Six Foot Gallery’s Jewellery Showcase 2017 Programme presents the work of emerging jewellery makers over the course of 2017.


Amanda Louise Bernard

at Six Foot Gallery

1st August 2017 – 31st August 2017

Fuelled by my fascination with the Human Body and its health and well-being, my process began by investigating microscopic images of human cells. Focusing my research on their organic forms, vibrant colours and interesting textures, my aim was to dissect and transform these organisms out-with the human body, transferring them onto the wearer in a new light.

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Through the combination of silver and alternative materials, I have produced a collection of incredibly colourful and tactile pieces of contemporary jewellery that evoke a sense of fun and play with its audience. The exploration of materials and texture throughout my designs creates a sensory need to interact with the pieces. Therefore, developing a deeper connection between them and the wearer, transforming the relationship we have with jewellery altogether.

For further enquiries please email or – prices available upon request.



Eleanor Patton

at Six Foot Gallery

10th May 2017 – 10th June 2017

Eleanor with two of her pieces; Recovery Cycle, necklace (£610) and Recovery Pendant (£240)

For Eleanor, mirrors represent the presented self. They are a literal reflection of how we wish to be seen, hiding beneath the surface is our true selves. By using whole, broken, and repaired mirrors, this collection of jewellery explores the different stages of mental health and illness and the pressure to present a perfect image of yourself, when inside you are broken.

Using the Kintsugi technique of repairing with gold, she has created pieces of jewellery which show the beauty in the broken. The golden cracks show that the damage is part of one’s history, rather than something to be disguised. Eleanor wants people who struggle with depression, anxiety, every mental health problem there is, to know that it is not something to be ashamed of, that we should feel proud for having fought such a hard and misunderstood battle. Most of all Eleanor wants to show the beauty of having been broken.

‘Healing Process’ Necklace, made from ethical silver, glass mirror, metallic dust: £315


This collection represents Eleanor’s personal experience with mental health and she hopes it opens discussions surrounding other people’s experiences.

Kintsugi: knowing that something is more beautiful for having been broken

For more information on Eleanor’s jewellery visit:

Photo Credit:

The models featured are volunteers who are dealing with mental illness.


Kirsten Manzi

at Six Foot Gallery

10th May 2017 – 10th June 2017

Kirsten Manzi is a jewellery designer and maker based in Dundee, Scotland. She set up Kirsten Manzi Jewellery Design in November 2015 launching her debut collection of structural, handmade silver jewellery.


Kirsten Manzi_Image 3
Maxi Earrings, Oxidised Sterling Silver: £38


After graduating from Duncan of Jordanstone with a degree in Jewellery and Metal Design, Kirsten worked in a jewellery repair workshop for 3 years gaining knowledge in design development, manufacturing and repairs. She has exhibited across the UK at exhibitions including the prestigious New Designers, The Barbican and Lesley Craze Gallery in London. Kirsten also participates in a number of Pop-Up events across Scotland.

Fragment Bar Necklace, Oxidised Sterling Silver: £58

Now working from her home studio, Kirsten creates serene, minimalist jewellery inspired by bold geometric shapes and architectural structures. Crafted in solid silver, Kirsten designs each piece using clean, streamlined, aesthetics with many pieces unfolding themselves in the workshop rather than in sketchbooks. With the belief that there is beauty in simplicity she transforms the aesthetics of the built up urban environment into delicate, structural jewellery pieces.

Oxidised Sterling Silver Rings: £35 each

Each piece of Kirsten Manzi Jewellery is designed, made and finished by hand in Kirsten’s home studio, using a mixture of traditional and modern techniques. Focusing on quality craftsmanship and subtle details, Kirsten aims to provide each customer with simple, understated jewellery pieces to be worn and enjoyed every day.

As well as her own designs, Kirsten works with clients to create limited edition and one-off commissions.

For more information on Kirsten’s jewellery visit:




Ntina Doryforou & Christos Vroullis

at Six Foot Gallery

10th April 2017 – 9th May 2017

Ntina Doryforou started establishing in 1991, with her husband Christos Vroullis, in Greece, their own workshop and creating their first handmade items of mouth-blown glass.

