This series of three neckpieces explores the relationship between natural and human-made materials through the use of found agricultural metal, wood, bone, fibre, and copper. Each piece begins not with a blank form, but with an existing object whose shape, history, and surface already carry time, use, and environment within them.
The rusted metal elements—once part of farm gates, locks, and machinery—have weathered the same sun, wind, and soil as the surrounding landscape. I treat these discarded fragments with the same attention as organic materials such as wild olive wood, mohair, and bone, allowing their textures, apertures, and original functions to guide the design.
Rather than imposing form, I respond to what is already present: shaping wood to fit within rusted frames, allowing materials to interlock, protrude, or be stitched together. This negotiation between natural and artificial matter reflects an ongoing dialogue between human intervention and ecological processes.
Rooted in memory, agriculture, and material discovery, the series invites a rethinking of function, value, and time—where discarded objects become sites of collaboration, and making becomes an act of attentive, playful engagement with the world.