10 Questions with Bianca Bartley

Bianca Bartley, a Jamaican Psychology graduate from the University of the West Indies, launched her jewellery line 'Peace-is of Bianca' in 2008 after developing a taste for design through self-prescribed 'art therapy' in early childhood, 'revamping' hand-me-downs from her older sisters. Self-taught in jewellery-making, Bianca uses natural materials- including precious gems and metals- to create unique, high-quality pieces. Through her brand, she aims to make a positive social, cultural, and environmental impact through holistic design and production. Each work of 'He(ART)' is infused with passion and storytelling, reflecting the brand's ethos of peace and well-being. 

Her jewelry has been featured in several local and regional publications and worn by notable figures. Bianca has participated in various prestigious events and collaborations, such as designing pieces for the Jamaica Festival Queen competition, producing the trophy for the Jamaica Observer Style Awards in collaboration with renowned Jamaican artist Trevor Figueroa, and being selected to represent Jamaica, exhibiting at the Spring Fair International in the UK.

In 2013, Bianca expanded her creations to include lifestyle collections and received the Style Observer Award for Jewelry Designer of the Year. Bianca's journey is one of perseverance and creative genius, with her work symbolizing resilience and hope. 

www.peaceisofbianca.com | @peaceisofbianca | @peaceisofbiancahome

ARTIST STATEMENT

Bianca aspires to create an umbrella brand offering a diverse range of products and services. Targeting consumers seeking unique, personalized products, the brand caters to individuals looking to stand out and embrace individuality. Bartley's designs combine precious metals, stones, and natural materials, embodying a fusion of abstract and organic elements. With a focus on sustainability, she incorporates recycled metals and nature-inspired designs.

By appealing to a niche market and utilizing unconventional sales and marketing strategies, Peace-is of Bianca aims to engage consumers amidst a dynamic economic landscape. Bartley's vision is to promote peace on a global scale through her brand's unique offerings and personalized approach. Her brand represents a blend of art, nature, and individuality, appealing to those who appreciate distinctive, environmentally conscious creations. She is currently working on a milestone project, exploring new techniques and materials, which is expected to be released in 2025. She anticipates it will be one of her greatest expressions of self and artistry.

INTERVIEW

In your biography, you mention how you started making art as a child, upcycling your sisters' and mother's hand-me-downs. Did you have any artistic influences growing up? And what sparked your interest in making art in the first place?

I would say I was surrounded by artists in the primary stage of life: My Aunt Fay is an amazing seamstress and fashion designer who, to date, has the most impeccable underside garment finish that I've seen. She worked with Vogue for decades in Manhattan at the 'factory' where they designed, produced, and tested the original Vogue patterns that were popular 'back in the day.' I was able to go to work with her- in the summers when my older sister and I visited her and her husband, my mother's brother, in New York- and see all the fabulous staff of predominantly women in the various construction and design rooms, doing equally fabulous work and watching the very intricate layers that went into their process.
My mother is a spectacular culinary artist who ran with women who were all artists: My godmother, Audrey Scott, in Jamaica, had a niche clothing line in the 80s & 90s, designing and creating fabulous pieces. She custom-tailored a lot of my outfits for me as a child. My mother didn't shop ready-to-wear for me; as I mentioned, I got my sisters’ hand-me-downs, but for three non-consecutive summers, within the span of 8 or 10 years, she had everything custom-made for me by my Godmother and another close family associate. I would be a part of the process in its entirety, being naturally curious. My Aunt Norma Shirley- another friend of my mother- was an internationally renowned chef and culinary artist- together with the assistance of my mother and Aunt Audrey, opened Norma's, which for decades was the premiere dining spot for fine cuisine in Jamaica. I even recall, as a child, going to the atelier of Bridget Brown of Bridget Sandals- a Jamaican-owned, internationally renowned line- and dictating my own design specifications to her for my desired pair. Thinking back now, the wealth of amazing talent I was surrounded by in those formative years makes me feel a sense of awe and great appreciation. I was constantly around these female creatives who were simply my 'aunts' and just loved how juicy and brilliant it all was.
The first impactful recollection of influence that I know cemented my interest in creating art consciously - occurred at about age 7: It was a  'Carnival Sunday' in Jamaica & my mother took me to her friend & Artist- Trevor Figueroa's house, where her friends were meeting to go in convoy to the carnival parade. Uncle Trevor had dogs, so I'd never dared to venture around the backyard where his workspace was until this particular day. I was already very familiar with his work and thought them beautiful, but I vividly recall the AWE-mazement and wonder I had, as well as the physical feeling- a tingling, perhaps an awakening inside, as I braved it entering the backyard. I looked around at this magical world of metal, the 'parts', odds and ends, and 'junk' of it all: There were massive handcrafted bronze and copper abstract shapes and sculptures, a handcrafted iron staircase adorned with oxidized metal-shaped banana leaves and other Indigenous flowers in the studio and atelier that Uncle Trevor had built himself, even a fiberglass and bronze convertible car he'd designed and built from scratch.
I became aware at that moment that his refined pieces originated from this place where everything seemed so much more delicious; its rawness excited me terribly. I knew then and there I wanted to be IN this, to create 'junk' like Uncle Trevor. 
Figueroa is a renowned metal sculptor and traditional glass blower, a living artist, and a genius. I am very blessed to have been divinely placed here with him at this time. In my early years as a jeweler, I had the honor and opportunity to work with both him and Artist Margaret McGhie, executing the trophy for one of our country's local Newspapers, The Jamaica Observer, for their Style Observer Magazine Awards. An award I myself won years later in 2013, earning the title of Jewellery Designer of the Year 2012-2013.

