I always find it fascinating watching artists work. Here’s a sneak peek into the studio of Vicki Mason, one of the Project Space artists. A short film made by Mark Newbound.
It took 3 planes, an overnight visit in a dodgy Indonesian airport hotel, and a 13 hour boat trip, but the southern area of Raja Ampat was worth the hike to get there! Whilst the easier to access parts of Raja Ampat are showing early signs of a yet another remote paradise soon to be taken over by the tourist dollar, the remoteness of the south is providing fabulous protection from the inevitable decline that happens when masses of tourists move into an area.
The archipelago is thought to contain the richest marine biodiversity on our planet. Positioned between the Indian and Pacific Oceans, and the meeting of four tectonic plates, has contributed to this diversity. The reefs are also relatively resistant to coral bleaching and disease.
The marine life and landscapes we kayaked around for 10 days were mind boggling, crystal clear, blue water, calm, protected lagoons, massive limestone, weather-worn rocks, carnivorous plants, wild seas and currents, sea turtles, reef sharks, too many fish to name….One of the highlights was swimming through a dark and majestic limestone cave with just our head torch (think Jenolan caves without the kitsch coloured lighting)….I did hear later that salt water crocodiles had previously been spotted in the cave…that could have made for an interesting full stop to my mortal existance!
Sadly, even in this remote and beautiful part of the planet is being inundated with plastic brought in by the currents. On most of our kayak day trips, we collected plastic to be brought back to the ship. This would then be returned to the local recycling plant that had been setup. The Misool Foundation is a great organisation which is doing it’s bit to help keep the reefs clean. The trip was inspiring and left me with lots of food for thought…. as well as a few ‘plastic souvenirs’ which I’ll be using to make work for an upcoming group exhibition opening 5th July 2018. ‘Sea Shape reflects on our relationship with the sea. Artists will work with discarded plastics and marine debris in response to the changing shape of our seas, and the way we live in our urban environments.
Thank you to everyone who came to the opening of my installation ‘A Year of Time’ and the group show that I co-ordinated ‘It’s been 10 years’. What a fabulous exclamation mark to put to the end of a jam packed year. The shows are on until the 23rd December so there’s still time to come by and swap ‘some time’ for part of the installation.
Those of you who’ve been fans for a while will know just how rare an occasion this is. It’s time to clear the decks! I’m having a bench clearance of my work and most of the 20/17 Project Space artists are joining me.
Been pining for those Anna Davern ‘Rocks’ Earrings? Fancy a Vicki Mason necklace? Been putting off buying a Kath Inglis Waterhole bangle? Had your eye on an Albert Tse ring? This is the week to indulge – You Deserve it! From 15% – 50% off, in store only – 53 Ridge Street North Sydney!
Last SALE day – Saturday 1st July, no rain checks
See below for a few snaps of some of the goodies available
ps. follow on instagram (@studio2017_project_space) to see more of the goodies available on sale.
Yesterday I was joined by Elaine, new to Australia, having travelled via Shanghai from Baltimore, and Liz and her dog, Mo. While enjoying this glorious weather, we brainstormed ideas on what to do in Sydney, and shared information on upcoming craft and workshop events in the area. Elaine is working on an interesting contemporary cross stitch and Liz is new to basketry – making a small bowl out of plastic bags and silk thread. Mo didn’t seem too enthusiastic with either project! Craft and Coffee happens most Wednesdays between 1-2pm and anyone is welcome….just let me know prior that you’re thinking of popping by so I can make sure to be there! xx Bridget.
‘FORCES’ – Fluidity and strength in contemporary jewellery and object practice using steel – the dirty metal
ON EXHIBITION FROM – 10th to 27th May
An exhibition of contemporary steel art , curated by Melbourne artist Sarah Heyward.
The use of steel in contemporary jewellery and object practice is intriguing. Whilst traditionally used for manufacturing purposes, steel is seductive with a beautiful luster and sheen. Investigations into industrial landscapes, enamel on steel, heat treatment methods, and the repurposed object are all areas in which notable makers have been exploring and engaging with this material within their practice.
SATURDAY 27th MAY 2-4pm- artist talk accompanied with celebratory drinks from 2-4pm. The artists speaking are Sarah Heyward, Susan Buchanan, and Lindy McSwan; all welcome.
