Making  jewellery is like playing music.  One has to be patient and wait for each tune to be played out, not rushing to the next.

Investing in jewellery is an investment in something that will last and be past on.

Jewellery can also work as a reference point in an ever changing environment, a point of stillness, beauty and balance, reflecting the light that is all around us, all the time.

There are many angles to explore and new shapes to form. Share your ideas and let’s create something together!

When designing I believe in letting pieces evolve slowly, if it doesn’t come naturally to me it needs more time. Sketching a lot and squeezing out designs isn’t my way of working.

If I have an idea or concept that I like, I let it brew in the back of my head for weeks until the day I get an exact image of what to create.

Clarity of intention is key,  it transpires quickly through the shapes of something as hard as metal.

I started my jewellery making career 2011 in the heart of Londons jewellery district, Hatton Garden.  

I developed my skills at the bench while working for William Cheshire and learnt to draw up 3d-models on the computer at British Academy of Jewellery and was awarded Best CAD Designer 2013 on the Level 4 ICCD Diploma in CAD at the graduation ceremoney in the Goldsmiths Hall.

To say Sebastian is talented at CAD is a bit of a gross understatement.  When he experiments, his concepts border on the insanely difficult. Most of the pieces in this collection should not by any rights work, but somehow, some way, the tolerances all seem to check out. These insane sculptural creations can actually be made!”Jack Meyer CAD Tutor

In July 2016 I completed my BA in Fine Art from Konstfack University Collage in Stockholm. I wrote my thesis on the psychological value of jewellery and table ware. The illuminated objects in the images below are from my examwork:



Konstfack University College of Arts, Crafts and Design Basic level thesis, Bachelor, 7.5 HE credits, 2016

“Nothing is neutral, all things we create narrate. Manufactured objects enforce and support mythology and ritual, willingly or unwillingly. In this thesis I have been investigating how we structure reality and identification through narration. The approach ties in cultural anthropology and psychology. I have looked at how craft can support and embody values through the relationship of narration and reinforcement that it has with mythology and in turn with our inner stories. As such the thesis relates to both the collective and personal and attempts to raise questions about the original purpose of body related items, craft and art. My research has led me to believe that the purpose of the first items of craft and jewellery was to maintain the community. To maintain it through the mythologization of the environment and the world, creating the consensus needed for living as larger groups. In drawing my conclusions regarding jewellery and objects of craft I have tried to open the discussion within the field up to include the limited yet existing knowledge we have about our prehistoric heritage in Europe. Prehistory ends with the invention of writing systems through symbols. In this essay I have tied in the relevance of seeing jewellery and corpus as symbols and how these can aids us in the process of identification and personal growth. I have also considered the global overview we have access to today and I present jewellery and craft objects as potential anchor points or compasses on the increasingly vast ocean of values that the global perspective offers.”

 Jewellery to me are items that bridge the inner world to and anchor it in the outer world. Bridging the dream experience into the daily waking one. Personal mythology and alchemy are key words, there is much strength to be drawn from body related items as they strengthen our self-worth and accountability.

I’d like to take the opportunity to quote one of my favorite philosophers, Aldous Huxley from his book “Heaven and Hell” :

 Is it, as the Victorians maintained, a simple matter of eye strain resulting in general nervous exhaustion? Or shall we explain the phenomenon in purely psychological terms – as concentration pushed to the point of mono-ideism and leading to dissociation? But there is a third possibility. Shiny objects may remind our unconscious of what it enjoys at the mind’s antipodes, and these obscure intimations of life in the Other World are so fascinating that we pay less attention to this world and so become capable of experiencing consciously something of that which, unconsciously, is always with us. We see then that there are in nature certain scenes, certain classes of objects, certain materials, possessed of the power to transport the beholder’s mind in the direction of its antipodes, out of the everyday Here and towards the Other World of Vision. Similarly, in the realm of art, we find certain works, even certain classes of works, in which the same transporting power is manifest. These vision-inducing works may be executed in vision-inducing materials, such as glass, metal, gems, or gem-like pigments. In other cases their power is due to the fact that they render, in some peculiarly expressive way, some transporting scene or object. The best vision-inducing art is produced by men and women who have themselves had the visionary experience; but it is also possible for any reasonably good artist, simply by following an approved recipe, to create works which shall have at least some transporting power.Of all the vision-inducing arts that which depends most completely on its raw materials is, of course, the art of the goldsmith and jeweler. Polished metals and precious stones are so intrinsically transporting that even a Victorian, even an Art Nouveau jewel is a thing of power. And when to this natural magic of glinting metal and self-luminous stone is added the other magic of noble forms and colours artfully blended, we find ourselves in the presence of a genuine talisman.