Category: Artisans blogs

Posted on by

Meet Gill, the maker behind Arvor and Mor Jewellery

Gill, the maker behind Arvor and Mor Jewellery, is jumping in the air in the sand dunes where she loves to run

A little about me

I’m Gill, the jeweller behind Arvor and Mor, and I thought I’d share a little about myself and my work. I live in South West Cornwall with my partner and our rescue dog, Jess. I live and breathe the coast and sea, and spend as much time as I can immersed in it — whether that’s running, walking, swimming, bodyboarding, or occasionally wobbling about on a paddle board!

My jewellery journey began at a workshop where I first learned to create simple, unique pieces using silver metal clay. That day opened the door to something that would become a huge part of my life — allowing me to create timeless jewellery inspired by the coast and everything it gives me. But it wasn’t until Covid hit that the opportunity arose to turn my passion into a business.

For many years, I worked in adult mental health within the voluntary sector, mostly for Mind. I then retrained as a Soft Tissue Therapist with the London School of Massage and worked for myself until Covid hit. That’s when I returned to jewellery making — to give me purpose, routine and fulfilment while I was unable to do any close-contact work with clients.

Why Arvor and Mor

Over the years, I’ve struggled on and off with my mental health. Coming from a neurodiverse family, I’ve been on a lifelong journey of discovering who I am, learning to embrace my differences, and finding what helps me thrive in this world. More recently, that journey led to a diagnosis of ADHD.

Moving to the coast has been an important part of that journey. I find it has a powerful impact on my wellbeing. The sea, in particular, calms and quietens my mind, helping me embrace whatever the day holds. It’s like pressing a reset button.

The coast has always been a healing place for me, which is why I named my brand Arvor and Mor — Cornish for coast and sea. Through my jewellery, I hope to share a small piece of this special place with you.

My work

My jewellery is shaped by Cornwall’s rugged coastline, its rich mining heritage, and time spent outdoors — in the sea and along the coast path. Every season, every day, every tide brings something new.

I work mostly with recycled silver and copper, using blow torches to melt, mould, cast and texture the metal by hand. I’m drawn to organic processes and natural imperfections, allowing each piece to form in its own way. I also love working with wax, carving and moulding it into fluid, natural textures and shapes that tell stories of the coast. No two pieces are ever the same — each one carries its own raw character and story, shaped by the landscape that inspires it.

I make jewellery for people who feel drawn to the sea — who find calm, grounding and meaning there. Each piece is made to be worn and loved, carrying its own story as it becomes part of yours.

At the heart of Arvor and Mor

Uniqueness and connection

I love celebrating uniqueness, difference and connection through my jewellery. After all, there is no “normal” — only wonderful diversity. We all connect in different ways, with each other and with the world around us. I hope my jewellery finds you exactly where you are.

Sustainability and the planet

Caring for the planet is at the heart of everything I do. Each piece of Arvor and Mor jewellery is made to last — timeless jewellery that you can wear and love for a lifetime. Working with recycled metals and small-scale processes allows me to minimise waste and reduce impact. If you’d like to read more about my sustainable approach, you can find out more here (insert link).

People and community

I donate 2% of all Arvor and Mor sales to The Wave Project, a brilliant charity that started here in Cornwall, helping children and young people thrive through surf therapy. You can learn more about their work here (insert link).

I hope you’ll join me on this journey and find something that resonates with you, bringing you joy and meaning. If you’d like more slow making, coastal stories and behind-the-scenes glimpses, you can find me on social media at @arvorandmor.

Posted on by — Leave a comment

Mousa Broch, Shetland artwork

Shetland’s treasure: brochs

Shetland is the theme for all my artwork: I was born and raised here, and have lived here all my life,  so I know it very well. But I’ve been thinking about was other people associate with Shetland.

As well as nature, sheep and ponies, we have great archaeology, with some sites providing iconic scenes around the islands.

One of the most spectacular is Mousa Broch. Thought to be constructed at around 100 BC, it holds the impressive record of being the finest preserved example of an Iron Age broch, the tallest broch still standing and amongst the best-preserved prehistoric buildings in Europe.

I’m embarrassed to say I have never actually been to the broch! But I will be there this summer.

Originally there were many more broths in Shetland, around 125, but unfortunately there is hardly any sign of them now, as the stones were used to build houses.

