In the Artist Studio: with William Llewellyn Griffiths
Stepping into William Llewellyn Griffith's Melbourne studio is like entering a realm where history, artistry, and imagination collide. We were recently privileged to visit this visionary talent and jewellery artist, delving into the heart of his creative process. For nearly five decades, William has been forging his own path in the industry, crafting intricate pieces inspired by baroque and gothic architecture, mythical creatures, and a profound appreciation for unique gemstones. Join us as we explore his world, uncover the stories behind his designs, and gain insight into the mind of a true master.
Golden, jewel encrusted works of art lie casually amid handfuls of colourful gemstones.
Po8: As a self-taught jeweller, what have been the biggest challenges and rewards of forging your own path in the industry?
WLG: Despite having worked in the industry for 48 years now I often get imposter syndrome. I feel like even if i'd studied jewellery I'd still have it. I learned on the job and I keep teaching myself new techniques along the way. That's what I find most rewarding. Learning new stuff. I taught myself enamelling again. I did a little weekend course with the late Debbie Sheezel who was known throughout the industry for her exceptional skill working with enamel. We had one class in high school where they showed us how to dome up a copper pendant and sprinkle enamel colours on it and heat it up with a welding torch. It's trial and error, you have to keep at it. That’s how I learn best, by initially making mistakes, but persisting - trying and trying again until I get it right.
Eclectic decorative objects adorn the artists studio.
Po8: What are some of the recurring themes and motifs that you keep returning to in your work?
WLG: Baroque and gothic architecture. Cathedrals - it's not even that I'm religious, I just like going into them, absorbing the drama and the detail. I'm drawn to really ornate, maximalist styles. I loved visiting Versailles and Notre Dame in France, and the Dodge's Palace in Venice. I often incorporate mythical creatures like gargoyles, mermaids and cupids, and memento mori skulls and skeletons inspired by catacombs and ossuaries.
The artist sorts through a selection of treasures.
Po8: Your designs incorporate a rich mix of stones, metal and gems. How do you select the material for your pieces, and what role do they play in conveying your artistic vision?
WLG: Gems are important, I particularly like gems that contain inclusions. I like to travel to gem shows to source them and can spend days searching. One of my favourite places for gems is Bangkok, and also Tuscon, Arizona is great. Americans are doing some really interesting gem cutting that I haven't seen anywhere else before. They are using American made faceting machines and rose engine gem cutting equipment, where they cut facets into the back of the stone so it reflects into the face.
Work in progress - an incredibly detailed, hand-carved wax model of an upcoming design by William Llewellyn Griffiths.
To see more of William's enchanting creations visit our Royal Arcade gallery or see a selection online here.
