These are excerpts from a conversation about working with wax in the production of jewellery. The questions are asked by my boyfriend (and Industrial Designer) Rune Rex, and I answer them - I hope you find it useful.
What is it like to work with wax and when did you start?
I started working with wax about five years ago, in connection with my education in jewellery, technology, and business. Previously, I didn't work with wax but carved directly into the metal (silver). When I started my jewellery education, I thought I would use 3D modeling in Rhino (computer program) to shape my jewellery, but when I got the wax in my hand, it was a kind of meditative and playful way of working - and I liked that.
When I work with wax now, I don't always plan what will happen in the wax, and that's what I think is magical about the material and the process.
What kind of wax do you prefer to work with?
There are many different types of wax; some can be shaped by warming it up with your hands, for example, but I prefer harder types where I can first mill away the large pieces, then remove the smaller pieces with finer tools, and then I can engrave and heat it with fire afterwards. It is especially when I heat the wax that the magic happens and the forms emerge. Here, the wax shows the infinitely many possibilities it holds, and I find that exciting and inspiring.
Tell me more about the feelings you experience when working with wax.
I can go through the entire spectrum of emotions when I work with wax. It can be straightforward, but also extremely difficult and challenging, and often both and everything in between. Personally, I think it's an exciting process to be in from start to finish, but sometimes it can also be frustrating to work with wax if the shaping doesn't go as I want it to.
I often work within certain parameters, for example, measurements in mm and/or design expression, from which I let creativity emerge. For example, I might intend for the ring (editor's note: the jewellery) to have a certain curve or thickness, but everything else I leave to my creative process. Or when I design a unique custom order, I think about the person who ordered the jewellery and the one who will wear it, to bring out the customer's wishes in the design.
Sometimes I can only see if it has succeeded, i.e., if it is a design I want to proceed with, after the jewellery has been cast and finished. It can truly "transform" from wax to gold.
Can you recall a specific experience you've had working with wax?
The experience I'm thinking of was three months ago, in my workshop, where one of my lovely customers ordered a unique ring, and she had some wishes for this ring that I was to try and incorporate into a new design for her. Based on what she wanted the ring to mean to her, what values she placed in it, and what wishes she had for it - for example, how big it should be, what and how many diamonds (all the functional aspects), but it especially had to have emotional significance and be passed down through generations. I thought it was a wonderful task.
Based on our conversation about her wishes, I continued working on the ring. I made a rough sketch with some measurements (I didn't sketch exactly what it should look like); there had to be a certain curve of x millimeters, and from that, I let the wax process take over regarding the shaping. When the shaping and the jewellery emerged, and I felt that the ring was just right for her, I contacted the customer so she could see and try it in wax (it can be incredibly difficult to imagine the final result in gold). After this, the ring was cast in gold, finished, and set with diamonds. In such a process, I work on the wax over several days for this very special design, and several weeks pass from the initial meeting to the finished piece of jewellery. Fortunately, she was incredibly happy with the ring, which makes her feel closer to her family.
When we look at the goldsmith profession, shaping in wax and working directly in gold are very traditional ways of working - what are your thoughts on the future of jewellery design?
There's no doubt that drawing on a computer in 3D and then printing is here to stay, as it can, among other things, be a cheaper and faster way to produce jewellery. However, I also believe that in the future, people will desire handmade and imperfect jewellery with a focus on sustainable design. A kind of delicious randomness in the design gives the jewellery more character, in my opinion. But it will likely be a mix of different digital technologies and production with more traditional craftsmanship.
Today, there is a strong focus on sustainability in design. How does that align with your method of shaping and the materials and processes you use?
I produce my jewellery to order following the "made-to-order" principle, which means I don't have overproduction. I design and finish the jewellery in my workshop in Valby, and then I have the jewellery cast in Vestsjælland, so there is no transportation from abroad.
I also think a lot about my designs and try to shape them so they can last for many generations. Furthermore, gold and diamonds are materials that can be recycled into new jewellery. I hope this intention behind the design of my jewellery can pay off in terms of sustainability in the future.
If you would like a piece of jewellery made and designed by me, you are welcome to schedule a meeting here for a no-obligation chat about your wishes.
Best, Michell and Rune