Parts of 4

    Parts of Four is a reimagining of [contemporary] jewellery with a total disregard for classical norms and trend based fashion. Non-seasonal and non-gendered, the brand uses the exploration of material, process and form as a basis to create an expanding body of work that builds upon itself rather than looking outwards. Parts of Four exists in a vacuum, without reference point, and attempts to maintain a ‘standing wave’ that steadily grows in intensity, layering onto itself over and over until it has defined a signature foundation of it’s own.

    The collection is broken up into numerical series (Series 1, 2, 3….), with each fashion-calendar season we bring both a new series of new pieces and refinements to pieces from the previous series. The past series remain a part of the ever-growing “collection” and by doing this, the body of work is allowed to expand and contract (as old pieces are retired), organically moving towards a unified and resonant whole.

    Forms are used over and over again. Pieces are continually worked and re-worked. Materials and finishes are developed, abused and refined. These repetitive and constant modes naturally form relationships across product groups, one informing the other as an evolutionary cross breeding unfolds with one product adopting traits from another. This replication of a natural biological process is celebrated and exploited as much as possible. A ring becomes a bracelet which informs the volume of another bracelet which in turn is used as pendant which becomes the basis for a lamp and on and on. This circular process is constantly in play with absolute freedom to mutate. This droning and throbbing chemical creative process is our modus operandi… Repetitive and sometimes understated, it forms the undertone of the entire brand.

    As we begin to add new categories of product and expand into collaborative projects like P4H (Parts of Four Home) the brand increases complexity as we become more involved in the determination of personal, spatial, life. The furniture and lighting, in many ways, are a literal scaling up of the formal ideas explored within the jewellery. This returns to ideas on architecture and the jewellery can then be seen as scale models for larger endeavours. A nod to the architectural process itself.

    Our production model is both a celebration and resurrection of ancient manufacturing techniques. The hand can be seen in each piece, nothing is machine made. Everything is made within our own small artisanal facility which gives us the freedom to explore the boundaries of “making” and adjust production methods to meet the needs of all situations. Elasticity. This simply means we are able to produce anything since we define our own limits and control the process from end to end. 

    We use and seek many techniques to create our products with…. Some of the most used are metal casting, carving of wood, bone and minerals, plate metal hand fabrication and the fusing of materials to create our own composites. Surface treatments, revisions of classical techniques like electroplating with gold and silver but pushing the process to its limits and finding ways to intentionally destroy it.

    The conversation of this project would be desperately incomplete without the mention of material. The substances from which we carve, cast and sculpt are essentially the life force of the brand. It is the searching for, discovery of and experimentation with materials that all else follows in suit. We believe in magic and the ability of material to hold history and power. It is this natural emanation (glow) that we try to preserve and amplify. In the end, creating magical objects is the ultimate goal; Hard-edged solid industrialised shamanic tools.

    Surface texture another key aspect to our endeavour. Surfaces are worked and reworked until a type of harmony is reached. Whether that harmony is achieved by destroying and rebuilding layers of material, fusing materials together, applying chemical (E.g. acid) treatments, electroplating or simply polishing a material that lends itself to be polished, the end result always strives to find resonance between material, texture and form.
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