What do you want to do?
I am applying for a creative fellowship to support the development of new work over a six-month period, refine my material knowledge and produce new work toward solo exhibitions. This is a particularly meaningful opportunity as I recently inherited my late grandfather's pāua shell and stone tools, machinery, and materials after the passing of my lovely uncle, Ron, in March this year.
Alongside the technical components, I also discovered a treasure trove of letters, sketches, designs, and casting moulds from my grandfather, these things offer insight into the culture and thinking of pāua shell trade and lifetime of making by a studio artist.
My passion lies in pushing the boundaries of contemporary pāua shell jewellery and investigating its history within Aotearoa. I aspire to explore deeper artistic values and innovative ideas in my making, particularly with the inherited tools and materials now available to me.
Over the six months I plan to :
Additional aims :
How will this build on your previous work, and why is it important that you do this now?
BACKGROUND
My practice is deeply influenced by my long-term research into early shell jewellery in Aotearoa, my grandfather's craftsmanship, and the pāua shell jewellery made by the DSRL .
The following information will provide context
I am applying for a creative fellowship to support the development of new work over a six-month period, refine my material knowledge and produce new work toward solo exhibitions. This is a particularly meaningful opportunity as I recently inherited my late grandfather's pāua shell and stone tools, machinery, and materials after the passing of my lovely uncle, Ron, in March this year.
Alongside the technical components, I also discovered a treasure trove of letters, sketches, designs, and casting moulds from my grandfather, these things offer insight into the culture and thinking of pāua shell trade and lifetime of making by a studio artist.
My passion lies in pushing the boundaries of contemporary pāua shell jewellery and investigating its history within Aotearoa. I aspire to explore deeper artistic values and innovative ideas in my making, particularly with the inherited tools and materials now available to me.
Over the six months I plan to :
- Investigate inherited archival materials and synthesize my findings into new designs and construction techniques
- Utilise Te Pua Wānanga o Taranaki Research Centre, Puke Ariki
- Immerse myself in the processes involved in pāua shell manufacture, using inherited machinery and tools
- Update my PPE, safety glasses, apron, ventilation and dust mask
- Record and share my progress via my workbook ideas instagram platform
- Create innovative works and concepts for a solo exhibition with Season and the National in 2026-27
Additional aims :
- Study the pāua shell and Ida Hudig collections at Te Papa Tongarewa.
- Conduct further research at the National Archive into pāua shell jewellery of the the Disabled Serviceman’s Re-establishment league. (DSRL)
- To collate, record and return the 30 years of correspondence and designs between Te Arikinui Dame Te Atairangikaahu and Morris Win.
- Visit St Arnaud Rotoiti and explore the old family diggings on the Louie river to pan for gold.
- Collate findings, progress and writings into a shareable online format.
How will this build on your previous work, and why is it important that you do this now?
BACKGROUND
My practice is deeply influenced by my long-term research into early shell jewellery in Aotearoa, my grandfather's craftsmanship, and the pāua shell jewellery made by the DSRL .
The following information will provide context
- SHELL- A blog entry from 2017 that marks the beginning of my journey with pāua shell alongside my late Uncle Ron.
- DISCOVERIES - Excerpts from my email correspondence with Justine Olsen and Ron Win 2017 to 2022.
- RECENT WORK -Examples of the specific work I would like to build on. See my portfolio page here to see more of my mahi.
- WORK BOOK IDEAS - A selection of my sketch book working drawings and ideas.
- RESOURCE - Some of the newly inherited resource, archive letters, ephemera, materials and tools I would like to investigate.
SHELL | Handshake Blog entry | Jul 6 2017
In my discussions with Judy Darragh, we have talked about our shared interest in use of pāua shell in New Zealand jewellery and the rich history that surrounds it. I feel the pull to explore this further in my own work especially in relation to acknowledging the influence of my grandfather Morrie Win's practice; so as a starting point I decided to visit with my uncle Ronald in Marton, to get some tips on working with shell and borrow some machinery for the job. Ron is also a maker and spent many hours by his dad’s side as a young person cleaning up shell and castings at grandad’s home workshop in Elsdon Porirua, here are some images from my visit to Ron's studio, which holds many of granddad’s tools, materials, designs molds and even Grandads old workbench. I took a copy of Elly van de Wijdeven’s book Vintage Pāua Shell Jewellery which uses images of many of Morrie’s pieces along to go with the collection.