You later studied Psychology and worked in marketing and sales. What made you choose psychology over pursuing art directly? Do you see any connection between your psychology background and your artistic approach today?

When I was 14, my father passed away suddenly, leaving my mother to support our family of four girls. As the primary breadwinner, his loss thrust my mother into the role of provider, ensuring my older sister and I finished high school and pursued higher education. After my A Levels, I passionately wanted to study art at The Edna Manley College for Visual and Performing Arts in Jamaica. However, my mother was concerned about the uncertain financial stability of an art career and insisted I take the more traditional route. Having absolutely no choice in the matter, I selected the BSc. Program for Psychology at the University of the West Indies, drawn by the promise of minimal mathematics (I got a rude awakening with that one) and the intriguing study of human behavior.
After a difficult first year, which later I would discover was a result of ADHD coupled with depression, I took a year's leave of absence from school. When preparing to resume my second year, my mother offered me the chance to switch to art school, but the weight of her financial sacrifices, coupled with my positive processing of the diagnosis of ADHD- to mean "I'm a super genius that functions differently" I re-applied myself and kept on my original path, at the same time designing handbags and clothing for myself. I successfully completed my Psychology degree and found myself dreading conventional office life. An opportunity in sales and marketing presented itself in a small company, where I also became the lead makeup artist without formal training. This provided a more colorful alternative until my employer's migration, which led me to be my own boss and start my own brand with no formal training there either.
In hindsight, would I change my journey? Absolutely not; For one, however sad it is, we live in a shallow world where having a 'real' degree, even if it's a Bsc. is handy to have on the occasions when everyone is slinging them around in conversation like they’re comparing dicks for measure; We all know the typical artist stereotype- how dare we be able to use our left brains?! It leads to a certain shock effect, by which I am often smugly amused. But on a more serious and practical note. Psychology is a useful degree, and I believe everyone should obtain or have a basic introductory knowledge of it. In business, there is a psychology to marketing, to customer and employee relations, etc; my degree has equipped me with a unique lens to understand and connect with people. It enhances my ability especially to relate to my collectors, anticipate their needs, and deeply engage with human emotions and behaviors. My art reflects many universally relatable themes: joy, love, loss, passion, fortitude, trauma, heritage, for instance—imbued with a sensitivity and depth shaped by my psychological insights. To expound, In 2012, for instance, I launched a collection of jewelry entitled 'Journey Into The Sun, a tribute to Nina Simone'. This collection mirrored me explicitly but also served as a gift of healing for others: The themes of the Collection explored love, loss, and the healing journey. Each 'peace' was accompanied by a descriptive collection booklet, as well as a curated CD of Simone's music in original and remixed versions. The music echoed the mood of the jewelry, intertwining sound therapy, if you will, with visual art to create a powerful healing experience for the collector. Succeeding that collection were the Eros (named for the Greek God) & Enso (inspired by the Enso, the symbol representing total enlightenment), expressive of love and one's devotion to it and it’s beauty in renewal. Everyone can relate to the various stages of love, I hope, and in sharing my journey through my self-processing through my art, I am able to make some difference to someone- that makes it worth it for me. I can't sit with someone in a room while they lie on the couch and talk to me, but perhaps I can make some small difference by sitting in my atelier and creating truth.

Deciding to launch your line without formal training is impressive. How did you teach yourself the craft of jewelry making?