I have experimented with using Mousa in my artwork, and have produced small paintings with the northern lights in the background. These are framed in a mini box frame and included is a lucky cowrie shell!

These have been very popular, so I’m planning to make more ASAP. I want to keep working on the Mousa theme and sell these in the visitor centre next to the ferry which takes visitors to the island, and also on my website, of course, for anyone else who is interested.

Have you been to Mousa? It really is worth a trip.

 

Posted on by — Leave a comment

Winter light. Quiet days and creative making.

Winter in Shetland has a rhythm all of its own. The days are shorter, the light softer, and life naturally slows down after the busy summer season. It’s a time I’ve learned to value deeply — both as an artist and as someone rooted in this place.

 

Some winter mornings begin with fresh snow settling across the hillside, the sun just lifting over the slope and casting long shadows across the ground. Even after all these years, moments like this still stop me in my tracks. The light feels precious, fleeting — something to be noticed before the day properly begins. These quiet starts often set the tone for time spent in the studio, where the outside world gently seeps into the work I’m making.

 

Inside, winter brings a different kind of stillness. With fewer visitors and exhibitions, there’s space to focus, reflect and experiment. The studio becomes a place of calm creativity, accompanied by the simple comforts of warmth, tea… and the occasional studio supervisor.

My cat has perfected the art of winter studio life — curled up in a basket by the window, watching snowflakes gather on the glass. It’s a small, everyday moment, but one that feels very much part of my creative process. These quiet, domestic scenes are just as influential as the dramatic landscapes outside.

 

Winter skies often surprise us here. On clear nights, when the wind drops and the stars come out, Shetland reveals one of its greatest gifts.

Seeing the aurora from home never gets old. The soft ribbons of colour moving across the sky are impossible to fully capture, but they leave a lasting impression. These moments feed directly into my work — the colours, the movement, the sense of wonder — often finding their way into my resin seascapes and jewellery.

During daylight hours, the sea continues to be my greatest source of inspiration. Even in winter, I’m drawn to the shoreline whenever I can be. Beachcombing at this time of year feels different: quieter, more solitary, and often more rewarding.

The sea gives up its treasures slowly — fragments of shells, sea glass worn smooth by time, and delicate sea urchins in all shapes and sizes. These natural forms influence both the textures and colours in my work. Holding something so small and intricate, shaped entirely by the sea, is a reminder of why I’m drawn to using found materials and coastal inspiration.

Back in the studio, these experiences come together. Winter is when I focus on creating new work, refining ideas and allowing pieces to develop without rush. It’s also a time to look back at the year just gone and think ahead to what’s next.

 

This slower season gives me the space to reconnect with why I make art in the first place — responding to the landscape around me, working with materials shaped by nature, and creating pieces that carry a sense of place. Everything I make is influenced by Shetland: the light, the sea, the weather, and the quiet moments in between.

 

As winter continues, I’ll be sharing more from the studio as new pieces take shape. Whether you’re following from afar or visiting Shetland in person, I hope my work brings a little of this winter atmosphere into your home.

Posted on by

Plymouth‐based ReawakenedUK accepted to sell on the award-winning website, The British Craft House.

Tuesday 3rd February 2026 

. 

A Plymouth‐based firm has received a business boost by being accepted to sell on The British Craft House. Last week, Darren Wake, owner of ReawakenedUK, applied with his business and was accepted to become a vendor. Only 20% of applications are successful due to the strict criteria set by the founder and entrepreneur Susan Bonnar. The ground breaking website, set up by Susan in 2019, now has hundreds of handpicked sellers who thrive with the support of a vibrant community.  

Entrepreneur Susan said that we are delighted to welcome ReawakenedUK to The British Craft House and to help them to access new customers and get extra orders for their and carved and handmade wooden items. With our reputation for excellence and our following of 180K across social media, we can really help small independent businesses to be more visible. 

Darren said, “I’m passionate about the handmade and unique wooden items that I create, and I am thrilled to have been recognised for the quality of my work. It is great to have support from The British Craft House because it can be hard to be visible and joining will help to spread the word about what we do with their following.” 

Small business champion and entrepreneur Susan said: “We are thrilled to welcome new sellers every week. It is so important to support our small creative businesses here in Great Britain to ensure that they survive.  My vision is that creatives get the support that they need by becoming part of a community in addition to having an e-commerce shop.  Experienced sellers can help new ones and vice versa; there is always something to learn. The website will also give the small businesses visibility and tools that they need to thrive online.  I wish ReawakenedUK every success.” 