In my discussions with Judy Darragh, we have talked about our shared interest in use of pāua shell in New Zealand jewellery and the rich history that surrounds it. I feel the pull to explore this further in my own work especially in relation to acknowledging the influence of my grandfather Morrie Win's practice; so as a starting point I decided to visit with my uncle Ronald in Marton, to get some tips on working with shell and borrow some machinery for the job. Ron is also a maker and spent many hours by his dad’s side as a young person cleaning up shell and castings at grandad’s home workshop in Elsdon Porirua, here are some images from my visit to Ron's studio, which holds many of granddad’s tools, materials, designs molds and even Grandads old workbench. I took a copy of Elly van de Wijdeven’s book Vintage Pāua Shell Jewellery which uses images of many of Morrie’s pieces along to go with the collection.
Ron Win in his studio in 2017
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Grandad’s lead punch block
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Rubber mold, early filigree brooch
One of Ida Hudig designs.
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Observational sketches I made of some of my favourite pieces.
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DISCOVERIES
Excerpts from email correspondence with Justine Olsen, 2018
Justine - Hi Jen, does your family hold any examples of your Ida’s jewellery by Morris Win. I’m a bit confused, was Ron - M.L.R. Win?
Jen - Ron Win is my uncle and 3rd son of ... Morris Win , Morris Lionel Reid Win manufactured Ida Hudigs designs in the 70s he lived and worked from home in Elsdon in Porirua. Having learnt the trade as a disabled returned serviceman he made his living making and manufacturing pāua shell jewellery. There are two large and beautiful bracelets I can think of. Will see if I can get some images to you.
Ron lives in Marton and inherited Morries tools and jewellery paraphernalia luckily for me is very keen to begin making jewellery again and work together on a project remaking some of Morrie and Hazels (my gran) designs. Next time I visit Ronald I will photograph any designs/molds I can find of Ida’s for you.
Justine - I am amazed! Such incredible information and I am so thrilled that you are so carefully tracing the links to Ida. But more than this – it’s your family’s history of making and connection to the disabled rehabilitation history. This is something that I’m researching at the moment across all media.
If at any time I can travel to Marton to meet Ronald, I would be thrilled. Do you live in Wellington or maybe Taranaki – I can’t quite work it out from your blog. Anyway I so appreciate that we are talking.
Jen - Oh yes, I think it is such an important part of jewellery history in New Zealand ..but also in the history of our society.
those men able to work/function in society and provide for the family with a trade. Granddad was very disciplined would work 12 hour days from his home workshop. Very much a way of putting food on the table for a large family , he was still working into his 80s
He was very badly injured in mortar shell explosion and had damaged/lost the muscle in the left side of his chest and arm and lived with shrapnel in his neck and face. amazing he survived really.
I do have one small black and white photo somewhere of a couple of his friends in the DSRL workshop when he was training, I will find it and scan it. It would be wonderful to know more about those men.
My grandparents were keen rock hounds they travelled spent time panning for gold. Ron still pans for gold at that claim when he can, it is there in the bush Morrie and Hazel's ashes are spread.
I live in Pungarehu Taranaki, apologies for the confusion. Blogs and writing are not my strong suit!
I am positive Ron will be happy to meet with you.
Justine - I’m at work now and I’ve requested the film from Nga Tonga Sound and Vision. Thank you too for the copy of the certificate too!
Excerpts from email correspondence with Ron Win, 2018 -2022
2018
Jen - Hi Uncle Ron , Thank you both so much. Its just such a lovely thing to do for me...happy tears!!
I received a message from Justine Olsen (curator of decorative art and design at Te Papa)
she Is interested in learning more about granddad making work for Ida Hudig. What do you know of that arrangement? He won an award ?