Manifesting the images of my imagination comes naturally to me: Unlike the children in my class whose parents obtained the majority of the material for their school projects from the pharmacy, my father and I would make everything from scratch. And I mean EVERYTHING down to the most minute item, including glue, plasticine, and once- even miniature clay bricks for my prep school 'dwellings' assignment: We dug the clay from our front yard, made the molds using old shower rail runners and a hacksaw, then baked them in our kitchen oven. It was an epic fail, so we went again, dismantling half my mother's closet for wooden hangers that we took apart to construct a 'log cabin' instead: windows and front door included. My father was a craftsman like his father before him.
When the day came as an adult (during my tenure in sales and marketing) that I had an event to attend, for which I needed a pair of earrings, I stripped off the outer coating of an electrical cord, exposing the copper which I then cut and coiled into a fabulous bold pair of bold bespoke earrings. I affixed a pair of ear hooks that I removed from another pair of earrings I'd had, attached them with a regular pair of pliers, and wore them to the party. I got so many compliments on the design, including one from a local jewelry designer who I admire, and so I decided, with his advice, to continue crafting my art. The first works utilized a lot of layered fabric and appliqué- I created necklaces and made rings from vintage buttons; for other work, I used wire wrapping techniques, which I taught myself, as well as other basic tool construction methods, which I Youtubed or read in books I invested in. I outsourced any specialized processes that I needed from other local Jewellers and launched the line Peace- Is of Bianca. After a year or so in business, I had the desire to take my line to a higher level: executing more refined and metal-crafted pieces. I, therefore, attended a short course at a local art studio, whose outline promised to teach me the use of the jeweler's torch; after a week and a half of attending the course, learning the basic method of cutting sanding, etc. I was taught to use the torch. After two days' worth of those lessons- I did not return; I took the knowledge and ran with it, executing the collection 'Journey into sun into the sun', which to date is perhaps my most comprehensive body of work. That collection gained me entry to Swiss Stores, Jamaica- one of the finest Jewelry houses and the original distributor of Rolex in Jamaica. They took up my line as their first local fine jeweler, and I subsequently moved my workshop to their atelier. There, I was under the unofficial tutelage of one of Jamaica's, if not the premier master crafter and Goldsmith of the country- Norman Bendor, as well as the Swiss watchmaker and former Swiss Stores proprietor now deceased- Peter Bangerter. The two honed my skills as a goldsmith, teaching me the skill of diamond setting, advanced jewelry construction techniques, and finishing. That relationship also allowed me to bring to life one of the mandates of Peace-is of Bianca: that of representing other local Jewellers under the brand name, giving them a platform for exposure that they may not have had access to otherwise. This is still a practice today.
I have always been a practical learner. I suck at theory. My new project being developed requires skills for which I have no formal or otherwise training. Once again, I am learning new processes and working with a larger community to bring my visions to life.

You also mention focusing on natural materials. What draws you to using them in your pieces, and how do the materials themselves inspire your designs?

I will often say, "I'm allergic to plastic, both people and things." Objects in nature exist with a certain beauty all of their own, an untrying beauty that leaves little or no need to alter their form; I love working with natural elements, whether it be a piece of bamboo, coral, a precious stone, or even metal and I typically use them in their natural raw forms or in cuts that most flatter their form, highlighting or mimicking certain features in my designs. 
I am extremely sensual; I hear that we Taureans are the most sensual sign of the zodiac. I'm not sure if that's true, but I do know that I've always experienced life- and thus have come to appreciate it deeply- with the full, conscious-unconscious utility and engagement of all five (arguably 6) of my senses simultaneously. When I myself curate the various events and experiences that I host, it is always with the activation of the senses at the forefront of my planning. When I am drawn to something, it's because it has stimulated at least two/three of my senses: I love texture- I love to touch. The soft, breath-like feel of fine silk is thrilling to me, and bold, vibrant colors make my brain tingle; exotic sounds, scents, and delectable spicy dishes all stimulate a sensation within me that I can never quite decipher to be manifesting definitely as physical or emotional. It seems somewhere in between my sense of feeling. I also apply the full sensory method when creating my collections, from concept to creation.
Michelangelo once said,  "The sculpture is already complete within the marble block before I start my work. It is already there, I just have to chisel away the superfluous material." 
There are times I'll go away to a tradeshow and be instantly drawn to a precious stone. It could be a cabochon of Lapis Lazuli or a raw cut of clear quartz, and I'll have absolutely no idea at the moment what it is that I want to create with it. I'll go back to my hotel or wait until I'm back in Jamaica, lay them all out before me in a big jumble, and one by one, the designs just seem to reveal themselves to me. 
Materials, to a great extent, have played a large role in the conception and development of my designs over the years. For my most successful collections, the focus has been on the structure of the precious stones themselves, with me barely altering their forms, as to me, they are already so stunning by virtue of their very existence/chemical makeup. It's simply highlighting, allowing the already existing beauty to be revealed, just as Michelangelo alluded.
I employ various methods to achieve this. At times, I may simply punctuate raw cuts using polished accents- The juxtaposition acting to bring focus to the beauty of the stone's contours or serving to be reflective of light, bringing focus to its color variegation, for instance. I love using inlaid diamonds against the landscape of both rough-cut and polished stones. It all depends on the intent of the design, and what it is I'm trying to achieve. I have inlaid 14k yellow gold bezel set diamonds into a raw cut of azurite to highlight the diamond-like shimmer that was in it, and I've also concealed diamonds inset a raw cut of 35mm Pyrite, the feature stone in a bespoke ring that I created a few years ago for my collection 'Stoned' where every 'peace' was designed around the raw uncut gems.
I must note that over the years, I have wasted time and money, investing in material that I was instinctively visually drawn to, having no design plan prior to purchase, and having no design inspiration come to me subsequently. But I still love working this way around most of the time! 

