We first saw Bec Smith's work at her RMIT graduate show and loved the texture and playfulness of her work. Drawing inspiration from the plant conservatory at Fitzroy Gardens, Bec’s work references the fleeting nature of flowers in bloom, as well as sweet snacks, suggested by her candy-coloured palette and the textures and surfaces of her ceramic forms. 

Peach Bloom, Bec’s first solo show, launches at Guild of Objects on 8 June, and will combine edible and olfactory elements with ceramic forms to produce a sensory and romantic space.

Peach Bloom by Bec Smith |  8 June – 10 June
Guild of Objects, 690 Queensberry Street, North Melbourne
Please join us for the launch party on Thursday 8 June from 5 – 8pm
 
We recently interviewed Bec about her art practice and her upcoming exhibition. Taste and smell are not usually words associated with sculpture, yet they play a key role in the work of Bec Smith, a lover of gardens and the sweetness of desserts...
 

Can you tell us a little about yourself and your practice?

I’m Bec Smith. I am a ceramics and installation artist from Melbourne. I mostly work with porcelain and use hand pinching and coiling techniques to create my forms. My practice is closely linked with my love for gardens.   

I am currently making work for exhibition, selling my ceramics and working on commission. I live in Footscray and have a studio in North Melbourne, where I make and fire my work.  

When and how did you first get started in ceramics?  

My interest in ceramics started during my first couple of years studying Fine Art at RMIT. I was attracted by porcelain’s texture, malleability and translucency. Once I started working with clay I became captivated with the material.  

What has the journey been like since those early days? 

My work is constantly evolving as I learn more about the ceramic process. I started out making a series of small sculptures and vases, and experimenting as much as I could. I was fascinated by the glazing process and spent the first years of my study developing glaze recipes, getting my head around the technicalities. As my understanding of ceramics grew, I began making larger and more delicate objects pushing the limits of my material. I have also learned to love the unpredictable nature of ceramics.  

Where do you draw inspiration from?  

I’m currently drawing a lot of inspiration from the plant conservatory at Fitzroy Gardens. I’d like my work to reflect the romance of the natural world and the fleeting cycles of flowers in bloom. More broadly, my work is about my love of desserts, fragrances and the nostalgia attached to taste and smell.   

What does a typical day look like for you?

If I’m not working as a barista, a typical day for me starts at 8am. I’ll take my time to wake up before having a coffee and breakfast and write a list to organize my day. I’ll usually start by doing some paintings and drawings, making notes about my ideas. Some days I prefer to start working with clay and I’m often working on a few different sculptures at a time. I snack throughout the day, gaining inspiration from the shapes of cakes, ice creams and scones. When I’m not feeling creative, I try to get out of my workspace and visit gardens. I sometimes take a notebook with me to do drawings or make notes.  

What are you...

...reading? The outlander series 

...listening to? Donna Summer 

...watching? Transparent and Chefs Table 

Can you tell us the first thing that pops into your mind when we mention the word … 

Breakfast: Sweet  

Weekends: Coffee 

People: My sister 

Pause: Sleep 

Sound: Trees Rustling  

Smell: Rose 

Place: Kyoto 

Texture: Icing 

Ritual: Tea 

Colour: Pink 

What’s one thing you can’t live without at the moment? 

Antihistamines (I have been working a lot with flowers)  

Any advice or words of wisdom for other makers out there? 

Just remember that your work never has to be final, and it will change as you learn more about it. If you’re not enjoying what you’re making, change it and keep experimenting. Making things that you enjoy is important. It allows other people to see a voice in your work. 

We are really excited about your upcoming exhibition at Guild, and your workshops later in the year. Can you tell us a bit about these?  

I’m really excited to present work that stems from my sense of place. For me, the work’s is really optimistic and romantic. It’s about finding and preserving the beauty that I find in small moments, and I’m looking forward to bringing these moments to life, and sharing them.  The workshops will be about developing techniques with porcelain, and sharing the techniques I have learnt with others. 

Any other projects or news you want to share?  

I am happy to be working on a collaboration with Seth Searle and am also going to be a part of a group exhibition at Neon Parlour later in the year.   

 

Peach Bloom by Bec Smith |  8 June – 10 June
Guild of Objects, 690 Queensberry Street, North Melbourne
Please join us for the launch party on Thursday 8 June from 5 – 8pm
 
 

Photographs by Bec Smith and Screaming Pixel.

Follow Bec on Instagram.

