Time capsule: Stefanie Cheong's geological jewellery charts our long history with stone

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Last year we asked our incredible Crafts community on Instagram to post snaps of our 50th anniversary special issue in their workspace for the chance to be featured on our website. Now, we’re happy to share the third interview in this series with Stefanie Cheong, a Glasgow-based jewellery maker whose fascination for geology spurs her creative research and motivation to develop new skills.

Using a combination of formal and self-taught techniques, found and fabricated rocks with sustainable metal, she makes unique adornments that tell the wearer something about time and place. Read on to discover her inspirations, zero-waste philosophy, and craft story so far.

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How long have you been practicing as a jewellery maker and how did you get to where you are today?

Around 20 years ago I learned traditional jewellery making skills through an apprenticeship. I later did a degree in jewellery and silversmithing at The Glasgow School of Art. I graduated in 2013. Since then, I have been making, teaching and exhibiting, and at the same time building a family. There’s been a slower, informed route to my practice that has given me the time to consider and test out ideas, build my confidence and figure out who I am as a maker.

Which craft techniques are involved in your work and how did you learn/develop these?

I make jewellery and objects with metal and rock (both found and fabricated) and use lapidary processes to cut and shape the rocks. Whether natural or manmade, rock has an ability to communicate its place, age and composition. My stone working skills are self-taught, as are most of the other investigative techniques I’ve been exploring.

Tell us about your studio and how you like to work.

I run a shared studio space where six jewellers make together. We have our own benches but share larger pieces of equipment. Even small objects need a lot of tools to create, so sharing works well. I also enjoy the support. In the past we have worked together to programme exhibitions and facilitate making projects, pooling our different skillsets and enhancing each others’ complementary practices.

What’s the inspiration for your works?

I get excited about material alchemy, geology, environmentalism and craftivism. Sustainable making is always my starting point. It's something that evolves with the way I make, as my knowledge, perspective and understanding of what it means grows. I research and consider all the materials I use, and they become a focus for conversations around circular economy and environmentalism. The way I design is to treat all materials equally and eliminate any waste.

Can you name a couple of your favourite pieces?

My Interchangeable Ring is a specimen holder for different stone circles that I cut and form to fit in the ring frame. Initially these stone circles were byproducts of my Geometric Geology Ring series.

The ring is part of my latest series, Geoanthropology, which brings together all parts of my creative practice. I wanted to see if I could chart the ways humans have made use of rocks since the Stone Age. I’ve used flints, faience (which is an early glass paste dating back to Egyptian times), stone cored from 9051 ft under the North Sea, and brick made from construction waste. It will be launched with Craft Scotland at this year's Collect (1-3 March). I’ll be giving a talk about it at the booth on Friday 1 March.

How do you select and source your materials?

I always use either Fairtrade or recycled metals, often re-melting materials supplied by my clients, since metal it is infinitely re-usable. I choose rocks for their aesthetic value but also the stories they have to tell. I source my found rock on walks or on beaches, documenting where they were collected to ensure traceability but also allow people to visit and explore further. For the fabricated rock, my processes include recreating historic ways of working stone such as terrazzo and scagliola which make the most of chips and dust.

What have you learned along the way?

It took me a while to understand I’m much more guided by materials than design. A material-led approach is more intuitive, experimental and challenging, but I love to problem-solve. Working this way also allows the opportunity to consider the environment and my impact.

How would you like to shape your work in future?

I have plans to develop my stone working skills. Last year I attended a hardstone carving class with the wonderfully generous stone carver Charlotte De Syllas. This will give me the opportunity to work three dimensionally in stone. I also want to continue Geoanthropology. The project has helped me look at stone in such a different way, using ideas borrowed from the past, but also speculating what future materials may look like.

What does craft mean to you and how do you engage with the wider maker community?

Craft is more than a job or practice. It’s a way for me to engage with other people interested in similar things or with similar values. This nurtures my brain and feeds my creativity. I like to advocate for craft through projects such as Make Learn and Applied Arts Scotland’s Closing the Loop group.

How long have you read or subscribed to Crafts and why?

I first discovered Crafts when I was a student, I wanted to understand what being a maker looked like. I enjoy reading what drives others to create, each story is unique like the work produced. It also for me acts like an informal community, letting me see the level of skills others have and what is current.