Aillie Anderson creates dynamic, minimal jewellery and small scale sculpture using a unique combination of distinctively textured, scored sterling silver and hand cast jesmonite. Graduating from The Glasgow School of Art in 2017, Aillie’s work draws inspiration from the built environment, particularly the architecture and industrial structures and explores the divergence of scale, weight, surface and material quality. Through her work she aims to highlight her appreciation of these overlooked details found within the city by reinterpreting them into treasured pieces of adornment. Aillie is currently based in Glasgow, where she works between two studio spaces, one at home and one at WASPS Artists Studios at The Briggait in Glasgow city centre. We are delighted to welcome Aillie back to Elements and take you behind-the-scenes for a look into her work and process of making.

What is your process of creating a new piece?

At the very beginning I like to make reference back to my original inspiration, I take a lot of my form and shape inspiration from the perspectives found in my original drawings and photographs. I then like to single these out and sketch compositions using collage that work well together and really focus on that angular form and mix of materials. I create each of my original jesmonite samples with a mould designed and made from scratch using scored acetate, this creates the faceted sculpture that I can then use to cast a master form. For my larger scale work, as the forms are very three dimensional I sometimes like to create samples first to better understand the form in reality and design via sketches and physical sampling with metal to then combine together with some sort of silver fixture or fastening.

Cast jesmonite pieces; Aillie’s home studio; sketches; inspiration

How does material choice influence your work?

I think material choice is quite key in my work. Although I do usually stick to my main materials of sterling silver and jesmonite, I enjoy using these materials in a multitude of ways in order to convey different moods and tones within each piece of my work. As jesmonite is such a flexible material, it is able to cast coherently into many different textures and appearances as well as being able to be sanded and shaped slightly after casting as well. Quite often because of this the samples that I create whilst experimenting actually influence the way in which I see them being adorned and can inspire me to use them in new and exciting ways. I like to experiment with a range of finishes using marble chippings on the surface as well as more recently creating a terrazzo style effect quite popular with jesmonite, to create flakes of colour in the main form. Sterling silver I feel also really compliments the shades of my jesmonite pieces and adds a beautiful contrast of material with its high shine and cool undertone, which is why I choose to use it predominantly throughout my work. I like that with the inclusion of sterling silver, the preciousness and quality of my work becomes apparent and amplified, allowing the viewer to appreciate the workmanship of both materials in each piece.

What draws you to working with jesmonite?

I take a lot of my inspiration from the built environment around me in Glasgow and the raw materials that are commonly found there. In my final year I experimented with a lot of similar materials such as real concrete, plaster and even wood however I found that jesmonite just worked so well and allowed me to recreate that cold, cast quality without the course texture and unwanted weight. It's also quite a flexible material that can be dyed to any shade I desire which is great for allowing future experimentation too.

What technique is at the core of your process of making?

There are a few techniques I feel are at the core of my practice, one of which being the act of scoring the metal. As I make use of a lot of angular forms within my work, the technique of scoring plays a huge part in achieving this aesthetic. I usually begin with a flat piece of silver sheet or wire, firstly I have to calculate the opposite amount of which I must take away from the silver in order to create the correct final angle. I use a range of handmade scoring tools as well as filing to achieve the overall effect and have to be quite delicate in the process in order to ensure the groove is deep enough for a sharp finish but not so deep the piece breaks away. I then solder the pieces in place to create a seamless angled form. As well as form I also rely on surface texture to create a point of interest within the core composition. I focus on this in a few different ways, firstly through my jesmonite casting process as I mentioned previously using marble chippings and other materials and secondly, texturising the sterling silver itself as well. I use this technique of roll-printing on silver throughout many instances of my work however I predominantly use it for my sterling silver jewellery collections.

Describe the process of working through a commission?

At the beginning of a commission I like to firstly have a few meetings with the customer either online or in person, to really engage with them and figure out what it is they are looking for from myself, the reasons for the commission as well as the specifics around the final item including scale, sizings, materials and finishes. This played a huge role in a commission I completed recently for clients who were looking for a statement brooch piece, that they also wished to embody a deeper family connection, making use of their own sterling silver medals that had been accrued over a lifetime of bagpiping competitions. Depending on the scale of the object and materials I have to work with - which was quite a lot in this instance - I then use all of this information to draft up some preliminary designs for the client to consider. Each commission then becomes a unique experience and I usually find that by creating a few different designs within my own style, you get a clearer picture of the client's wishes and opinions in order to work out the best one. Once we have settled on a final design, fixtures and finishings, I begin to handcraft the piece from scratch. As with all commissions the lead time can vary from a few weeks to a few months in order to finish the piece to the highest quality. I then have the joy of handing over the item to its new owner to keep as a piece of my work forever!

Aillie recently completed two special commissions, including a double banded 18kt white gold special occasion ring created using the customer’s mother and grandmother’s wedding bands, which held a dear place in her heart. She also completed a commission to create an interesting piece from a customer’s own lifetime’s worth of silver medals won from bag-piping. For this, Aillie created a statement brooch that could be interchangeably worn as a necklace, which features a marble speckled jesmonite piece and oxidised sterling silver.

Ring Commission

Silver Medals Commission

To learn more about Aillie Anderson and her work, you can find her at @aillieanderson.silver on Instagram and aillieanderson.com. Aillie is one of fifty makers from across the UK taking part in this years’ digital Elements: A Festival of Jewellery, Silver and Gold.

Images and video courtesy of Aillie Anderson