A few years ago, I began noticing the intricately layered “skeletons” on the inside of certain leaves. In 2023, while driving through the veld with my father, I came across a dying tree and decided to collect some of its dead leaves that had this skeletal appearance. I soaked them to clean them, and discovered that the material became surprisingly malleable when wet. I then wrapped the leaves tightly around a ring mandrel, tying them with string and allowing them to dry. This resulted in a strong new form: the layered “skeletons” remained bound together in their new shape once dried, even after the string was removed (see Figure 17). Through this exploration, I was able to take part in a material transformation that required only my intervention and the material’s natural properties, enabled by water, sun, and curiosity. This discovery challenged me to see whether I could create a larger artwork. I soaked multiple pieces in my bathtub for several days, and once I felt ready, I began layering them onto an old mannequin. This allowed me to model the neckpiece directly on a figure. After hours—over several days—of layering, wetting, threading, and weaving, I placed the figure outside in the sun to dry. Once dried, I carefully removed the woollen string, revealing a structure that held together but was far more fragile than the smaller pieces. Although this work is less wearable than the rest of my jewellery, I decided to “finish” the piece with sterling silver and woollen string in the colour of prickly pear fruit. This allows the piece to be worn around the neck like a form of armour—hence the title Custodian.