Agatha’s grandmother, Anna, is the inspiration behind much of her work as it was Anna who first introduced Agatha to silver as a metallic element. Working with sterling silver now reconnects Agatha to memories of her grandmother and the “A” in Agatha A is a tribute to her memory.

Agatha tries to remain connected to nature whilst living in London by sitting next to the fire in her garden, going for long country walks with her dog and selling freshly baked bread at the local farmer’s market. Most of Agatha’s silver pieces are inspired by things she sees in the country and natural treasures collected while out on a walk.

We caught up with Agatha to find out more about her story and what inspires her creative process.

When did you first realise you had a creative side?
I was very imaginative as a child. I also used to ruin everyone’s carpets and rugs because apparently, I’d carry plasticine with me rather often and make portable sculptures. I hope I’ll never lose the connection to the creativity side, it means everything to me.

What drew you to your specific craft and how did you turn it into a business?

I studied sculpture at Chelsea College of Art over 10 years ago. Then I went on to do photography but two years ago I had this real longing to work with my hands again. Somehow it seemed to me like the most natural path would be to start working in silver and create pieces that are wearable. My grandmother introduced me to silver first, and not in the form of jewellery, but as a metallic element, she taught chemistry. I miss her, I always miss the countryside (my first pieces were solely inspired by nature), and I missed working with my hands – all this lead me to pick up this new craft.

How do you find balancing your craft with your other responsibilities?
There is a certain vibrancy and richness that I appreciate – I’m best suited for multiple careers I feel. Rather than create confusion, one thing informs the other and it all somehow keeps me happy. Besides making jewellery I work as a photographer on film sets and have also just co-founded a creative content studio called RÅN. I’m quite relaxed about making jewellery, I do it at my own pace and pour a lot of love into it. If I were stressed about it and tried to juggle film set work and running a new company at the same time I think don’t any of it would have worked. Perhaps it doesn’t matter how many things we do at once as long as they all fulfil different parts of ourselves?

Who inspires you?
I’ve been obsessing over Barbara Hepworth for so long now I have to mention her. I also love going to the Yorkshire Sculpture Park for all the other artists there, for some reason I keep thinking about James Turell’s The Deer Shelter quite a lot on random occasions, for years now. I’ve always been in love with Rodin’s work too and whenever I’m in Paris I go to his house which has been turned into a beautiful museum. When you look closely at his sculptures you can see the marks his tools left on the plaster, clay or marble and it feels as if he’s just been there, just touched the piece you’re standing next to, you justmissed him. I think it’s an incredible experience.

What do you enjoy most about the creative process? Can you talk us through how you formulate a new design?
A constant flow of ideas is my favourite part of the creative process! I love it. New ideas very often come to me on a country walk. It’s either something I’ve seen or thought about/remembered. I don’t really draw it. I often don’t write it down either. I feel that if it sticks and I remember about it and itch to make it, then I simply must make it. I like working with limits and I’m not striving for my pieces to be perfect. I see how far I can push an idea in an organic, natural way. If it works it stays, if it doesn’t I chuck it. I keep it simple.

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