I love the Idea for the website! especially capturing the tools space and heritage aspect
some research into the early days of the DRSL and training...history of Ida Hudig, there is a real interest and market for this type of work and Reinterpretations by you would be really special, Granddad would have so loved it! we could get the really special work with the family photographed professionally by Billie, could put a call out to see who has what
Ron - Hi Jen Need to ask you about difference between Sulphuric Acid vs Sparex solution – I only ever used Sulphuric Acid. What tongs can you use in Sparex? Anyway on the Hudig’s – found a few pointers but no real records, Attaching the Exhibition invitation in posted mail to Mum/Dad - no mention of Dad doing the work in it and this was Oct 1977. Found indication for orders in 1972 (could be earlier though) through 1985.
2020
Ron - Dad’s work near the end of his career had some quirks and his eyes may have not been 100%. presentation box Kevin gave me sometime after the funeral was things nobody seemed to want but the core work in the Paua was always high. Is it Mary with the Ida Hudig necklace? Kay should know….
Amanda has two bracelets, one an Ida Hudig. …was very good with the fine saw and I always marvel at his ability to cut straight and remember him - using rifle blue-ing dye to stamp STG casing impressions onto paper and he could cut and they would fit or just need a file touch at corner. On a good coloured shell he would extract maximum use of all useable sides and edges. He also did lots of fine patterns cut into shell
2021
Ron--Hi Jen, Random question – do you know of information on or have knowledge of Silver trophy repair ? I remember holding tops and handle as your granddad fixed things - he seemed to anneal and reshape clean and re-solder handles. I think he kept a good pad of solder on the handle attach points before and maybe brushed lots on borax as he did it?
Is there book or is it a black art only learn with time doing? – I am worried I will over heat and/or ruin all the history (engraving) of a cup.
2022
Ron - Wowed on that bracelet you made, impressive in the silver and the paua work!! Very well done, granddad would love your work, feel like it’s sort of tear producing. 🤓
I will look into what I have of granddad’s and send photos.
Will definitely be down to the Dowse.
Today is start of 3 days a week for me. Only Tue-Thurs for next 6 months.
Cheers for now
Jen – Thanks for the encouragement, I still find the shell so tricky. Exciting about the work I hope it equals loads more fun and workshop time for you!
Jen x
Excerpts from email correspondence with Justine Olsen, 2018
Justine - Hi Jen, does your family hold any examples of your Ida’s jewellery by Morris Win. I’m a bit confused, was Ron - M.L.R. Win?
Jen - Ron Win is my uncle and 3rd son of ... Morris Win , Morris Lionel Reid Win manufactured Ida Hudigs designs in the 70s he lived and worked from home in Elsdon in Porirua. Having learnt the trade as a disabled returned serviceman he made his living making and manufacturing pāua shell jewellery. There are two large and beautiful bracelets I can think of. Will see if I can get some images to you.
Ron lives in Marton and inherited Morries tools and jewellery paraphernalia luckily for me is very keen to begin making jewellery again and work together on a project remaking some of Morrie and Hazels (my gran) designs. Next time I visit Ronald I will photograph any designs/molds I can find of Ida’s for you.
Justine - I am amazed! Such incredible information and I am so thrilled that you are so carefully tracing the links to Ida. But more than this – it’s your family’s history of making and connection to the disabled rehabilitation history. This is something that I’m researching at the moment across all media.
If at any time I can travel to Marton to meet Ronald, I would be thrilled. Do you live in Wellington or maybe Taranaki – I can’t quite work it out from your blog. Anyway I so appreciate that we are talking.
Jen - Oh yes, I think it is such an important part of jewellery history in New Zealand ..but also in the history of our society.
those men able to work/function in society and provide for the family with a trade. Granddad was very disciplined would work 12 hour days from his home workshop. Very much a way of putting food on the table for a large family , he was still working into his 80s
He was very badly injured in mortar shell explosion and had damaged/lost the muscle in the left side of his chest and arm and lived with shrapnel in his neck and face. amazing he survived really.
I do have one small black and white photo somewhere of a couple of his friends in the DSRL workshop when he was training, I will find it and scan it. It would be wonderful to know more about those men.