Anyone looking to join The British Craft House should head to the website www.thebritishcrafthouse.co.uk to see the criteria for applying to become a vendor.  

Posted on by — Leave a comment

Back in the Workshop: A Fresh Start for 2026

Back in the Workshop: A Fresh Start for 2026

After a well-earned Christmas break, the workshop doors are open once again, the scent of oak and sawdust filling the air. The tools are sharpened, the benches cleared, and the creative energy is flowing. It’s time to get back to crafting unique pieces from upcycled whisky barrels—each one carrying its own story, character, and charm.

The festive rest brought a chance to recharge and reflect on the past year’s projects. From rustic coffee tables to elegant wall art, every creation found a home where craftsmanship and sustainability meet. Now, with 2026 underway, the focus turns to new designs and fresh ideas that continue to celebrate the beauty of reclaimed wood.

Working with whisky barrels remains at the heart of the workshop’s identity. The aged staves, rich with history and texture, offer endless possibilities for home décor and furniture. Each cut and curve reveals the craftsmanship of the cooper’s trade, now reimagined into something entirely new—functional art that blends tradition with modern living.

This year promises to bring exciting additions to the collection: innovative lighting designs, statement furniture pieces, and smaller home accessories that highlight the natural grain and patina of the wood. Sustainability continues to guide every decision, ensuring that every product not only looks beautiful but also tells a story of renewal and respect for materials.

The workshop hums with anticipation for what’s ahead. With creativity rekindled and inspiration drawn from the timeless character of whisky barrels, 2026 is set to be a year of growth, experimentation, and craftsmanship at its finest.

 

Posted on by — Leave a comment

More Than Roses and Chocolates: The Quiet Meaning of Valentine’s Day

Every year, February arrives wrapped in red hearts, shop windows full of gifts, and reminders to buy something quickly before the 14th sneaks up on us. Valentine’s Day has become noisy with offers, adverts, and last-minute rushes. 

But beneath all of that, the day itself is actually very quiet.

It is about a pause.

A pause to tell someone that they matter. A pause to express something we often assume the other person already knows. A pause to say I love you, not out of habit, but with intention.

Valentine’s Day is not really about grand gestures. It is about small, meaningful ones. A handwritten note. A simple message. A thoughtful surprise left on a kitchen table. These are the moments that linger far longer than expensive gifts.

People celebrate in many different ways. Some plan dinners and surprises. Some send flowers. Others simply write a card and sit down together for a cup of tea. For many, it is also a day to remember that love is not only romantic. It is for partners, friends, family, and anyone who makes life feel warmer.

In a world where most things are fast, digital, and temporary, taking the time to give something physical and heartfelt feels almost radical. A card that can be held, opened, and kept becomes a small memory in itself.

That is where handmade craft quietly shines.

When a card is created by hand, it carries something extra. Time. Care. Attention. It reminds us that love, like craft, cannot be rushed. It is built slowly, thoughtfully, and with intention.

One beautiful example of this is a handmade Valentine’s card created using the delicate art of paper quilling, where each tiny paper roll is shaped by hand to form a heart of miniature roses. The patience and precision behind such a piece reflect exactly what Valentine’s Day is meant to represent — care, thoughtfulness, and genuine feeling.

If you would like to see this handcrafted quilled heart card and support the maker behind it, you can visit By Lucy Designs 

 

This Valentine’s Day, perhaps the most meaningful gift is not the most expensive one, but the one that shows you took the time to choose something made with love.

Posted on by

Stainless Steel, Why??

handpainted-stainless-steel-bangle
I am often asked why I use stainless steel in my jewellery, well, if it’s good enough for Rolex, it’s good enough for me right?!
Here is why:
Exceptional durability – it is far less likely to bend or scratch compared to softer metals like gold or silver
Hypoallergenic properties – generally considered safe for sensitive skin, it is less likely to cause allergic reactions compared to other metals
Low-maintenance – it’s tarnish-free, rust free nature means it is easy to clean with just warm water and soap, saving time and money on special cleaners.
Affordable – it’s a high-quality, long-lasting alternative to expensive precious metals providing excellent value for money.
Highly recyclable – this eco-friendly material, makes it a conscious choice for ethical fashion.
Daily wear – Stainless steel is ideal for active, daily wear because it holds up well against sweat and water.
So that’s why you will often see me using stainless steel!
Posted on by

