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My PhD journey has been profoundly shaped by the continuous dissemination of my artistic practices, particularly through performance projects that are central to my research. In close collaboration with performance artists, we have nurtured strong relationships that constantly stimulate our creative collaborations, fostering mutual learning and growth. A major highlight of my PhD has been Lipote: An Interconnected Journey (2022-2023), formerly known as Tree Opera (2021), which has undergone numerous transformations. This collaborative and creative journey has not been confined to my thesis submission; rather, it is an evolving narrative, gradually exploring new modes of expression in diverse environments, including prestigious art festivals like the Edinburgh Fringe. Reflecting on my PhD journey, I realise that each stage has not only contributed to my academic growth but also to my evolution as an interdisciplinary artist, expanding my expertise beyond just jewellery making and design. This experience continually reshapes my understanding and approach to artistic expression, guiding me towards new horizons at the intersection of contemporary jewellery and performance art.

From 2021 to 2023, my collaborators and I carried out four live performances, each unique in setting and approach. Co-creation and co-reflection were central to advancing this project and seeking new opportunities. These performances were crucial to our creative exploration and collaboration, showcasing our artistic evolution across various theatrical venues. The live performances include:

  1. Tree Opera - An open-rehearsal - performed at RougePlay Theatre in Birmingham, 2021.

  2. Lipote: An Interconnected Journey - performed at the Royal Birmingham Conservatoire, 2022.

  3. Lipote: An Interconnected Journey - performed at Nozstock The Hidden Valley Music Festival, 2023.

  4. Lipote: An Interconnected Journey - performed at The Edinburgh Festival Fringe, 2023.



Tree Opera - An open-rehearsal (2021). Birmingham RougePlay Theatre.

The open rehearsal provided a unique platform for exploring the dynamic relationship between dance and UV scenery design. The dancers' ability to seamlessly integrate different visual elements into their performance, transforming them through motion, shape, and sound, offered a powerful demonstration of the synergistic potential of interdisciplinary artistic collaboration.

The performance-based methodology employed in this context enabled the oversized adornments to come alive, evolving into dynamic art forms interacting with their environment. The integration of UV-reactive materials in these pieces added an additional layer of complexity and aesthetic appeal. As the adornments responded to changes in light intensity and colour, they created an immersive visual experience for both the wearer and the audience.

One issue observed during this performance was that some of the objects were excessively heavy, hindering the dancers' interactions. This challenge provides inspiration for the next performance to design lighter-weight pieces, engaging more in costume-like wearable objects.


Lipote: An Interconnected Journey. (2022). Birmingham: Royal Birmingham Conservatoire.

Enhancing the selection of materials, colours, and the construction of body-centric objects plays a pivotal role in shaping the dancers' movements and defining the overall visual appeal of the performance. The collaboration between the dancers and myself proved to be a vital component in this creative process, ensuring that the garments and wearable objects were seamlessly integrated into the fluidity of the improvised performance. This collaborative effort was particularly crucial given the challenges posed by the previously heavy objects.


In this performance, three dancers managed some of the heavy performance objects, thereby adding increased theatrical effect and intensity to their interactions and movements. Refined costumes and wearable objects made of UV-reactive fabrics and elements were incorporated into this show.


Lipote: An Interconnected Journey. (2023). Nozstock The Hidden Valley Music Festival.

Digital projection and animation were creatively integrated into the performance, a technique not utilised in the previous two shows. In terms of colour, a more unified palette was employed for each scene, enhancing visual cohesion. To add further sensory depth, digital visuals were intricately edited, enriching the performance and fostering a sense of full engagement in the dark environment. The combination of digital projection with varied settings created layers of sensory experiences, offering observers a diverse array of elements to experience.

Lipote: An Interconnected Journey (2023).
The Edinburgh Festival Fringe.

Intriguing experiments were conducted, featuring a creative approach to costume design in which garments were interconnected using UV-reactive strips attached to the costumes. This approach created structures that linked the dancers to each other. The design provided the dancers with freedom of movement within the performance space, while also allowing them to leave visible traces of their movements through the use of UV-reactive materials. These materials were not only interactive but also visually striking, adding a dynamic element to the performance. They illuminated the dancers' paths, transforming their movements into a tangible and mesmerising part of the visual spectacle. More information on this show can be found here.  

Future art research activities

A proposed performance at a gallery space in Birmingham, such as the Psycho Gallery, would involve a more interactive experience. This is the next step because so far, most performances have been staged, and audience participation has been primarily observational. In the future, I would like to engage the audience more, allowing them to physically interact, walk through the installation, and reach a deeper sensory level.

Some potential future research directions include:


  • Expanding the range of light-reactive materials. This research has focused on the use of UV-reactive materials in jewellery. For further research, I could explore other types of light-emitting materials, such as thermochromic or electroluminescent materials, to investigate their potential in contemporary jewellery and performance art contexts.

  • Investigating the role of lighting technology. As wearable technology continues to advance, there is potential for exploring the integration of technology in contemporary jewellery, particularly in relation to UV-reactive materials and performance art. This could involve developing new ways to manipulate and control light sources, as well as investigating the potential of interactive or responsive jewellery designs.

  • Exploring the impact of the audience. This research has touched upon the role of the audience in the collaborative and performative experience of contemporary jewellery. Further research could delve deeper into this aspect, examining the ways in which audience participation and interaction can further contribute to the immersive experience of wearable UV-reactive artworks.

  • Assessing the environmental and ethical considerations. As contemporary jewellery continues to push boundaries and explore new materials and practices, it is important to consider the environmental and ethical implications of these innovations. Future research could investigate the sustainability of UV-reactive materials and their impact on the environment, as well as ethical considerations around the sourcing and disposal of these materials.

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