This year for Mother's Day at Guild we are having a pop-up florist shop by the talented Viv from Flos.Botanical Studio. We have also been lucky enough to get new vases from many of our makers to pair with the flower arrangements, as well as cards, jewellery, scarves, mugs and so much more.

Saturday 13 May | 10am - 5pm
Sunday 14 May | 10am - 2pm
 
To add to the fun, Lemons Ceramics are launching their playful new BUMP collection in our window the same weekend and it is certainly worth a look and feel - it's hard not to want to pick up these gorgeous pieces!
 

Come along and grab your Mum a stunning, fresh flower posy and see what else she might love. We have picked some of our favourite pieces for you...

Clockwise from Left | BUMP Vase by Lemons Ceramics (launching 13 May); Olive Pink (Square) Scarf by Edith Rewa; BUMP Vase by Lemons Ceramics; Vase pair by Peta Armstrong; BUMP Vase by Lemons CeramicsPea Time (Square) Scarf by Edith Rewa; three small BUMP Vases by Lemons Ceramics.

From Left | Bag Planter by Takeawei; Small BUMP Vase by Lemons Ceramics (launching 13 May); BUMP Vase by Lemons Ceramics; Loop Vase by Nicolette Johnston; Flower Posey by Flos.Botanical Studio; BUMP Vase by Lemons Ceramics; three small BUMP Vases by Lemons Ceramics.

Clockwise from Left | Small BUMP Vase by Lemons Ceramics (launching 13 May); Cannister #2 by Katia Carletti; Olive Pink (Square) Scarf by Edith Rewa; Hoop Earrings Lilac Peach and Currant by Melanie Rice; Pea Time (Square) Scarf by Edith Rewa; Mismatched Bar Studs by Seb Brown; Desert Dance Pink gift card by Edith Rewa; Nerikomi Small Cup (plum white) by Masan; Silver Earrings No. 6 by Two Hills; Pink Moon Cup with handle by Peta Armstrong; Boob Vase by Takeawei; small BUMP vase by Lemons Ceramics.

Hoop Earrings (Currant) by Melanie Rice; Pea Time (Square) Scarf by Edith Rewa.

Hoop Earrings (Citrus) by Melanie Rice; BUMP Vase by Lemons Ceramics (launching 13 May); Olive Pink (Square) Scarf by Edith Rewa.

Small BUMP Vases by Lemons Ceramics (launching 13 May).

 

We've been stocking the work of Lemons Ceramics by James Shaw since he first started selling his wheel thrown pots. It's been a joy to watch the label develop, refine and mature over the last two years. Lemons Ceramics has an organic and sensual feel to it - no two pieces are ever the same. You can feel the human touch in every cup, bowl and vase.

We are launching his new BUMP range at Guild next weekend - aligning with our Mother's Day pop-up. The new collection features pastel, textured hues and soft curves which encourage you to hold the vessels snuggly in your palm. Below we interview James about his practice and preview his new collection...

Can you tell us a little about your self and your practice?

My name is James Shaw, a New Zealander living in Melbourne since 2012. I started making ceramics under the name Lemons Ceramics two years ago. My work is simple and organic in form, playful and expressive. At the moment I work at Cone11 as a studio tech, study and try to dedicate as much as I can to Lemons. I work and live in Coburg in reach of the incredible Gnocchi from Dicey’s (they haven’t paid me to write that I just really love their pasta).

When and how did you first get started in ceramics?

I was taught the basics a couple of years back by my partner at the time. I knew I had an interest for it years ago before I moved countries but never committed to anything. It’s pretty bizarre sometimes when I think about it now.

Can you describe those early days?

They were investigative, emotional and igniting. The birth of an object from mud and your hands is crazy rewarding. I’ve always been curious and tentative towards textures. Tactility and the hands on nature of clay makes working with the material so enjoyable. I remember making the first pot by myself without any help and it was just so satisfying.

What has the journey been like since those early days?

It’s been a pretty weird and wild one. A lot of hard work, a lot of investment - financially, physically, mentally - a lot of incredible people, a lot of stress, and a lot of enjoyment. I try to take every day as it comes and just focus on making work and developing my skills and knowledge. It’s hard when you’re not always motivated to work, but I’ve learned to push through and keep focused and excited about what I’m doing next.

Can you give us some insight into your creative process and where you draw inspiration from?

Everyday for me is a little different. But my days are torn between throwing, uni, work and all the other bits and bobs you do with a small business. Plus drinking a lot of coffee and eating a lot of food. I love cooking, it relaxes me and I love a challenge of making something different and delicious.

