Joy Bonfield-Colombara explores myth and martyrdom through jewellery

How did you come to exhibit at Goldsmiths’ Fair?

I studied jewellery and silversmithing at the Glasgow School of Art, where several of my professors had exhibited at Goldsmiths' Fair. That was the first time I’d seen metalwork of such quality and, when I graduated, I applied to take part but I wasn’t accepted.

The fair felt very different from the art spaces I’d previously occupied and I thought my work might be too avant-garde for it, as it challenges the perceptions of metals and the histories of noble metals. More recently, though, it feels that the fair is opening up to a different generation of makers and a wider scope of collectors. I was encouraged to apply this year, and I got in, and I’m really excited to be exhibiting about five pieces.

How do you feel about exhibiting in a space that’s so different from what you’re used to?

It’s challenging, but also exciting because I feel I can bring something different to the fair. I’m interested in planting seeds of thought in new spaces, and I’ve always used my work to ask questions that help people change how they look at things. I’m Italian-English and grew up between two very different cultures, so I’m conscious that perceptions are dependent on your norms and environment.

In the UK, art and craft are so compartmentalised – in many other places, Japan for example, they’re defined by the same word. For me it's about finding the truth through the work, no matter what the medium.

Could you tell me about the ancient Greek story of Hypatia, which inspired one of the works you are showing?

I have often explored the histories of forgotten female heroes, by creating miniature monuments in their honour. At the fair, I’m showing one of my brooches – a smaller version than I’ve made before of the crying face of Hypatia, a mathematician and philosopher who lived in Alexandria when it was under Hellenistic rule.

She was popular, loved and intelligent, and Plato wrote about her, which was pretty huge in a patriarchal society. But she was murdered. Some historians believe she was the basis of the legend of Saint Catherine, who – the story goes – was tied to a wheel and killed in Alexandria after refusing to renounce her faith. These portraits are informed by the connections between martyrdom, and repeated violence against strong, powerful, intellectual women.

The piece I will show at Goldsmiths' is made of 22 carat gold, which is synonymous with Grecian jewellery and precious objects, with platinum tears. Platinum is quite new to me – its feel and weight is interesting, and it doesn’t oxidise when you solder it. I’ve also used two small diamonds as part of the tears – in Egyptian and Greek sculptures the eyes were often inlaid with silver or precious metal. Which is why, when you see them today, the eyes are often empty.

You are also interested in the fragmentation of sculptures – can you tell me more?

Growing up I spent a lot of time in Italy, where there are thousands of classical sculptures that have been damaged over time. I think it’s an integral part of their beauty. I often talk about ‘ruin lust’ – the concept that humans are attracted to the demise of past civilisations as it allows us to dream about new futures.

I also love kintsugi, the Japanese practice of repairing broken ceramics with gold and urushi. In Japan I learned the philosophy that our breakages and failures are part of our history, and should be shown and celebrated rather than disguised or negated. I had an accident when I graduated from Glasgow, which left me both physically and mentally broken. I had to rebuild myself, but it made me thankful for what I have and I’m grateful for how that experience changed me.

I understand that you funded your studies at the Royal College of Art by creating a hand-carved effigy of the rapper Lil Wayne – tell us more.

I was in my second year of my MA at the Royal College of Art, and I was struggling financially. I was going to drop out, when I got an email from a friend of Wayne’s commissioning me to create a piece for his 36th birthday. The commission also coincided with the release of Wayne’s album Tha Carter Five, which includes a song called ‘Don't Cry’. Teardrops are a constant theme in my work and Wayne has two teardrops tattooed on his face, which represent two losses in his family. The final portrait looks like a head that has been broken off a statue, and the face has all of Wayne’s tattoos hand-carved onto it.

What’s next for your practice?

I recently received a scholarship from the Queen Elizabeth Scholarship Trust. As part of this I will be doing six weeks of intensive research and learning in Italy with master goldsmith Giovanni Corvaja, who is part of the Padua school of jewellery making. He was one of the first goldsmiths I really admired. Our work is very different but they're both often embodiments of myth – and we both love gold. I love doing experiments and there are alchemical aspect to my practice, and he also takes a very scientific approach to his work – his studio is like a laboratory.

Goldsmiths' Fair takes place between 27 September and 9 October 2022. Crafts members can buy tickets with 50% off or a 2-for-1 discount