The artefact and neckpiece is the outcome of a year of extensive research and exploration of the way language is used in urban settings. This work uses jewellery as a tool for social/cultural identity and topophilic reflection. The whole work consists of multiple over lapping and weaving narratives about our connection to a place and how it influences and changes us.
Consisting of over 15 sections which build on photographic research, research exploring ways of printing and image transfer on metal surface, painting directly onto metal surface, narrative, the meaning behind signs and symbols and the impact of fonts. The artefact itself is made from the neckpiece, a large handmade box of leather and marbled paper and an interview between the myself and a close friend (and local builder). This interview explores the meaning behind the work whilst at the same time being an integral part of the work. The work continues exploration of complex casting systems created and researched over the previous 5 years and looks to further this research by pushing scale of cartable objects as well as finding ways of deliberately introducing human error into the process 3D printed objects which are then cast.

First published as part of an exhibition titled Chain at Galerie S O in London (8 Apr-5 Jun 2016), where the work was showcased alongside the work of many the most influential makers and researchers active in the Jewellery and Metal community, including Professor Hans Stofer, Caroline Broadhead, Otto Kunzli, , David Beilander, Maisie Broadhead, Lin Cheung and Ted Noten. Since then this work has toured multiple exhibitions and shows worldwide with Charon Kransen Arts.