Beyond Diamonds & Gold: Exploring the intersection between jewellery and art in Brighton
In December 2024, we sought a few hours of respite from the blowing gales and bustling streets of Brighton at Christmas time. Kindly hosted by Freedom Works – a co-working and events space a stone’s throw from the labyrinth of Brighton’s historic jewellery quarter – we gathered for a festive networking session and a panel talk on the blurred intersection between jewellery and art. Moderated by The Jewellery Collective’s Community Manager Ruby, our panel was brought to life by Arabel Lebrusan of Lebrusan Studio (award-winning jewellery designer, visual artist and creative campaigner at the helm of the ethical jewellery movement), John Moore (award-winning artist described by Melanie Grant as “one of only 75 master jewellers globally to have changed design”) and Pasquale Rossi (visionary art jeweller and founder of vintage jewellery brand Antique Velvet Gloves).
For an audience of independent jewellers based across Sussex, the event was an opportunity to engage with fresh perspectives and reflect on the evolving identify of jewellery as both adornment and an art form. This blog post highlights some of the most compelling insights from the panel discussion.
Blurred Boundaries: When is Jewellery Art? When is Art Jewellery?
“Extensions of the body” - You will be the Messenger (2023) and Mantilla (2007) by Arabel Lebrusan
The discussion began with reflections on our panellists’ own identities as artists, jewellers, neither and both. Whilst John confessed that it took him years to confidently refer to himself as an artist without feeling like a fraud, Pasquale too explained that although he considers himself an artist at heart, he is not always confident about labelling himself in this way. Meanwhile, Arabel highlighted the fluidity of her practice, moving seamlessly between art and jewellery since she began learning her practical skills over 20 years ago – though always referring to herself as wearing two very separate ‘hats’.
This distinction between art and jewellery was a theme that recurred throughout the hour-long panel discussion, with our panellists delving into nuanced takes from their own personal experiences.
Arabel, for example, feels that one of the key differences between traditional jewellery and art jewellery is the extent to which the creator has creative freedom to embed storytelling in the work. For her, traditional jewellery often tells the story of the wearer, fulfilling ‘briefs’ assigned by the customer and not the artist. Meanwhile, art jewellery tends to convey deeper narratives that transcend conventional symbolism and instead reflect the thoughts of the person creating.
John, meanwhile, highlighted the role of functionality. Traditional jewellery is designed to be worn on the body – often every day – and so practicality, ergonomics and resilience are default considerations in the design process. Although his pieces are designed to react gracefully to the movement of the human body – with contemporary dance performance playing a role in some of his projects – conventional functionality ultimately plays a limited role in his art jewellery, which prioritises aesthetic and emotional resonance over practical wearability. For him, the creative process is not about adhering to the traditional norms of jewellery design and craftsmanship, but about achieving a unique vision.
Pasquale’s art jewellery, whilst comparatively wearable and relatively practical, often incorporates conceptual motifs and messaging that challenge societal norms. He once designed a solitaire engagement ring, for example, that emulates the image of an *n*l plug, a striking re-imagination of a traditional blueprint that challenges traditional symbolism and gender dynamics to explore themes of trust, equality and subversion.
Materials and The Language of Jewellery… As we Know It
Lacewing (2018) and Pagoda II (2021) by John Moore
The materials chosen by a jeweller often communicate as much as the design itself, our panel agreed.
Arabel’s practice is deeply rooted in principles of ecofeminism, social justice and environmental sustainability, for example. Her ongoing Blunt Blades art project involves repurposing police-confiscated knives into wearable rings, exploring the transformation of matter and the subsequent transformation of meaning. Meanwhile, her ‘Heaven & Hell’ earrings, now on display in a private collection, juxtapose the murky back-stories of untraceable gold and diamonds with the transparency of those that can be traced back to their ethical origins, presenting two identical earrings side-by-side and asking viewers the question: “Can you tell the difference?”
Pasquale’s lifelong fascination with antique jewellery continually informs his dedication to traditional craftsmanship and precious materials, even when creating subversive art jewels. From soldering to hand engraving, he sees these techniques as a bridge between the past and present, creating pieces that evoke both heritage and innovation.
John, on the other hand, tends to steer away from traditional margins altogether. His preference for anodized aluminium and silicone showcases his commitment to lightweight, colourful, and dynamic designs, challenging perceptions of value and functionality in jewellery. Reflecting on his self-identity, John wonders if it’s this tendency for low-cost, unexpected materials that fed into his long-standing belief that others could not take him seriously as an artist; recounting the critical reactions to the one piece he ever made using silver and diamonds in comparison to the others made in non-precious materials. This discussion offered interesting food for thought: do materials have a role to play in our subconscious definitions of “jewellery” and “art”?
The Role of Galleries and Market Trends
Any independent jeweller – from our audience to our panel – would be fibbing if they said that making money was not a priority. It was crucial, then, that the panel discussion touched on commerciality. “Does art jewellery actually sell?,” asked Ruby.
With the average artist earning just £12,000 per year through their art ventures, Arabel and Pasquale acknowledge the role that the commercial jewellery ‘arms’ of their practices have had to play in ensuring financial stability. It is for this reason that Arabel has worn her commercial jeweller’s hat alongside her artist’s hat for so long, selling jewellery like engagement rings and wedding bands to help fund her art venture – which
John, however, shared his experiences of collaborating with galleries and art dealers, who offer the opportunity to compare with high-net-worth clients and art collectors, for whom there is a fruitful market for investing in art jewellery.
This being said, our panel did acknowledge the declining number of art galleries dedicated to contemporary jewellery, highlighting the need for innovative approaches to engage with audiences. There are people out there who appreciate art jewellery and wearable art – but the general feeling amongst our panellists was that of flux, with the means by which we find these audiences not always immediately clear.
Keeping the Flame Alight
Pasquale Rossi explores themes of knowledge, wellbeing and gender inequality through the art he creates
During these testing times, the challenge for jewellers and artists alike is remaining motivated and inspired. John shared that when he senses a creative block, he steps away from the ‘wall’ and engages instead in an activity that evokes easy joy. Whether listening to his favourite music or cooking some food he enjoys, these moments of detachment often lead to breakthroughs shortly afterwards. “It’s no good picking at the problem,” he shared.
Creating gifts for loved ones is also a great way to massage our personal passions, John recommends. Allowing ourselves the space to pour our heart into a project – experimenting without the pressure of commercial success – can rekindle a sense of play and creativity.
Meanwhile, Arabel advocates for structured exercises. The Artist’s Way, for example, is a book that offers a 12-week programme of tasks designed to reignite creativity, enabling burned-out creatives to reconnect with childlike curiosity and joy.
Final Reflections
As the panel discussion drew to a close, our panellists reflected on the evolving role of jewellery in our society. From its historical roots as a marker of status and power to its modern role as a medium for storytelling and self-expression, jewellery is a dynamic and multifaceted art form. By embracing both tradition and innovation, today’s jewellers have the opportunity to push boundaries, challenge conventions, and create pieces that resonate deeply with wearers and viewers alike.
For the attendees, this event was more than a discussion; it was a call to action. The insights shared by Arabel, John and Pasqualle serve as a reminder that jewellery is not just adornment - it is a powerful language that can convey stories, provoke thought, and evoke tangible change.
The full recording of this panel discussion is available exclusively to The Jewellery Collective’s members as an evergreen resource. Please click here to learn more about the perks and prices of our membership packages, and keep your eyes peeled for further events exploring the future of jewellery.