162 Faces Necklace

£15,000

Description: 162 Faces Necklace takes as its subject the claustrophobia of self-consciousness — the involuntary accumulation of faces that crowd the mind and refuse to leave. The work locates this experience in the body precisely: the chest, where psychological weight becomes indistinguishable from physical pressure. The necklace functions as both object and record. Its form holds the sensation of being watched, of watching oneself being watched — the loop that renders ordinary social space unbearable. The faces are not depicted but implied; present in number, in mass, in the piece’s insistence on the body as site of feeling.` Yellow sapphires interrupt the bronze and silver with a quality of unwanted light — the kind that catches you before you are ready. Bronze accumulative, silver unforgiving, the stones sudden.

Lead time of 4-6 weeks.
Measurements: 18 x 18 x 0.5 cm
Condition: New
Womens: US OS
Color: Bronze/Silver
Pick up: Old Selfridges Hotel
Seller: Eliz Fan
Eliz Fan explores the relationship between imagery, memory, and personal identity through jewellery — objects that accompany the body through time, holding emotional meaning and cultural memory in form and material. Of Taiwanese heritage, born and raised in Hong Kong, now based in London, Fan brings a lived experience of cultural intersection to her practice. Her Masters in Jewellery & Metal at the Royal College of Art refined a technical language precise enough to hold the weight of that history — work that is quiet in its execution, exacting in its intention. Central to this practice are philosophies rooted in East Asian thought: wabi-sabi, the appreciation of imperfection and transience, and ichigo ichie, the awareness that every moment is singular and unrepeatable. These ideas shape an approach to making that values the quiet, the incomplete, and the overlooked — worn surfaces, natural structures, the softness of things that resist resolution. Themes of calmness, solitude, vulnerability, and reflection run through the work. Each piece emerges from an attentiveness to small, raw beauties: the kind that exist beneath everyday life rather than above it. The practice also holds the meeting of East and West — where traditional Chinese and Japanese ornamental languages are drawn through personal perspective and lived experience. Historical patterns and dreamlike imagery are not reproduced but inhabited, allowed to exist in a contemporary and intimate context.