Artists participating: Sarah Heyward, Jin ah Joh, Lindy McSwan, Melissa Cameron, Alicia Carriero, Inari Kiuru, and Susan Buchanan
I’ve had some fun recently playing with a bit of colour – just finished a new selection of organic beaten gold bands embellished with black and white diamonds, rubies, sapphires and emeralds. Now at Studio 20/17 Project Space, North Sydney. These can also be made from your own gold and gemstones if you have some heirloom jewellery that you’d like to give a new life to. – Bridget Kennedy
I’m a big fan of the work of Sean O’Connell so am pretty damned excited to have a series of his fabulous wedding rings at Studio 20/17 Project Space, North Sydney!
Tantalum is rich, heavy, and deep grey in colour, creating simple yet distinctive rings.
Sean makes each piece individually, using manual machine tools and hand-working wherever he can. He enjoy the process immensely, and this direct contact lends the jewellery a potency and depth that reveals the intimate handmade nature of every ring, bracelet and necklace.
We’re pretty excited with the first of our upcoming exhibitions at Studio 20/17 Project Space! Two fabulous local artists, Nicole Robins and Brenda Livermore, will be exhibiting exquisite fibre based objects and installations. Come along to our celebration drinks and meet the artists – Saturday 11 March, 4-6pm
sobremesa – Nicole Robins and Brenda Livermore
The moment after eating a meal when the food is gone but the conversation and the wine are still flowing
Location: Studio 20/17 Project Space, 53 Ridge St North Sydney
Date/Time: 8 – 25 March 2017
check out their instagram accounts for a sneak peek of some of the work @looselywovenbasketry and @brendaevolution
I’ve been busting to tell you all about our new artist run project space opening on the north side of our gorgeous harbour….and now I can!
From 1st January 2017, at 53 Ridge Street, North Sydney, we’ll be showcasing all of your favourite contemporary jewellery. We’ll also be working at the bench, hosting an ongoing exhibition program and holding free demonstrations on jewellery making techniques.
With the support of North Sydney Council, Studio 20/17 Project Space will be able to offer a fantastic subsidized exhibition opportunity for emerging and established contemporary jewellery and object artists.
The space is available for artists to exhibit contemporary wearable and object art, including jewellery, textiles, ceramics and glass.
We’re currently inviting proposals from artists and curators for our 2017 program. Applications close 31 January 2017. We only have the subsidised space for one year so get in quick! Download details, or contact Bridget for more information.
Opening hours Tuesday to Saturday 11-5pm. Contact 0411 808 274.
We love collaborating with other creatives. I Recently fabricated a series of brooches designed by Artist, Christopher Hodges, of Utopia Art Sydney for an exhibition at Stanley Street Gallery. The brooches were inspired by Polynesian floral motifs and reference his larger scale sculptural work. The works were hand sawpierced from original artist drawings, ensuring that every small nuance of the artist’s hand was captured in the finished works.
– Bridget Kennedy
I’m enjoying making this new range of commitment rings from recycled gold.Whilst you can’t see it here, featured on the inside of each band is a row of three, small inlaid enamel dots (echoing the colour of the gemstone). A private reminder to the wearer that there are not just two individuals, but also the relationship as the third element that needs love, nurturing and commitment in any ongoing partnership – Bridget.
ps. the image on the right is an inprogress shot with the final touches being applied.
Looking for some personal attention?
Bridget and Melanie now offer private teaching and mentoring classes on Sundays, Mondays or after hours during the week. Whether you want to hone up on a few skills, have a couple of projects you really want to immerse yourself in, or just like the idea of that personal touch when it comes to learning, we can help. We also offer one on one mentoring for emerging jewellery artists who’d like some guidance on developing a collection, approaching galleries or managing their creative practice.
Pop over to the online shop to grab a few hours, and we’ll call you to tee up a time. Or alternatively, give us a call at the gallery on 02 9698 7999 to find out more.
The people who are close to Bridget know she HATES to throw things out unnecessarily.
No, she’s not a hoarder, just someone who respects resources and hates waste!
As a result, she’s decided to hold a series of short workshops teaching people the skills to repair, re-use, re-design, re-create existing jewels to bring them back to life.