My grandparents were keen rock hounds they travelled spent time panning for gold. Ron still pans for gold at that claim when he can, it is there in the bush Morrie and Hazel's ashes are spread.
I live in Pungarehu Taranaki, apologies for the confusion. Blogs and writing are not my strong suit!
I am positive Ron will be happy to meet with you.
Justine - I’m at work now and I’ve requested the film from Nga Tonga Sound and Vision. Thank you too for the copy of the certificate too!
Excerpts from email correspondence with Ron Win, 2018 -2022
2018
Jen - Hi Uncle Ron , Thank you both so much. Its just such a lovely thing to do for me...happy tears!!
I received a message from Justine Olsen (curator of decorative art and design at Te Papa)
she Is interested in learning more about granddad making work for Ida Hudig. What do you know of that arrangement? He won an award ?
I love the Idea for the website! especially capturing the tools space and heritage aspect
some research into the early days of the DRSL and training...history of Ida Hudig, there is a real interest and market for this type of work and Reinterpretations by you would be really special, Granddad would have so loved it! we could get the really special work with the family photographed professionally by Billie, could put a call out to see who has what
Ron - Hi Jen Need to ask you about difference between Sulphuric Acid vs Sparex solution – I only ever used Sulphuric Acid. What tongs can you use in Sparex? Anyway on the Hudig’s – found a few pointers but no real records, Attaching the Exhibition invitation in posted mail to Mum/Dad - no mention of Dad doing the work in it and this was Oct 1977. Found indication for orders in 1972 (could be earlier though) through 1985.
2020
Ron - Dad’s work near the end of his career had some quirks and his eyes may have not been 100%. presentation box Kevin gave me sometime after the funeral was things nobody seemed to want but the core work in the Paua was always high. Is it Mary with the Ida Hudig necklace? Kay should know….
Amanda has two bracelets, one an Ida Hudig. …was very good with the fine saw and I always marvel at his ability to cut straight and remember him - using rifle blue-ing dye to stamp STG casing impressions onto paper and he could cut and they would fit or just need a file touch at corner. On a good coloured shell he would extract maximum use of all useable sides and edges. He also did lots of fine patterns cut into shell
2021
Ron--Hi Jen, Random question – do you know of information on or have knowledge of Silver trophy repair ? I remember holding tops and handle as your granddad fixed things - he seemed to anneal and reshape clean and re-solder handles. I think he kept a good pad of solder on the handle attach points before and maybe brushed lots on borax as he did it?
Is there book or is it a black art only learn with time doing? – I am worried I will over heat and/or ruin all the history (engraving) of a cup.
2022
Ron - Wowed on that bracelet you made, impressive in the silver and the paua work!! Very well done, granddad would love your work, feel like it’s sort of tear producing. 🤓
I will look into what I have of granddad’s and send photos.
Will definitely be down to the Dowse.
Today is start of 3 days a week for me. Only Tue-Thurs for next 6 months.
Cheers for now
Jen – Thanks for the encouragement, I still find the shell so tricky. Exciting about the work I hope it equals loads more fun and workshop time for you!
Jen x
A wonderful mind map made by Uncle Ron about his own creative vision and practice.
RECENT WORK | outlining a few of the elements of design and some of the technical aspects I would like to explore further
PARURE, solo show, Season, 2025, Tiara, silver and pāua shell 2025, 160 x 50 x 5mm
At the time of making this tiara I was working from fragments of oral history, (Please see my full artist statement here ) I have now found detailed letters describing the story of the tiara commission. Discoveries such as this will further inform my practice and preserve whakapapa as jewellery.
I intend on expanding on these forms utilizing the new resource of thick shell, grinders and polishing motors to create larger carved beads in unexpected shapes with a focus on more earring designs.
Making the above necklace has sparked some evolution in my practice. By creating modular components, the length of the necklace can be easily adjusted to suit the wearer, components can be added, and due to the organic nature of the shell. Due to the organic nature of the shell, it can also be easily repaired. I'm looking forward to expanding further on this idea in the new work.