What are you...

...reading?

I’m stuck in a uni headspace, so at the moment a whole bunch of essays and articles about Colonisation and Art. I’ve just read Anthony Byrt’s This Model World which discusses some really interesting New Zealand Contemporary artists and their practises.

...listening to?

I’m always listening to ABC radio, I have a big crush on Jon Faine. 

...watching?

I refuse to watch anything that doesn’t have dragons and white walkers in it.

Can you tell us the first thing that pops into your mind when we mention the word …

Breakfast: toast

Weekends: a myth

People: people needing people

Pause: that amazing crazy radio in Bananas and Pyjamas from the 90s

Sound: little boom speaker next to me

Smell: pasta

Place: forest

Texture: rough

Ritual: toothbrush

Colour: blue

What’s one thing you can’t live without at the moment?

Embarrassingly 4G on my phone…I’ve got to get a new phone asap

Any advice or words of wisdom for other makers out there?

Go see and make as much art as you can and talk to people about what they love doing and why.

Photos by Rob Corica and James Shaw.

Follow Lemons Ceramics on Instagram. View Lemons Ceramics range at Guild.

 

Linsey Rendell is one of those people that has many projects on the boil and always has interesting stories to tell about her adventures. We first met Linsey when she came into Guild to shoot and write an article for Broadsheet. She was warm and friendly and knew how to make as feel comfortable in-front of her lense - we instantly liked her. Since then she has done many of our product photoshoots for our website and newsletters. Each time she manages to produce beautiful results with limited resources. 

Linsey is teaching a 'Photography for Ceramicists and Makers' class at Guild on Saturday 29 April where students can learn basic lighting and editing skills to get professional looking product photos for web and print marketing. There are two places left for this hands-on class, so jump onto our website and book yourself a spot.

Below we showcase some of the lovely images Linsey has taken for us, and we ask her about photography and life...

Can you tell us a little about yourself and your practice? 

I’m a freelance writer and photographer. My stories generally explore ideas within food culture, farming and design, nurturing further conversations across sustainability and social and environmental change. These days, I find most of my ‘freelance time’ is spent producing Broadsheet’s travel stories, and writing and shooting for Peppermint Magazine. My Peppermint stories mosey from profiles of Melbourne ceramicists, shoemakers and fashion designers to features on farmers, social activists and environmental issues. I also work behind the bar at Market Lane and run their social media accounts, and occasionally play assistant to other photographers. My ‘studio’ is essentially a combination of my flat in Kensington and cafes (Long Street Coffee is a favourite) and bars (Clever Polly’s, Sunmoth, Neighbourhood Wine) for a change of scenery. 

When and how did you first get started in photography?

I was lucky enough to have photography as a subject in high school. Back then it was all film-based photography and we shot everything in black-and-white and developed it ourselves in the darkroom. We only started to play with digital SLRs right at the end of year 12. So I learnt the basics—line, composition, light direction, exposure—slowly, making each click of the shutter count. After I finished my journalism undergraduate degree, I took night classes at the Brisbane College of Photography and Art to upskill my manual SLR knowledge to the digital realm, along with learning to edit in Photoshop. My mum kindly gifted me a Canon 1000D when I was 22, and I used it tirelessly that year. I quickly outgrew that base model, and upgraded to a 7D the following year. That body was my sturdy companion for five years, until a friend recently sold me his 5D. It’s been a very slow progression to build up to this point—it’s an expensive passion to pursue!  

What has the journey been like since those early days? 

In my honours year, I created a magazine from scratch, completing all of the writing and photography, so I could bring these to disparate skills of mine together on a page. That project landed me a job editing a weekly digital publication in Brisbane, where I continued to both write and shoot for three years. This was a very fast-paced environment, so I learnt to shoot quickly and efficiently. In my mind the work was merely ‘good enough’, but my ‘good enough’, luckily, was impressive to others. I shot portraits, interiors and food, and developed the beginnings of what I suppose is my editorial style. Since moving to Victoria and becoming a freelancer, I’ve tried to push myself to slow down and consider each shot, but it’s something I struggle with constantly, especially when time is limited. I still shoot food, interiors and portraits, but I love shooting landscapes and nature. I produce a lot of travel stories, so I’m lucky to get out to national parks and coastal regions regularly. I’m trying to train my eye to pay closer attention to light and shadow and lines and shapes, and to make pictures out of these tiny moments.  

What does a typical day look like for you?  