The first of these will be a 1:30 hour restring/reknot workshop. Limited to 5 places only, this workshop will teach you how to individually reknot a broken pearl necklace (or other similar favourite beaded string necklace). You’ll learn a couple of different knotting techniques and be provided wth silk thread and other materials needed to repair one necklace. Bring your coffee and your beads and come along to this informal and friendly workshop! Book Here
contact the gallery for upcoming dates
Ages 12 and up
Cost $48 (includes material costs to reknot one necklace)
Bookings essential – Only 5 places available
I recently finished an 18ct gold ‘weave’ bangle for a client last week. She wanted an extra special ‘heirloom’ piece of jewellery to give to her granddaughter on her 18th birthday. She brought in old jewellery that have been lying around in her jewellery box for decades. Broken and missing earrings, jewellery she had inherited but had never worn due to a difference in taste and jewellery that she was tired of. I melted down all these bits into small ingots, then rolled and drew down the metal to very thin wire to create a new heirloom for her 18 year old granddaughter. It was a great way to use up all that precious metal to create a new, loved piece of jewellery.
This is the sort of jewellery I just LOVE to make!
ps. The granddaughter loved it!
We’ve had some gorgeous men into the gallery in recent times. One romantic soul is having a ring made by us for a surprise proposal to his girlfriend, another came with his partner and made a special gift together and for another we melted down gold that he’d collected with his mother while gold panning as a child. We made this into a pair of custom designed earrings and a ring for his lucky mum. What a fabulous gesture of love symbolising so many treasured childhood memories…….anyway, these guys got me thinking.
I love having gifts for very special occasions as they embody special memories that last and can totally relate to the gesture these guys were making. When a Birthday or special occasion comes around, my kids always ask me what I’d like as a gift. They desperately want to buy me something. To be honest I do love the handmade cards they make for me and just about anything handmade I’ll appreciate because of the time that’s been invested in making but would be happy if the kids just gave me a huge hug and tidied up their rooms without me asking!
Okay, I totally get that my kids just want a way to show me their love and I do want to honour that. I think that’s the same for all of us. Some of us love to feel special by receiving a random bunch of flowers or special present, or feel loved when spending quality time at a workshop, learning something new with a special friend. For others, it might be coming home and finding that your partner has thoughtfully arranged to get your shoes repaired, for others it may be getting heaps and heaps of hugs or just being told how great you are!
Anyway I just have to share something cool which I’ve recently found out. It turns out there are 5 DIFFERENT LANGUAGES OF LOVE and when you know which one your loved one recognises, you’ll be able to REALLY show your love in a way that they’ll just GET IT!
It could be Words of Affirmation, Physical Affection, Acts of Service, Gift Giving or Quality Time.
Mine is Acts of Service….which may be why one of the things I enjoy so much here at the gallery is repairing broken jewellery for people or resurrecting heirloom jewels into contemporary new designs.
I’d love to hear what your love language is!
Written by Bridget Kennedy
Just back from my Artist Residency!
Over a year ago I received news that the application for my month long residency at Hill End had been successful. This bit of gold on the horizon promised to be a wonderful start to 2015.
The artist in residence program is managed by Bathurst Regional Gallery and provides an opportunity for creative development in the unique environment of Hill End and its surrounds. There are two residences available, Murrays Cottage, where Donald Friend used to live, and Haefligers Cottage, which once belonged to the artist Jean Bellete and her husband Paul Haefliger. I stayed at Haefligers, a small wattle and daub building with a detached studio. The contents of the house comprise mainly of the original furniture and belongings of the Haefligers.
The time spent there was memorable in many ways. What stands out, upon reflection, is solitude, space, silence and uninterrupted time – a rarity in busy Sydney, with two kids and two businesses on the go. The opportunity to spend whole days not talking to anyone, not thinking about anything but my own practice, or whatever I wanted to think about, was an incredible gift. There was no television, very little lighting at night and a heavenly silence.
With a population of only 75, when I first arrived I felt like an interloper, acutely aware I was the new stranger in town. I found myself going for a walk at dawn and dusk and spending much time in the studio exploring ideas that had been simmering in the back of my mind for a while.
My walks provided me with freshly picked berries, figs, apples, pears and tiny sweet plums. During my time there the remaining plums on the trees dried and shrivelled in the summer heat. At the time, this reminded me of how important it is to grab the moment and opportunities when they arise, to embrace them, as they too can shrivel and die unless given the chance for fruition.
It was quiet. The silence enabled me to hear the bees buzzing loudly in the clover when I took my early morning walks. Or maybe it was that my mind also had time to quieten and become more open to sounds that are normally drowned out by both internal and external noise.
