Glasgow-based jeweller Niamh Wright creates pieces that feel less like objects and more like emotions made tangible. A graduate of the Glasgow School of Art and later an artist-in-residence there, she has cultivated a practice where colour, texture, and technology intertwine. Loops, stitches, and chains become visual metaphors, stretched and exaggerated into organic shapes that carry fragments of memory and feeling.

For Niamh, jewellery making is both a craft and a therapy. She pours her emotions into her pieces - a kind of creative exorcism. In her latest body of work, Evolve Collection, pastels blur into neon and nylon mimics the softness of paper, while mother of pearl glows quietly against sudden flashes of colour. Each piece begins as a painting, grows through digital sculpting in VR, and returns to the hand through 3D printing, dyeing, and finishing. The result is jewellery that feels alive; playful yet intimate, experimental yet deeply personal.

Chosen for Shine 2025, the Goldsmiths’ Centre’s new talent showcase and emerging maker skills training programme, Niamh brings a voice that is both fresh and fearless, turning moments of anxiety and change into forms of beauty, and inviting others to see jewellery not only as adornment, but as a map of the inner self. Read on as Niamh, in her own words, reveals the emotions and processes that define her collection.

Beginnings in Glasgow

'I make contemporary jewellery that’s really colourful and unique, and I’m currently based in a studio space at the Wasp Briggait in Glasgow.

I’ve always loved making jewellery, even as a young child, creating pieces for friends and family. In high school, I took part in a taster course at Glasgow School of Art through their widening participation programme, and as soon as I stepped into the studio space I thought: Oh my gosh, this is exactly where I need to be! From that moment, I knew it was what I wanted to do.

I graduated from Glasgow School of Art (GSA) in 2023 after four years studying jewellery and silversmithing, and then went on to a year-long residency there. That gave me the chance to experiment with new techniques and push myself creatively without the pressure of assessments, which was a really valuable experience. Now I’ve moved into a new studio that I share with other jewellers, and I’m continuing to experiment and play around with my ideas.'

Emotions Made Wearable

'My work is very unique to me. My main inspiration comes from my own thoughts and feelings, and how I translate them into physical objects. I usually begin by painting forms that help me self-soothe, and then bring in processes like chain making, embroidery, sewing, or beading. I exaggerate these forms as a way of reflecting myself.

From there, I take the forms into a digital space, using different software to develop them into 3D designs, which I then 3D print and hand-paint - reintroducing that element of painting again. The result is really fun, contemporary pieces that evoke different feelings.

My process isn’t fixed - sometimes I complete a piece from start to finish, and other times I go back and forth depending on how I’m feeling in the moment. Colour is a big part of my work too. I use the same colours I’ve always been drawn to, and when I researched why, I realised they’ve surrounded me since childhood. Looking back at old photos, I noticed I was always wearing or surrounded by those colours. I found that connection interesting, so I started using them consciously as a material in my jewellery.'

'I think sometimes I can be quite an anxious person, so making is such a great way for me to calm down and be more present in the moment. One of the pieces I created for the collection is called Growing Pains. At the start of this year I went through a lot of changes, and I think everyone experiences that in life - it can feel overwhelming. I wanted to make a piece that looked uncomfortable, almost like a bruise, and use that to make myself feel more powerful in those feelings. Instead of dwelling on something negative, I tried to turn it into something purposeful and positive.

Sometimes the inspiration comes from good feelings too, and that can be seen in different pieces depending on the colours I use. It really depends on the moment and where I’m at when I’m making.'

The Process Behind the Evolve Collection

'The collection is called Evolve and it includes 12 pieces - necklaces, bolo ties, and earrings. Each one is 3D printed in nylon, then hand-painted, with small details in mother of pearl, natural gemstones, and sterling silver fittings. The name comes from both the personal theme of change and growth - how we evolve through our experiences - and from pearls themselves, which change shape through their environment. The forms I created remind me of pearls, so the title Evolve felt like the right fit.

Once I’ve finished painting, I often use layered stencils to build up forms, which I then take into VR. Using VR equipment means I can step into a blank digital space where I can create freely, without any limits - it’s really fun and liberating. From there, I transfer the files into other digital software to refine them and give the designs a more finished look.'

'First, I make a 3D print in resin to check the scale, design, and detail, before printing the piece in nylon. I then hand-dye and paint the nylon using brushes, sponges, or whatever tools I’d normally use on paper. I love working with nylon because I don’t polish it smooth - it has a texture that feels like paper, which adds a really nice element.

For the mother of pearl details, I laser cut the shapes using Adobe Illustrator, then set them into the nylon with chemical adhesive mixed with neon-coloured paint, which creates a striking contrast against the soft, natural pearly tones. I then play around with different gemstones to see what works best with each piece, finishing them with drilled sections, sterling silver, and other materials.'

'This process began during my residency at GSA, and I’ve continued to develop it since. The programme I use most is Adobe Medium, which lets you make stamps (essentially presets) that you can build on. For example, you can start with a simple ball shape and then use the controls to layer on details. It’s quite complex at first, but once you get into it, it’s really enjoyable.

3D printing in nylon is still fairly new to me, so it’s been exciting to experiment with it. It also allows me to create clean, precise settings for the mother of pearl, which would be much messier if I were to carve them by hand. The laser cutting makes the shapes crisp, and then each piece is carefully hand-set.'

Pieces with Personality

'The Growing Pains bolo tie is probably my favourite piece because it’s the most personal. I made it without overthinking, just doing what felt right, and I think that really reflects the way I approach making overall. I also have a soft spot for the Curious bolo tie, which I first showed at exhibitions like Getting Started Online and Spotlighting. It was one of the first pieces where I used 3D printing alongside mother of pearl, and it felt like a breakthrough moment - realising this was the direction I wanted to continue in.'

'Some of my pieces, like the Bolo Ties, are also adaptable. For example, I can refresh the colour if someone wants a change, or restring the beaded section. While the earrings and necklaces are more fixed, I’m very open to commissions and enjoy collaborating with people to bring their ideas into their own jewellery.

Accessibility is also something I’ve thought about - I’ve designed certain pieces to be easier to hold, push, or pull, so that people with limited mobility can wear them too. Ultimately, I want my jewellery to connect with people, to express who they are, whether that’s through its shape, colour, or simply how it’s worn.

I haven’t narrowed down my audience too much yet, because I want the pieces to be for everyone. So far, they’ve attracted a wide age range and very different personalities, which I love. People are often really engaged by both the techniques and the shapes of my work - the designs are organic, playful, and a bit unexpected. They tend to spark curiosity and lots of questions, which I really enjoy answering.'

Shine 2025 and Beyond

'I’m so grateful to have been chosen for Shine 2025. It’s such an amazing opportunity, and I’ve admired the jewellers who have taken part in previous years. Already the programme has offered me so much - from building confidence in promoting myself online to developing how I write about my work.

Taking part in the writing workshop as part of the Shine programme was a highlight for me. It helped me find the confidence to talk more openly about myself and the personal side of my work - which can feel scary, since my jewellery is so tied to my own feelings. The tools I learned there have been invaluable, and I’m also really excited about the opportunities to sell, meet people, and talk to them about my work.

Looking ahead, I want to keep developing my techniques while also exhibiting more internationally. Munich Jewellery Week is a big goal of mine, as well as working with more galleries and selling through different boutiques.'