Each day starts with making coffee at home for myself and my partner. Breakfast is really important—I can’t eat gluten or dairy and I’m predominantly vegetarian, so eating a nourishing meal in the morning keeps me sustained throughout the day. If I’m heading out on the road for stories, I’ll be photographing various venues all day and meeting people and hearing their stories. Then when I return to the city, I’ll spend one or two days writing up the words component of the story, and one day editing the photos. I try to make a dance class every Monday evening, and Melbourne Cinématèque on Wednesdays, but it’s not always possible. I definitely find I have more headspace and feel physically more able when I’m practising yoga, but life has been rather upturned of late and I’m still trying to re-find rhythm and space for these important rituals.  

 

What are you...

ReadingKrista Tippett’s Becoming Wise: An Inquiry into the Mystery and Art of Living, and Bruce Pascoe’s Earth.

Listening to? Podcasts! Namely Design Matters with Debbie Millman, 99% Invisible, Hidden Brain, On Being with Krista Tippet, Longform and Memory Palace. 

Watching? The intriguing and obscure films screened at Melbourne Cinématèque  

 

Can you tell us the first thing that pops into your mind when we mention the word 

Breakfast: Miso, avocado, kimchi and eggs 

Weekends: Slow mornings, natural wine evenings  

People: Community  

Pause: Sunset 

Sound: Jazz in the morning 

Smell: The salty ocean 

Place: Anywhere good friends are  

Texture: Linen 

Ritual: Morning coffee 

Colour: Indigo  

 

Any advice or words of wisdom for other makers out there? 

You can be angry at the system, or you can get inside the system, and change things from the inside out. "The best way to complain is to make something" ~ Seth Godin on Design Matters. 

I’m an optimist and my partner is a realist, which is helpful in balancing out each other’s strong opinions. But everyone needs hope. Hope is what creates change. “It’s much more radical, much more daring and much more dangerous to hope" ~ Mary Karr. 

We are really excited about your upcoming workshop at Guild, can you tell us a bit about it?  

The workshop is designed to give ceramicists and makers a few insights and skills to up their own photography, so they can shoot their products and improve the look and feel of their websites and social media accounts. Hiring a photographer can be expensive, and when we’re all following our dreams and just scrapping by, there usually isn’t money around for investing in really polished imagery. So the workshop will allow makers to do-it-themselves. I’ve done trades with ceramicists in the past when they have a whole collection they’d like to shoot. But sometimes you just need one or two images to submit a proposal for an exhibition or promote a studio sale. After the workshop, makers will feel confident that they can produce these images on their own.  

Any other projects or news you want to share?  

My partner Björn, his brother Sascha and I also produce a journal called Scrag End. It sits within the food culture and food futures space, but mostly we just love telling people’s stories and pairing these with beautiful imagery and film. It’s predominantly a print publication, but printing a magazine off your own back is expensive. So we redesigned the website to turn it into a space where we could continue to publish stories even if we don’t have the money to put them on a printed page. There are a couple up there now, and we’re hoping to add more very soon (yet another ‘spare time’ project!) Take a look: scragend.com

 

Photography by Linsey Rendell

You can follow Linsey on all her adventures via Instagram

 

Thankyou everyone who coming along last night and made the launch of Edith Rewa's 'Field Trip' collection a cracking success. We took some photos of the party so you can feel the fun vibe even if you weren't there.

The work looks absolutely beautiful and is still on display until Saturday 1 April | 12noon.

Edith's scarves and prints from the collection are now available to purchase online or in-store.

 

 

We are pretty excited to announce that two of Edith Rewa's 'Field Trip' prints will be exclusive to Guild - her Macrocarpa illustration in black & white and in colour.

In the lead up to Edith's launch party we are giving you the chance to win one of these exclusive A3 prints. Head over to our Instagram page and repost your favourite version of Marcocarpa - black & white version or colour. Mention the #fieldtripbyedithrewa launch party and the #edithxguild exclusive print. Remember to tag us @guildofobjects so we can enter you into the comp.

The winner will be announced on Thursday 30 March on Instagram - we hope you can make it to the launch party to have your pic taken with Edith!

Edith Rewa | Field Trip
Thursday 30 March | 5pm - 8pm
Guild of Objects | 690 Queensberry Street, North Melbourne
  

Read more about Edith Rewa and her new collection here...

The lovely Edith Rewa is launching her new collection Field Trip at the end of this month. We are hosting the Melbourne launch party and we couldn't be more chuffed. You are invited to join us for a celebration drink here at Guild of Objects and be the first to see Edith's highly detailed Australian botanical illustrations jump of the page and on to her silk scarves.