The land has a rich and layered history beyond its natural rural evolution and the historical human intervention in the earth fascinated me. As I walked, I was acutely aware of the ground beneath me – how it had been heaved, smashed and churned over. There are pits and potholes of old mines scattered throughout what, in some areas, looks like a moonscape. Hill End is an historic gold mining town and at one time it was a bustling, crazy melee of thousands of people turning over every inch of soil looking for the gold that would change their lives. Some say there is more gold still in Hill End than was removed from it and on weekends the roads become (slightly more) busy with 4WD vehicles filled with optimistic tourists keen to fossick for gold just outside of the historic town. Previously plots of land were marked out, tightly held and disputed, but now those boundaries are left to decay. Fallen fences are a reminder of history and the passage of time. The remaining buildings have a weathered patina with the colourful and subtle palette that only time can bring.
In the last half century, many artists have made Hill End their home and in the quiet of the street, as I walked, there was an awareness of much happening behind closed doors.
The time spent there was simple and grounding. I was able to spend time with myself without the pressures of external schedules or the expectations of other people. It seemed to help me find my natural rhythm and I found I wanted to walk more, make more, eat less. I woke refreshed each morning. I had no urge to relax at the end of the day with a glass of wine, or reward myself with a hit of sugar. It just seemed unnecessary.
Whilst in my practice in Sydney I appreciate input and collaboration, my experience at Hill End led me to consider that there is a need for the space that solitude provides and where thoughts can meander and solidify.
I took to the residency a number of projects that I was already working on (I like to keep my hands busy) but I had no expectations nor pressing need to finish any. I worked on simple pleasures like crocheting a bag and a series of colour studies from recycled materials, using the rich and lush colours in the local environment from which to draw inspiration.
I felt drawn to the many broken rocks that form the landscape, and spent time walking and collecting these as well as materials like bags of kangaroo poo and coloured soils. I started another wax work of multiples and rediscovered a childhood love of clay. The projects were varied and the mental and physical space allowed me to spread out. The residency left me refreshed, full of new ideas that I will meander through with time, along with insights and developments to enhance my existing practice.
In the coming months, the olives and quinces in the garden will be ready for the next lucky artist residents.
Images from that time can be found on Instagram by following @bkandco hashtag #hillendiamusings.
I didn’t know this but Tracey Clement offers an editing service for students essays, theses and dissertations. I studied under Tracey and believe having her eagle eye look over your work is a fantastic investment in your future, particularly if you want the best possible chance of success.
She’s an expert in the field of art and design and offers a special discount to students. She’s probably already found a few grammatical errors just reading this!
An open invitation to the ‘gentleman’ who was responsible for the unleashed dog that ran through my artwork on exhibit at The Coal Loader Centre for Sustainability as part of the North Sydney Art Prize and then insulted me by giving me $10 towards the costs of damages.
When I received the news that I had been selected for the North Sydney Art Prize I was ecstatic. As an artist, we invest heavily in our time and own financial resources to create work for both ourselves and the wider general public, to hopefully extend the experience of their world, create beauty, get people thinking and to create a sense of something beyond the economic rationalist view point that seems to have somehow dominated our society.
I was even more excited to find out that I had received the Encouragement Award. All too often an artist life is an uphill battle.
Unfortunately my experience during the first two days that the exhibition has been open to the general public has left me far from encouraged. This is the third installation of this artwork but it is the first time I have observed it being treated with such an incredible lack of mindfulness and respect.
While the installation is slightly problematic in that it is a floor piece and there are a number of works in the room, it is not so problematic that anyone knowingly walking into a space to view artworks as part of the North Sydney Art Prize would not be able to navigate the space in a respectful and mindful way.
While minding the space as a volunteer (of course, artists are not expected to get paid for their time) I have seen adults walk over the work, damaging elements with no acknowledgement of their action or apology. This has also applied to the parents of the numerous children who have run, walked or fallen onto the piece. Parents please hold on to your children’s hands if they are not familiar with appreciating art.
The last straw for me was Sunday when a gentleman allowed a dog, unleashed and in his care to run frantically across the work, scattering the elements widely and destroying many. I took yet another deep breath and remained calm, as accidents happen. People are careless without even realising it. It is an offence to have a dog unleashed in a public space. North Sydney Council officers, where were you to offer him his on the spot fine?