After 13 years of experience with glass, working with it freely without moulds, they began making handmade glass beads. Their success in this area encouraged them to create new items and experiment with new materials such as copper, brass and sterling silver.


In 2005, they opened their own shop in the centre of Thessaloniki, Greece. Recently, in 2015, they moved to Edinburgh, where they continue their inspiring creations.
Now, they design and create handmade lights, mirrors, clocks, bowls, hangers, artistic jewellery and anything else that inspires them! They draw inspiration from nature and from ancient history.


They have participated in many trade fairs in Greece, Germany and UK.
All their items are distinguished by their original, natural style which allows the handmade character of the object, and the original earth materials used, 
to be brought out.


Iona Hall at Six Foot Gallery

20th February 2017 – 20th March 2017

This February, Six Foot is proud to showcase the works of Glasgow School of Art Students Iona Hall.


Iona Hall is a third year student in Jewellery and Silversmithing at Glasgow School of Art. Inspired by the natural forms, colours and textures she encounters in the environment around her, Iona works predominantly with metals – particularly wire – bending and twisting it into different forms. By making miniature sculptures as well as pieces for the body, she aims to challenge the traditional role of a jeweller. Iona’s work endeavours to investigate ways of expressing the hidden self, prompting the viewer to consider different life perspectives and allow for imperfections.


By exploring the many strands and intricacies of mental health, Iona challenges the viewer’s prejudices and levels of judgement. Each of the twenty objects on display in the Six Foot Gallery represents a visual interpretation of a different mental health issue. Iona has used – amongst other materials – silver, copper, wire and wood to translate her own understanding of these issues into small holdable objects. Her intention is that, upon holding the work in their hand, someone might be able to appreciate the contrast between the small and unthreatening physical object and the magnitude of the emotion it represents for a sufferer.



Paulina Knapik and Sandra Zinkuté at Six Foot Gallery 

10th January 2017 – 24th January 2017 

 This January, Six Foot is proud to showcase the works of Glasgow School of Art Students Paulina Knapik and Sandra Zinkuté.


Paulina Knapik is a 3rd year, Silversmithing and Jewellery Design student at The Glasgow School of Art.  Paulina’s artistic practice seeks to balance between fine art and commercial jewellery. Her main inspirational sources are: nature, urban geometry, contrasts in the surrounding world, music, paintings. The variety of works on show cover this range of inspirations, and highlight her skills as a maker.


Sandra Zinkuté is a 3rd year, Silversmithing and Jewellery Design student at The Glasgow School of Art. Sandra’s work is influenced by nature and her changing surroundings. Her newest collection was inspired by the architecture of Glasgow and her observations of nature and plants in the Botanic gardens. Rough surfaces mirror that of the organic life in the city while the outline of the pieces offer a more formal structure and contour.  Her objects are interactive, only finished when held in the hand or between the fingers.

Best of Degree Show: Melanie Wiksell

Melanie Wiksell finds in death, an imagery that she wants to exploit and explore to its limits. She aims to distort life with surreal and uncanny elements and draws inspiration from the occult, rituals, the sublime, and mythologies. One of her central interest within these themes, is how people decorate pain.

After three years at The Glasgow School of Art, Melanie Wiksell will now be returning to Sweden to continue her education on the master’s programme at Umeå University, where she looks forward to further expand her artistic expression. Her goal with this programme is that it will help her strengthen the ways she demonstrates credibility in her expression and concept.

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Best of Degree Show: Joanne Dawson

“The best thing I learnt from art school is to value your peers and be a support network for one another. You’ll end up learning thorough them.”

Joanne is interested by the ‘things’ we engage with in ordinary situations. Everydayness being subverted by foregrounding its support – how it is encountered contextually and in the way it is presented. The physical work she produces is a double of what already exists, a metaphysical reflection on society, with objects that attempt to locate the position they aspire to copy, maybe as a soft replication or of an indication to something else. Working primarily through the use of sculpture, installation, and printmaking, Dawson deals with the functionalities of the commonplace, intervention and object through site-specific research. On Joanne’s agenda next is beginning to work towards a number of shows including G-unit in the Savoy Center, Glasgow, and the Embassy Graduate Show in Edinburgh in September. She currently has a shared studio at Crownpoint Studios in the East End of Glasgow.

