Written by
Reanne Chidiac
Two Melbourne jewellers draw inspiration from the mirage of ancient civilisations to create something fresh for modern jewellery lovers. Juan Castro, whose study on social and cultural anthropology informs his designs, creates bold sculptural pieces with references to ancient religious motifs. Equally inspired by ancient cultures, Tara Lofhelm forges textural jewellery using primitive mark-making methods to recall the past.
At the centre of Juan Castro’s work is his clear passion for ancient Mediterranean cultures, iconography and archaeology. It’s an extension of his studies in anthropology at Spain’s University of Seville and the Advanced Diploma of Jewellery and Object Design he completed at Melbourne Polytechnic in 2016. His studies included a focus on body modification and adornment from ancient history to now. As a result, many of his sculptural, articulated pieces look like they could have been unearthed recently, unscathed and protected for thousands of years. They may look like Byzantine trinkets, but they were made in his Melbourne studio in the last decade.
From Bronze Age Bohemia and ancient Egypt to now, garnets have remained a steadfast favourite among warriors, healers and fashionistas alike. In the time it took for us to turn tablets from hieroglyphic records to touch screen devices, humans have yet to lose their passion for the deep red, green, orange and purple hues this durable stone offers. Many of Castro’s rings and earrings boast large red garnets that some contemporary designers would shy away from, but which are exhibited beautifully in Castro’s quintessential textured gold bezel settings. Most of his jewellery is made with 9 carat gold which glows rather than shines, given the waxy texture maintained in each finished piece.
Likewise, Tara Lofhelm has an inclination toward revealing the mark of the maker. Based in Melbourne, her jewellery career began with a Bachelor of Creative Arts and an Advanced Diploma of Engineering Technology (Jewellery).
Her work is defined by contrasting colours and textures, and the repetition of lines and marks stamped into her precious alloys. Lofhelm’s fascination with these primordial processes of making and marking culminates in bold accessories that modernise ancient aesthetics.
Lofhelm’s repertoire includes rings, earrings and pendants made with the same glowing finish of matte metal. Her repetition of dots and lines calls to mind scarification practices in some Indigenous and African cultures – a communication of kin, status and strength. Her most striking jewellery are the variety of drop earrings that feature thin sheets of metal hammered with patterns, with a variety of shapes paired together to create vivid arrangements. Bright yellow gold is often offset by blackened silver, manufacturing the feel of jewellery that may have had centuries to oxidise.
If a jewellery collection tells a story, these jewellers have set theirs in the era before we had precise tools for making shapes perfectly symmetrical and as smooth as a mirror pane. Each celebrates time-honoured techniques and styles, bringing the past into the present for all to wear.