I invited the ‘gentleman’ to help me repair the damage that his dog had created (actually not his, he was minding it for his daughter, and agreed that it was out of control…”so why not leash the beast I thought to myself”). He seemed a man educated in the arts, discussed the similarities that he thought my work had with a work displayed in the new Kaldor Wing at the AGNSW……I made light conversation while taking deep breaths to remain calm…in an attempt to keep him from ‘feeling bad’ about the damage that had been done to my artwork……and then, when it was ‘fixed’ to a level that seemed suitable, he offered, hastily, a $10 note towards the damage that had occurred and quickly disappeared.
I was stunned. Still in a state of shock from what had happened, I took the note but felt deeply insulted.
My work takes a minimum of 18 man hours to install. The elements were made over an intense period of 21 consecutive days working 15-17 hours each day. There are 10,000 elements in the piece. I realise that the Visual Arts is increasingly undervalued and continues to be de-funded but the disregard shown by that $10 left me speechless. If not for the tireless commitment, and financial investment of the participating artists to their practice, the works in this exhibition would not exist for the public to enjoy.
So I invite the ‘gentleman’ to the opportunity of a lifetime, to experience what it is like to be an artist. To, in effect, recreate the commitment and effort it took to create my artwork that was then made available for him and others to enjoy; so that he can be educated in the life of an artist. He will have the opportunity to create his own artwork, learn new skills, experience dedication, persistence and focus.
I offer to take the time out of my life, to make him a commitment over all my other commitments (as a mother, wife, business partner, gallery director, student and artist), to make his experience my primary motivation, to take him on a journey that will open his heart and his mind to the joy (and heartache) of creativity and to the focus required to create an artwork like this. All he needs to do is commit, as I did, to 17 hour days for 21 consecutive days. I will even provide him with a gallery exhibition space to exhibit the resulting work in where he can celebrate his creation with friends, family and colleagues.
I will also commit to giving him $10 to compensate for his efforts in the event that his work is damaged by persons showing a lack of respect for his creation.
Signed Bridget Kennedy.
Bridget is a contemporary jewellery artist and a director of Studio 20/17 (studio2017.com.au). Her works are respectfully exhibited within the galleries at 2 Danks Street in Waterloo (2danksstreet.com.au) and elsewhere. Her floor installation “just help yourself why don’tcha” is on exhibition at the Coal Loader as part of the North Sydney Art Prize until Monday 5th August 2013.
Just thought I’d put up an image of some exhibition work I completed recently….made from 925 silver and cicada shell legs. It’s amazing how strong these fragile elements become when massed together. I’ll be making some more wearable versions in earrings and pendants for our Christmas showcase which we’ll be installing this coming Monday…..better get back to the bench! – bk
We’re often asked by students and emerging jewellers for hints on how to establish a relationship with a gallery – and keep it! So here’s a few little snippets of info that we’ve found useful for ourselves as both practitioners, and gallery directors. Running a contemporary jewellery gallery is challenging and not particularly financially rewarding..and we’re continually making mistakes and learning….but we all know that none of us are in the arts for the dollars….and if we wanted to make a half decent living, we’d be selling Pandora beads and not beautiful, challenging, exciting Contemporary Jewellery.
While we certainly wouldn’t like to think that we’re in the same category as a certain Sydney chef, there have certainly been a few times when Melanie and I have also felt like having a bit of a rant….so I thought it was time to put pen to paper…..bk and Mel
1. Deliver work on time for exhibitions. While it may be cool to be fashionably late to a party, this is definitely not the case for your work at an exhibition. It’s stating the obvious but a lot of time and effort goes into putting on a show, and when there’s been deadlines given, and plenty of leeway, the excuse, of ‘sorry, I’ve been busy” is one sure way never to be invited to participate again….hey, we’re ALL busy! It’s disrespectful to the other artists and the gallery and effects the integrity of the exhibition.
2. Make life easier for the gallery that represents you, not harder – by providing consignment notes at the same time that you provide us with your work. Galleries have to spend a large amount of time on administration of work. The more artists, the more work. If we have to do YOUR paperwork as well as OURS, it just doesn’t work. If we have to chase you up on it, it just doesn’t work. Make sure each item in the consignment clearly identifies which piece it relates to. Your work cannot be shown to clients unless we know how much to sell it for and details of materials, processes etc. By providing a consignment note with your work, you show us that you’re not only a fabulous artist but that you’re also professional.