Best of Degree Show: Rosanna Lee


Rosanna Lee arranges and manipulates objects in order to create abstract sculptural compositions that draw attention to the detail and formal qualities of the materials and their dialogue with the architectural features of the site. She explores how sculpture can be understood in terms of the human body, gesturing towards the possibility for the work to become a substitute for the body and vice versa.

Time spent studying at Glasgow School of Art developed Lee’s confidence and allowed her to establish a process for making experimental, sometimes spontaneous, sculptural installations, performances and video work.

She was recently awarded the Chairman’s Medal for Fine Art. On graduating, GSA permanent collections acquired some of her work and she is now working towards the RSA New Contemporaries exhibition which will take place early next year.

Best of Degree Show: Euphrosyne Andrews

Euphrosyne Andrews

The power of form standing alone as an artwork is and idea key to Euphrosyne Andrews’ practice. Her work is concerned with the history of ornament, it’s circulation in relation to the multiple and the domestic connotations of ornamentation resulting from the materials that are commonly associated with it. Printmaking processes underpin her work, exploiting the traditional relationship with the multiple alongside the use of unique motifs.  She is particularly interested in ornament’s uncertain position within contemporary fine art, and it’s origins. Stemming from a ban of representation in many religions, ornament can be traced through abstract art through to to contemporary art today.

Euphrosyne is planning to move to London in September to take up a place on the Royal Drawing Year, run by the Prince’s Trust. This is a course split between studio practice and taught classes, with the use of print facilities.

Best of Degree Show: Evie Cooper

Evie Cooper

Evie Cooper’s work comes from the process of walking and exploring the Ayrshire countryside to encourage thought, using photography and drawing as her main means of recording these journeys. Later on she think about her experiences, and condenses them into her studio work. Thus begins the process of abstraction, taking from walks and breaking down the experiences to push through the process of Etching, Screen Print and sculpture. Each material process serves to articulate a journey through the landscape.

Cooper has received the Glasgow Print Studio Prize 2015. She aims to continue walking and recording her experiences through the printmaking process. She feels she has much more to explore with the rich and diverse media of Etching, Screen Printing and Lithography.

The Glasgow School of Art has provided Cooper with utter freedom, crippling self doubt and at times glimpses of true happiness.

Best of Degree Show: Maria Cesa

Maria Cesa

Over the years, Maria Cesa has focused on exploring the theme of portraiture within a contemporary context.

Throughout her time at The Glasgow School of Art, Cesa’s body of work was made up of mostly acrylic and oil; however during her final year at GSA she began to move towards collage in order to abstract her pieces further. Using personal photographs as a source, Cesa experiments with both painting directly from an image or a collage, created using a selection of images.

Cesa has learned that rather than re-creating portraits to exact detail, she should also aim to capture the essence.  When materials react and come together in unexpected ways, Maria Cesa finds her work takes on a new direction, leading to new discoveries.

In the past four years Cesa feels she has grown as a painter.  Learning new skills and experimenting with various techniques, she has grown in confidence.  She hopes to continue developing these skills in the future.

Best of Degree Show: Mhairi MacLeod


Mhairi MacLeod’s work is informed by her frustration at the portrayal of the female form in traditional fine art practice.  She feels that women have been presented in a way that makes male dominance and female subordination seem attractive.  This has caused MacLeod to challenge this traditional view of acceptable art in her own conceptual art practice.

During her time at Glasgow School of Art, MacLeod has produced an array of work embodying sculptural installation, photography, and painting, relating to ideas of sexism and objectification of the female body. Since graduating she has continued to work with similar conceptual ideas, developing her practice and her interest in the subject of existence.  By creating a sensory exploration of the body, MacLeod creates an abstract language developed through personal and intimate experience, enabling her to subvert reality and explore the abstract idea of existence, the physical and the metaphysical.