Thursday 30 March | 5pm - 8pm

This month we interviewed Edith about her practice and her new collection.

Can you please tell us a little about yourself and your craft?

My name is Edith and I like plants!

I am a Textile designer and Illustrator, stirred by all things botanical and Australian.

I currently live in Blackheath in the Blue Mountains were I spend most of my days drawing natives, working on my label and doing client based freelance work. Bush walks, swims, bike rides and coffee intersperse work as well as trips to the big smoke or interstate to keep me sane from a solo work space!

How did you first get started as an illustrator and textile designer?

My first real love of illustrations and textiles started in high school where a warm and wonderful teacher introduced me to printmaking and more aptly, screen printing- the most satisfying process to combine the both. I stumbled across the Textile Design degree at RMIT almost by accident and have felt pretty lucky to be learning and fumbling my way into a career in it from there on! I started off in a commercial design studio in Sydney before migrating to full time freelance life in Blackheath in The Blue Mountains with a whole lot of drawing along the way.

Can you give us some insight into your creative process and where you draw inspiration from?

My inspiration is almost always centered around place. Landscape and observations and learnings of the flora and fauna within. Bush walks and travel keep my mind and drawing hand pretty darn excited. There is a reoccurring urge to share and showcase native specimens that might not otherwise be overly noticed or geographically possible in our day to day lives!

What does your studio look like?

It is usually always a bit of a muddle of piles of books, plants in varying states of decay, sprawled pens and half finished drawings. There will reliably be a pile of scribbled ‘To Do’ lists lying around, a cordial soda water and sweet treat. My studio is very much a working reflection of the project I am working on at the current time. I like to use my walls as giant mood board and gallery space to help me jot out ideas or keep my mind on track.

 

Any advice or words of wisdom for other makers out there?

I am going to cheat and share some words from John Olsen that stuck with me from his recent exhibition (You Beaut Country)… 

 ‘’Stay with your dream and learn to play’’  

We are really excited about your upcoming launch at Guild, can you tell us a bit about your new collection and how it came together?

I can’t wait to share it with you all! It has been a long one in the making as I have been travelling about Australia and drawing and learning about places and plants in between other work over last year.

Here is a little project snippet…

Field Trip exhibits a world I found to be alive and erupting with colour, pattern and incredible plant peculiarities. I learned about desert places previously unknown to me, excitedly illustrating my way into the landscape through the flora and fauna.
These designs push the Eremeophila neglectas into the spotlight, challenging the idea that ‘there is nothing out there’, wanting our arid land plants to be noticed and applauded. The silk scarves exhibit a landscape I explored in a series of trips into arid Australia. Fragments only, but I hope they take you there.

 

If you could do anything tomorrow what would you do?

Roadtrip! I just got my licence last week (finally!) so I am brimming with excitement to adventure to all the places a bike and train can’t get me!

If you could teach your kids one thing, what would it be?

Always make time to get to know the plants around you. They will teach you to stop and look and learn and breathe.

What are you reading at the moment?

The Blue Plateau by Mark Tredinnick (It’s beautiful)

If we rummaged through your grocery bag, what would we find?

Mostly sweet things

The first thing that pops into your mind when we mention the word:

Breakfast: eggs

Weekends: play

People: pals

Pause: I wish

Sound: The yellow tailed black cockies feasting and flying about our street at the moment. They have such a prehistoric screech!

Smell: sensitive

Place: learning

Texture: linen

Ritual: post office

Colour: brown, my favourite.

Whats one thing you cant live without at the moment?

A to do list

What are your words of wisdom?

 It is ok to say no!

Photos by Georgie Blackie and Nick McKinlay.

Find Edith Rewa on Instagram and in the Guild Shop.

Regina Middleton's simple and reverent jewellery is influenced by her explorations along the coastline near her home in Torquay, Victoria. She uses objects which she finds washed up on the beaches to cast and create intricate pieces in silver and porcelain. We think her latest collection 'Collect, Imprint, Adorn' is a stunning reflection of how jewellery can communicate an essence of history, place and the evolution of time.

We interviewed Regina about her practice and work...

Can you tell us a little about yourself and your practice?

I have been making jewellery for nearly ten years, and although my practice has very much evolved in that time I have always been enamoured with found materials and have felt a natural pull towards creating pieces of adornment. I live in Torquay with my husband and our very loved dog Ary. The ocean shoreline is where I find most of my inspiration, may it be in colour, shape or form.