3. Invest in good quality/professional images of your work. Galleries are always needing images for publicity as well as for use on websites, blogs and invitations. It’s in your best interest to supply quality images (with correct photographer credits and image details) as your name will be beside the image promoting not only the gallery but you the artist as well. While we do make every effort to photograph work, fantastic images supplied by artists will take priority as they’ve made our job of promoting them so much easier! Please, no black, blue and textured backgrounds! Poor images of your works aren’t worth sending. Simple white is the general rule when dealing with galleries, publicists and magazines. If your photography skills aren’t crash hot, invest in some professional shots. A wise friend once told me that you can get years of value and mileage from just one or two great shots.
4. OWN your work – by this I mean take pride in your work out there in the universe, repair any defects in your work free of charge and as a priority. We’re not talking the usual wear and tear here, but rather situations like ‘the brooch finding doesn’t work – it keeps falling off’, or ‘it just fell apart – I only wore it a few times’. While none of us like to be out of pocket for our precious time and materials, the reality is, if we’ve made something poorly – this is the consequence. Remember, the gallery’s reputation has been effected by selling the item to a valuable client, the client’s time has been effected by having to deal with the return of the piece, and there have been financial outlays by the gallery – the time spent placating a client, the correspondence entered into with the artist, the costs of return postage. We expect artists to guarantee their work for an absolute minimum of 6 months, although many of our artists offer a lifetime guarantee on any defects.
5. Beading/threading/stringing – call it what you want – just make sure its done right and tight. Yes, after time some neckpieces may need a retread, we tell our clients this, just like a pearl necklace, there may be a maintenance cost sometime in the future. However, it’s important to have the work threaded properly in the first place. Any area where thread will rub against metal will quickly effect the integrity of the piece – the metal will wear away the thread very quickly. So, crimping a bit of silk beading thread together at the end of a finding just doesn’t cut it. Try using gimp to protect any areas where metal may rub against thread. Glue – this can discolour and look ugly. Knotting – ensure that the piece is knotted tightly and back down the length of the neckpiece. Neckpieces can also stretch, another reason to ensure the threading has been done tightly in the first place. We recommend outsourcing your stringing to companies that specialise in this procedure.
If you’re using coated steel wires and nylon threads invest in slightly better quality versions rather than fishing line and ones purchased from the local hardware shop. Beadalon beading products sold through A&E metal merchants or on the Beadalon website have great coated wires and threads, these wires last longer, and depending on the version you buy, have great flexibility, stopping them from kinking and snapping easily.
6. Earring wires – Make them straight and strong! It’s important to make sure your earring wires are straight and work hardened. Burnish any wires after they have been soldered otherwise they can bend and flatten, just in the process of being delivered to the gallery – we are totally serious – it’s amazing what can happen!! Burnishing takes a few minutes and ensures the wear ability and integrity of your work.
7. Turn up to exhibition openings – particularly if you’re in the exhibition and live in the same city! It continually surprises us when artists don’t turn up to their own shows. It’s important to support your gallery and your fellow artists by turning up to openings where possible. It also enables you to meet other artists and potential clients. Okay, I have to fess up here – I am guilty of this one. I once submitted a work to an award exhibition and was so embarrassed about the work, that I couldn’t face turning up. I ended up winning in the emerging category and wasn’t there to collect my prize! I was new to the CJ world, shy and scared of people – so I totally get it – BUT – it’s REALLY important!
8. If you want to be known, get known – this one’s for all those students and emerging CJ artists out there. To stand out from the crowd, regularly attend openings and visit galleries, introduce yourself, offer to help out as an intern, be enthusiastic!
9. Cleanliness is next to Godliness – yes, washing your hands regularly WILL keep those nasty cold bugs away, and delivering your work clean and tarnish free will make all the difference!
10. And lastly – packaging (only because the OCD side of me needed to make this 10 hints) – we love receiving parcels! One of the best, best, best things about running a gallery, is that we get to pretend it’s Christmas all the time. However, like kids, if it takes a degree and various surgical instruments to either unpack or repack the box, the shine quickly wears off. Make sure work is well padded, but don’t over do it. There’s no need to use a roll of sticky tape and 3 layers of paper and 4 sheets of bubble wrap for a single pair of earrings. Also don’t pack everything in like an extremely well thought out jigsaw, with no room to move. While at the time it might seem brilliantly clever it just makes us feel like frustrated 3 year olds when we can’t fit that last piece of jewellery back in, and spend half an hour trying to work it out….and failing…..and then we need to recover with coffee and cake!