Marrow

Marrow is a collection of rings and pendants developed from the idea of a protective surface worn thin. Each piece begins as a solid sterling silver form, cast dense and then cut back — hollowed, filed, and pierced until an interior structure is exposed through a narrow aperture in the outer wall. The visible interior is oxidised to a near-black finish, while the outer surface stays bright and polished, so the two states of the same metal sit side by side: one guarded, one exposed. That contrast is the whole argument of the collection. Sterling silver is chosen because it takes an oxidised patina unevenly and imperfectly, the way bone darkens with age rather than all at once, and because the same alloy can read as either hard shell or soft interior depending only on how it is finished, not on what it is. Worn, a Marrow piece asks something small of the wearer: the aperture can face outward, toward whoever is looking, or it can be turned inward against the skin, kept private. Nothing about the piece changes except which way it is rotated. That decision — show the interior or keep it turned away — is left entirely to the person wearing it, and it can change from one day to the next. Marrow is not trying to resolve the tension between concealment and disclosure; it is trying to make that tension physically wearable, something you carry on your hand rather than something you only feel.