When and how did you first get started as a Jeweller?

The first summer after high school finished my best friend and I spent every day at the beach, eating salad, sun baking and beach-combing in between swimming in the beautiful Indian Ocean. A few friendship pieces were made with what we collected, and I was hooked. Shells with holes were my favourite as were curiously weathered forms! From there I went on to complete a bachelor of design majoring in jewellery at Curtin University in WA, and an honours in fine art at Monash University.

What has the journey been like since those early days?

Moving to Melbourne nearly ten years ago saw a massive shift in my practice. With the ocean being so far from my immediate surroundings I found inspiration along the street, in parks and the dumpster at Uni. For some time I was exploring up cycling electrical and telecommunication wires. The colours were insanely inspiring.

Looking for beauty in the abandoned has always run through my practice. As is the connection between time and place and objects that have been able to mark that experience, or at least spark a memory of that time.

The obscured history of an object has always held my intrigue. I think that is why weathered forms with text always excite me the most. Imbued within them is an allusion to the their history.

Can you give us some insight into your creative process and where  you draw inspiration from?

My creative process tends to begin with a hunt, a gathering, a collection of sorts. From there I love sorting my finds. Familiarising myself with their differences and putting them together like a puzzle. I find this is great way to explore their forms further and establish which stand out and speak to me the most.

Shape, form and detail are driving factors, influencing the starting point. Interestingly, there are certain shapes that I find over and over again; the way the plastics breakdown and weather produce similar results.

I can’t help but also see the comparison between the way in which my holdfasts (the anchor that many seaweed species use to fasten themselves onto the oceans floor) could be branches, twigs, veins, antlers, etc. Nature is about repetition and this has always spoken to me.

The repetitive nature of making jewellery is also where I find my zen. 

Any advice or words of wisdom for other makers out there?

Keep at it, immerse yourself in your craft and the people within it and don't be afraid. Trust your instincts. Explore, play and breathe. 

We are really excited about your upcoming workshops at Guild, can you tell us a bit about these?

My upcoming workshops at Guild will be exploring our connection to materials and found objects. We will be casting an object/objects/materials to create a precious ring or pendant in silver. Participants are more than welcome to bring their own objects or I will have some for them to sort through and find what they connect with the most to choose to cast. The objects I bring will be clearly recorded and grouped into where they were collected from and when.

I really hope I can share the idea of mementos; markers of time and place as precious things to be held onto. We will also be able to explore leaving impressions from these objects in wax and in turn creating a ring or pendant to be cherished or gifted with the intention for another to cherish.

Any other projects or news you want to share?

I am working towards a solo exhibition later this year with that which the oceans rejects, that which I find along the high tide lines. It will be about time, place, sentiment and materiality. The works will be both wearable and not so wearable.

My precious plastics will also be taking shape into explorations outside of adornment for the body. I am hoping to create some new artworks and prints from my drawings and placements of found objects.

Photography Credits: From Top - Images 1,2,3,5,7 Timothy Marriage | Image 6 Kristoffer Paulsen | Image 4,8,9 Regina Middleton.

Find Regina on Instagram and in the Guild shop.

Regina will be running two workshops at Guild on Saturday 4 March, 2017 - 'Make a Silver Ring' and 'Make a Silver Pendant'. We are offering a 10% discount if you book two or more spots in her workshops before Valentines Day (14 February). 

 

Guild Jewellery Edits

February 02, 2017

Here at Guild of Objects we think that ceramics and jewellery are a match made in heaven. We've put together some flashcards of our favourite handmade pieces. Click on the images below to view our online jewellery edits.

We're offering free shipping within Australia on all jewellery orders until February 14th, 2017. Enter the words GUILDJEWELS in the discount code in checkout.

 

Happy Holidays!

December 24, 2016

 

Good vibes coming your way! 

Thankyou for supporting Australian artists and makers this year. We have had such a great year and so much fun finding unique pieces, talking to our amazing customers and telling you all about our talented makers. We want to wish you all a happy, relaxing and looooong summer holiday (or a cosy winter holiday for our friends in the Northern Hemisphere).
 
We are taking a little bit of a break, but we will be opening the shop doors again on Wednesday 11 January. Please note that all online orders placed after December 23, 2016 will be posted on January 11, 2017.
 
Until then, we hope you enjoy all of your handmade treasures. 
 
LOVE
Chela, Tao & Brooke xx
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