrylic and plaster medium on paper to create the illusion of movement and depth of a forest. The painting is one that I entered in a local event called the 100 x 100 exhibition, the name being representative of both the number of artists exhibiting and the dimensions of each work in centimetres.

“Hidden Gem”

An abstract creation inspired by walks in the bush that surrounds our property in the Bay of Islands

(4“ x 4“ Acrylic and Plaster Medium on Paper)

(Click on picture to enlarge)

“Cityscape”

Inspired by the classic film “Brigadoon”, this cityscape of Auckland Harbour mixes fine and minimalist detail to create an ethereal effect that allows the viewer to create their own story.
(15“ x 30“ Acrylic on canvas)
(Click on picture to enlarge)


“Something Special”

An abstract impression of the sunrise views from our balcony.
Waikare Inlet, Opua.

(12“ x 16“ Acrylic and plaster medium on canvas)

(Click on picture to enlarge)


“Autumn Kauri”

This painting of a Kauri twig from our garden captures the diversity of nature's palette found in a simple leaf. It was also featured in one of the 100 x 100 exhibitions.

(4“ x 4“ Acrylic and watercolor on paper)

(Click on picture to enlarge)

“Circuitree”

Inspiration for these pieces came from a broken clock. The first is a collage of the mechanical parts, and the second is an acrylic painting that was entered into this year's 100 x 100 exhibition.
(4“ x 4“ Acrylic on paper)
(Click on picture to enlarge)