Alongside exhibiting at Six Foot Gallery, Mhairi is also working with various artists and collectives.  She has upcoming exhibitions at the CCA, The Old Hairdressers and Glue Factory.

The Glasgow Miracle

Glasgow School of Art
Glasgow School of Art

‘The Glasgow Miracle’ is a term that has been on the lips of critics and artists since at least 1996, when Swiss curator Hans-Ulrich Obrist first used it to describe Glasgow’s contemporary art scene. Despite the lack of a thriving art market, Glasgow has produced a number of highly successful and acclaimed artists, amongst whom are Turner prize winners Douglas Gordon, Martin Boyce, Susan Philipsz and Richard Wright.

‘The Glasgow Miracle’ is a contentious term – on the one hand, the word ‘miracle’ offended artists who felt that their success has been dismissed as a result of arbitrary forces rather than genuine hard work. ‘Miracle’ is, after all, a term denoting a one-off event; at the same time, even if short lived, it has influence over the generations to come. This contradiction ingrained in the word itself is present in the way it has been used ever since the conception of ‘The Glasgow Miracle’. Francis McKee, the current director of Centre for Contemporary Art in Glasgow, in an article printed in New York Times in 2012 argues that ‘Everyone has pretty much taken offence’ at the term. At the same time, the contentious term was treated as a springboard for a debate on the art scene in Glasgow, with McKee and Ross Sinclair heading a team of researchers whose goal was to catalogue the origins, history and international influence of Glasgow’s burgeoning art scene. ‘The Glasgow Miracle’ project aimed to sort through archives of the Third Eye Centre, a predecessor of the CCA.

According to ‘the Glasgow Miracle’ blog, much of the responsibility for the reinvigoration of the art scene in the 1970s and 1980s can be attributed to the Third Eye Centre and its founder, Glaswegian playwright and pianist Tom McGrath. It was his incessant need for experimentation and pushing the boundaries that allowed many memorable events to take place, such as Billy Connolly’s performance or the development of video art through McGrath’s connection with the Rotterdam Arts Foundation. Other writers point to the environmental art course at Glasgow School of Art led by David Harding as the thing that sparked ‘the Glasgow Miracle’. Above all else, Glasgow’s burgeoning art scene as we know it now had been shaped by the permissive attitude that the government in the 1970s and 1980s had towards grass-roots movements such as Third Eye Centre. Vacant buildings scattered around the city were easily available to artists and activists, with the Arts and Humanities Research Council investing into the renaissance of art in Glasgow at the time. Nowadays, we see what a huge change has affected the government’s policy on art and art funding. One example is Govanhill Baths which the city council had attempted to close down in 2001, but which, due to the protests from the representatives of local communities and artists, reopened as a community centre.

What appeared to be the norm in the 1970s and 1980s, today is treated as a miracle, ephemeral and irrational. However, the long string of names of Scottish artists associated with the Turner prize reads as a confirmation that miraculous things are still possible in Glasgow, which remains open to new possibilities and projects. It almost seems that the most surprising ‘miracle’ of all is the lack of contemporary art market in Scotland. Perhaps due to the tradition of shipbuilding and export of goods as the factors defining Glasgow in the eyes of the world, contemporary art is similarly ‘shipped off’ and sold to all the corners of the world, rather than adorning Scottish art galleries and private houses. Thus the term ‘the Glasgow miracle’ invariably points toward the commercial side of art; it’s a catchy phrase allowing the artists to advertise their works successfully (the Glasgow School of Art even offers a city walking tour, exploring the miracle and sights connected to it).

‘The Glasgow Miracle’ has been thoroughly deconstructed by critics and pieced back together to form a brand, advertising Glasgow as a tourist destination The term, with its commercial implications, seems to be nothing more than an eye-catching candy wrapper, concealing the amount of work that had been contributed to its production. It would be interesting to explore the impact of the term on the work of young generation of artists who grew up in the shadow of the famous Turner prize winners. One can only wonder what would happen if the newly opened Reid building carried a sign saying ‘The Glasgow Miracle’ instead of it’s colourful exclamation ‘Now Sing!’, designed by Glasgow-based Michael Stumpf.