Kerrie Owens, Lapidary Carver | Products | New Zealand Pounamu Geenstone Haast Serpentine hanging healing heart |
Profile picture of Kerrie Owens, Lapidary Carver

About Kerrie Owens, Lapidary Carver

I am a Lapidary artist (stone carver), I also use this method with wood, fossil and shell.  If possible I prefer to use reclaimed, second hand, beach combed and sustainable materials, and slowly working on my ethics with in the stone area, trying to slowly find direct links to mines and collectors. I am also a metal caster specialising in sterling silver in delft clay using fossils as the original mold.

Further Info

Specialised in
Polynesian, Bohemian, minimal and spiritual design for the stone work, with an open mind to slowly moving in to Celtic and Nordic design. I use spiritual and paleontology design for the silver casting.
Open to the Public?
Yes, by appointment only
Provides Course / Training
No
Available for Craft Fairs
Available - please ask about pricing

Contact

Totally Polychromatic
Studio 3C Nucleus Arts Centre
272 High Street
Chatham
United Kingdom
ME4 4BP
GB

New Zealand Pounamu Geenstone Haast Serpentine hanging healing heart

Stone – New Zealand Pounamu
Stone origin – South Island, West Cost, New Zealand
Dealer – Hokitika, New Zealand
Made in – my own studio, UK
Recycled from – A cut stone slab
Type -Douglas Creek
Shape -Hei Toki Adze

The heart itself is made from Douglas creek sourced New Zealand Greenstone, a Serpentine specimen. The Koru Menai g new life in the Polynesian culture, carved in a way of two pieces being put back together and filling the cracks with gold. The gold filling i enamel paint to look like the Japanese art form of kinsugi. Pounamu i in the spiritual and Māori world is like a superstone Of the crystal world. It’s it meant to aid with issues of mental health, protect, heal and give grounding in the Mâori world it is also an ancestral stone, passed down the family line absorbing the essence of each person to wear or process it.

The heart is then healed to the frame with overlapping twine, a natural element and representing nature.

I wanted to push myself past the world of jewellery that I have become to accustomed to. A personal challenge. The point as well as the exhibit it was created to show in was themed identity, with the question posed of what story got us to our current in life. I became a carver while running away from a broken heart and mental health issues, the craft gave me my purpose, my strength, my passion and helped heal what made me run away from my life in the first place . The world of carving is now my career, my life more hole and changed me so much, it has made me determined, taking more risks and the strongest version of myself than I have ever been.

I started learning to carve in Hokitika while backpacking New Zealand. It was the one thing I was desperate to do. It took a while to find a teacher that would teach a woman, but I got there in the end. I have been trying to get all the equipment together ever since to keep going.

This stone is only sourced in one place in New Zealand which is The west on the South island. The main source is owned and looked after by a Moari tribe and any money made from the jade when purchased by the carver would of gone back to the tribe and the local community. It plays a vital importance through history in New Zealand through the making of weaponary and tools and was once sacred to the maori culture. Now it’s an important form of bringing work, craft and skills alive to many communities in New Zealand.

I am a rough around the edges carver and into not believe in flawless. I believe that flaws, a slight roughness and inclusions give character and personality to a piece and makes it more unique. Those flaws are what call out to people because you resonate with that flaw, that piece becomes part of telling your story and personality. So never evet be afraid of the imperfect.