Retro Mirror Earrings Are Back!

dangly-mirror-retro-earrings
It’s all about the mirror effect this year!
Mirror earrings are experiencing a significant, high-fashion, and party-focused resurgence in 2026, often described as “disco-inspired” statement jewellery.
They are popular for their ability to reflect light from every angle, making them a top choice for nights out and festivals, adding maximum shimmer to outfits.
While perfect for parties, they are also worn to add sparkle and glamour to everyday outfits as they are lightweight and easy to wear, and go with literally every outfit in your wardrobe!
The trend heavily taps into, 60s and 70s fashion, bringing back a nostalgic, disco-cowgirl look and fits into broader 2025/2026 jewellery trends that emphasize, high-shine, and, statement, pieces.
Trust me, it was so hard for me not to add colour to them all!
They are available in my shop (link below) 
Posted on by — Leave a comment

Welcome to my Workbench

I never planned on becoming a jeweller. It all started after my nan passed away and left me a little money and a few pieces of her jewellery. They were things she wore every day and having them, made me realise how much meaning jewellery can hold. That curiosity led me to sign up for a silversmithing course, just as a hobby — or so I thought.

My first year was full of trial and error: solder that wouldn’t melt, bezels that didn’t fit, stones that wobbled, and plenty of pieces that didn’t survive the polishing stage. But the small wins kept me hooked, and slowly I started to feel more confident. I found myself drawn to the things I’ve always loved — history, old objects, myths, and symbolism — and those ideas naturally began to shape my designs. Living in the South Downs influences my work too. The plants, chalk paths, and natural textures around me often find their way into my pieces.

My studio is where everything comes together. The familiar tools, the beeswax, the hum of my drill — it’s the space where I can focus and let ideas turn into something real. I’ve learned that my best work happens when I take my time. Jewellery-making is full of tiny decisions, and slowing down helps me get them right. Making everything by hand keeps me connected to the whole process, from the first sketch to the final polish.

I’m also careful about the materials I use. I mainly work with recycled silver and gold, and I choose stones from responsible suppliers. For me, good craftsmanship is about more than technique — it’s about intention, integrity, and creating pieces that feel meaningful to wear.

Posted on by — Leave a comment

Why Textiles?

Textiles have a way of inviting you closer. I notice people who stop to look at my work feel an instinct to lean in, to look more carefully, sometimes even to reach out and touch. That response, curious and thoughtful, is very rewarding and sparks many conversations.

 

My journey with textiles has been a fairly familiar one; I learnt how to make clothes, patchwork, quilting and then fell in love with making art, in particular landscapes and seascapes. After trying watercolours and pastels I decided that I wanted to ‘paint’ with fabric , in particular scraps.

It might sound odd but I think scraps work well with my sense of memory; they make me think about the time and care invested in the textiles over the years: quite different to paint or other medium used to make art I think.  

I choose the scraps carefully and love how they become layered, stitched, unpicked, and reworked. Each scrap carries marks of its former ‘life’ as I manipulate and lovingly work them into their future.

Each art piece begins with an idea or a feeling/memory rather than a fixed outcome. I often start with sketches, photographs or sorting through a pile of scraps, sorted for their colour compatibility but I always allow space for the work to change as it develops.

Stitching, layering, and building a scene takes time. It allows me to think, to respond, take a step back and make decisions gradually. The use of a mount is crucial for making those next choices, be it colour, shape, adding textures or even changing a whole part of a landscape

I don’t aim to hide the fraying or make things overly neat. Slight irregularities can produce happy accidents – I try to go with the flow and see what happens – deciding whether it works and if necessary, unpick it later!!

Texture also plays a central role in my practice. It’s often the first thing people notice, even before colour or form. Raised stitches, layered fabric, metallic embellishments can catch the light differently and shift where you look.

I like the idea that a piece can shift depending on where you stand or how the light falls. Textile art doesn’t shout. It reveals itself slowly.

This is my first blog and it is my intention that it becomes a place for me to share more about my practice: the ideas behind the work, inspiration from my international travels and the materials I use – as well as the realities of running a textile art business  – about which I’m learning more every day.

It’s also a way to invite you into the process, rather than only showing finished pieces.

If you’re curious to see how these ideas take form, you can explore my current work here on British Craft House.

And if you choose to follow along, I’ll be very pleased to see you here in the future.