Juliette’s instincts and curiosity eventually led her to complete a research MA at The School of Art, Architecture and Design at London Metropolitan University. The act of expression through the material of metal would be the nexus, linking the analytical, technical and curious elements of Juliette’s character, offering her a creative output and a physical voice through the objects she would go on to craft.
On their own, the constructions are beautiful sculptural works, but when placed in the context of the collective, they sing.
Scale is an important factor in Juliette’s work and many of her sculptures would comfortably rest upon a tabletop, but not always as individual statements: her objects often exist as pairs and small families of constructed forms. They are compositions and considered assemblages of carefully crafted metal. Each element within a cluster captures line and volume, each forms a moment of clarity in its own right, but in coming together with its neighbours it expresses a greater intent, much like words flowing to form a sentence. On their own, the constructions are beautiful sculptural works, but when placed in the context of the collective, they sing.
Although trained in silversmithing, much of her work combines precious metals with base metals. For Juliette, the choice of material does not come down to value instead her use of silver or base metals is reliant on her required outcome: oxidised copper, steel or brass may sit alongside silver.
Juliette points out the strange tension that all makers have when creating a piece of work. As we advance in our skills the imperfections that marred our training years begin to slip away, leaving the finished article closer to a perceived point of perfection. However, by removing too much of the handmade traces of the maker, we erode one of the inherent values that we seek in crafted objects: evidence of the makers themselves.