Mercurial Ring

£15,000

Description: Claustrophobia cast in metal. Faces press against one another across the band — watching, unblinking, turned in every direction at once. The gaze does not lift when the ring is worn; it multiplies. Gold, silver, and bronze layered and fused into a single dense surface, each metal a different weight of feeling, each face another presence you cannot set down. The band builds upward — accumulated rather than constructed, heavy in the way that emotion is heavy. To wear it is to feel bound. The hand slowed, the finger encircled not by ornament but by everything pressing in at once. Chains rendered in precious metal. The watched and the watcher collapsed into one object, worn on the body, impossible to ignore.

Lead time of 3-4 weeks.
Measurements: 3 x 3.25 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.