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The LOVE bracelet is the latest in a range of large shell bracelets. I'm particularly interested in creating hinged mechanisms, using cues from the casting components and images I find in the archive of designs .
These rings evolved from sketch book drawings and are an exploration in decoration, using engraving and wax carving and milling. I hope to be able to revisit my work books and bring more of these ideas to fruition.
WHANUI , The National, Block necklace, 2022, pāua shell, epoxy, silver chain with magnetic clasp, largest block form 60 x 40mm
I wish to expand on form making using larger flatter shells and flat polishing wheels to make more elaborate geometric forms.
will use a range of draw plates to form silver wire in a variety of profiles that can be used for chain making. |
WORKBOOK IDEAS | selected drawings from my recent sketch books I hope to create in pāua shell.
How will this allow you to take risks, develop new ideas, and contribute to the growth of your arts practice?
In my day-to-day life, time is heavily divided. I have a long commute four days a week to my gallery/workshop in Ngāmotu. Though there I have a well equipped workshop, uninterrupted time for my own creative endeavours is rare. It is challenging to reflect, distil information, and sketch plans in a public-facing space.
Funding is essential for this project, as working with shell is both time and labour intensive. Funding would ease the stress of financial constraints and allow me the dedicated time needed to create on a larger scale and make more elaborate work.
My current workshop/gallery is not suitable for this work. Therefore, I am in the process of constructing a covered outdoor work space at home specifically to house my grandfather's machinery for working with shell and stone.
Having only worked with a shell on suitably windy days using Ron's small portable grinding wheel, using the new machinery and upgrades to PPE will greatly enhance my practice.
I am certain that once I master this machinery, I will become more efficient and increase my output. This improvement will have a lasting impact and allow me the freedom to experiment and create with ease.
Over the past few years, I have self-funded residencies for artists and provided access to equipment, along with time and space to share ideas and skills in my workshop in Ngāmotu. I also intend to offer similar access to the shell and stone working machinery in my home workshop for other makers to use in the future
I have worked hard in order to continue making over many years now and at 46 years old I can say I am confident in my own ability and vision. I believe this period of development and making will undeniably give me the boost I need to reach the next level in my career.
I have been very fortunate to develop strong connections and relationships with the exceptionally encouraging contemporary jewellery community and am buoyed by the support of this extended whanau and the many opportunities I have to share my practice.
Both Season and The National express interest in showing the new work when its ready
My goal is to approach a period of creation without the pressure of outcomes and deadlines. This flexibility will allow me to work actively, following inspirations from the inherited resource; utilising tools and techniques as they reveal themselves. I aim to expand, take risks and develop new more exciting construction with both shell and silver techniques during this time.
Funding is essential for this project, as working with shell is both time and labour intensive. Funding would ease the stress of financial constraints and allow me the dedicated time needed to create on a larger scale and make more elaborate work.
My current workshop/gallery is not suitable for this work. Therefore, I am in the process of constructing a covered outdoor work space at home specifically to house my grandfather's machinery for working with shell and stone.
Having only worked with a shell on suitably windy days using Ron's small portable grinding wheel, using the new machinery and upgrades to PPE will greatly enhance my practice.
I am certain that once I master this machinery, I will become more efficient and increase my output. This improvement will have a lasting impact and allow me the freedom to experiment and create with ease.
Over the past few years, I have self-funded residencies for artists and provided access to equipment, along with time and space to share ideas and skills in my workshop in Ngāmotu. I also intend to offer similar access to the shell and stone working machinery in my home workshop for other makers to use in the future
I have worked hard in order to continue making over many years now and at 46 years old I can say I am confident in my own ability and vision. I believe this period of development and making will undeniably give me the boost I need to reach the next level in my career.
I have been very fortunate to develop strong connections and relationships with the exceptionally encouraging contemporary jewellery community and am buoyed by the support of this extended whanau and the many opportunities I have to share my practice.
Both Season and The National express interest in showing the new work when its ready
My goal is to approach a period of creation without the pressure of outcomes and deadlines. This flexibility will allow me to work actively, following inspirations from the inherited resource; utilising tools and techniques as they reveal themselves. I aim to expand, take risks and develop new more exciting construction with both shell and silver techniques during this time.
RESOURCE | these new elements will be distilled into creative ideas that can inform the new work I make.
Materials | Shell | Hand tools | Fabricated components
Sorting shell offcuts from granddads workshop with my mum and sister (found in a sack down the side of the shed)
These leaf shape cutouts have a corresponding punch and die. I will be able to make casings to fit using the press shown below
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This image shows the paper template that was glued to the shell before cut with fine coping saw to unsure maxium use of the shell.
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A tin containing tiny pāua shell shapes which fit perfectly in corresponding silver casing and box with casing stamps
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Brightly coloured enamels and sanding discs
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Hundreds of silver casting blanks in various designs which my uncle has itemised
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Hundreds of rubber molds in various designs
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There are a few small jars with labels from various creeks and streams in the nelson lakes area containing the finest hint of gold dust and sand
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Notebooks| Sketches| Letters| Documents| Photographs
An amazing few pages of writing about being wounded and captured in Crete in the back of a notebook. It was very rare for grandad to ever talk about the war so this is an incredible to find
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Grandad was just 41 kg when he returned from Stalag 8b, prisioner of war camp
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At the bench at the Disabled Servicemen's Re-establishment League in Wellington. Morrie is on the left. This is the first picture I've seen of grandad at the league
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Taken in front of The League building in Wellington.
Morrie is seated in the second row on the right, looking well fed so it must have been near the end of his training.
Men trained at the league in jewellery making, basketry, wood craft and in making false legs and arms for amputees.
Jewellery recipes for gold solder and cement for engravers,
hand written in an early notebook
I love these ring sketches and wonder if they are a type of pressed silver template blank that could be purchased at the time
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Pages of lists and pricing for castings and components including Ida Hudig designs
Silver punch and die shape necklace design
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A watch strap bangle template, I'm very much looking forward to recreating possibly with engraved elements
Kotuku in pencil on tracing paper
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One of the Kingitanga designs, there is an alphabetized booklet with more designs I would like to collate and return
A beautiful Ida Hudig earring design
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Design and manufacturing costings
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Correspondence with an overseas client who fell on hard times
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Letters about protesting the export of of shell
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These are just a few of the many letters between Te Arikinui Te Atairangikaahu and Morrie Win, a manufacturing jeweler. The letters detail commissioned gifts for official overseas travel, communication that occurred through various secretaries, and design collaborations between them. They also provide insight into Morrie's life as an independent studio jeweller, spanning from 1974 to 2004, when he was in his eighties and could no longer achieve the level of detail required in his work
Machinery | Tools
Punching press made from a railway iron with a plethora of circle, square, rectangle, oval, diamond and heart punches and dies in a variation of sizes
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Uncle Ron made us both a coded sample sheet of patterns that could be cut with the punch press and dies, the idea was I would be able to call him and let him know what I needed, and he would send it to me, sadly we were unable to collaborate further on this
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The addition of the punching press and dies will significantly advance my practice and open up new ways of making while preserving traditional pāua shell making techniques. This heart shape die would have been used to make the first ring I ever owned
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Shell and stone saws, grinders, and polishing motors, these tools are not suitable to use in my Ngāmotu workshop, so I will work on shell at home and my metal work in town
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Just some of the inherited unprocessed shell from a time when pāua shell was plentiful
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New work space in progress, four wooden post and roof structure made from a trampoline frame and steel beams from a carport. Once it is built I will begin using the new machinery.
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I want to honour the memory of both my grandfather and uncle by making the most of the resources they left me. I am excited to dedicate time to developing significant new work for exhibition without the burden of financial constraints. Until now, I have worked in short bursts while balancing the responsibilities of family life, teaching, and other part-time jobs to make ends meet. Although I feel a profound sense of sadness and loss, this inheritance has served as a catalyst, motivating me to explore my pāua shell practice more deeply.
Ngā mihi nui for considering my proposal
Ngā mihi nui for considering my proposal
Photo collage of granddad's workshop made while I was studying early in the 2000s