Can you elaborate on your creative process when developing a new piece? Where do you find inspiration for the stories you tell through your pieces?

I've learned over the years that 'forcing it' isn't the best thing to do as an artist; it steals your joy, and 9/10 you're gonna create garbage...even if people buy it, it will always be perceived as subpar to you. I believe that's perhaps why designers who expand over time and have to cater to seasons, for instance, hire design teams to fill in for the gaps when one's mind is in 'live' mode instead of 'create'. I say that to say that my best inspiration comes when I'm not trying; I've been extremely blessed to 'receive' many of my collections as some form of vision. It can come as spontaneously as me bending down to pick something up, and it's as if some graphic representation slams inside my brain's eye and knocks me straight up. I translate these visions onto paper as realistically as possible. Each year, I begin with a new design book- I sold my iPad Pro once six months after purchasing it to design. Old-fashioned 2b pencil sketching is a natural part of my process, and then I insert color with good old Crayola pencils when called for. I am very attentive to this part of the design process, I've come to realize. It's almost as if I'm creating coloring book pages and simultaneously filling them in, focusing on each contour, giving in fully to my imagination and the childlike, carefree process.  Recently, while moving my atelier's location-  I came upon and got the opportunity to look back through a decade of work in design books. I marveled at the fact that I had, in fact, executed the exact peace-is that I had sketched over the years almost to a T. After sketching, at times, I create a prototype; more often than not, I go straight from a sketch to full-on production. 
I am inspired by everything I experience.  I think it's hard to separate art from the artist; it's an extremely personal and intimate expression of one's self. Some expressions are cryptic, and others are displayed somewhat comprehensively for the audience. I have a dualistic relationship between my internal and external environments influence in regards to inspiration for my designs; I also find that many times, there is serendipitous alignment with the environment or external inspiration drawn on in relation to my internal state, be it present, past or even future. If you trace my work over the years, it will read almost like a diary: I work from a space of knowledge, of truth, of my own being. Artists are sometimes classified as the most publicly private people, and we oftentimes use our work as a form of catharsis. My work throughout the years is perhaps like one big abstract painting- you have to step back to decipher the message. Whereas some artists and singers, for example, express themselves outright, I give hints of my story through the work and the literature that often accompanies the work.
My primary love of the arts is literature. I love writing poetry,  but I find the process to be extremely expository, especially since I personally can only write from a personal space or place of reference, which is why perhaps I selected jewelry as my initial artistic area of focus.  Poetry is an expression of feeling; I use my jewelry as a poem of sorts to express these feelings of mine, except here, I'm able to obscure my emotions somewhat, along with the various themes that I am processing or expressing through my work. The collection ‘Whispers on the Wind' is a literal poem of mine, each line of which is expressed as its own pair of abstract earrings. It is a poem of longing; it expresses words that I was unable and, more so, unwilling to convey verbally to another at the time. The expressions and topics of inspiration vary.
The collection 'Beaten,' which utilizes a beautiful hammered technique from which I designed a series of earrings, rings, and cuffs in 14k Gold, Gold Filled, and sterling silver, expressed my reframing of the word 'beaten.' As I sat years ago, letting out my frustrations of life's growing pains via intense hammering at the prototype's bronze material that evening, the message suddenly came to me—- That the setbacks and diversions of life were all a part of the beauty of it. When one thinks one is 'beaten,' they think 'defeated,' broken, busted, and done for; however, as I looked at the patterns and brilliance of the minute contours in the metal, in direct relation to the pounding it needed to get there it struck me- like an AHA moment: this sheet was me... this is The beauty of myself! I decided to keep pressing on, keep forging ahead and not be daunted by the 'work' it would take to get there. The descriptive card that came with the collection embodied the same message - that there is great beauty in adversity. 
Another instance of dual inspiration is reflected in my most recent collection,  'Off Roots', a collection of handcrafted solid bronze chargers, cocktail plates, and napkin rings. The collection was created while lying on Bob Marley Beach, St Thomas, Jamaica. I had gone there prior to the beginning of the last quarter of the year to chart my course for the upcoming business year; I mulled over thoughts -  I was creatively restless, frankly a bit bored with jewelry- yearning for something more fulfilling and 'true to me.' As I lay there on the bench, inside the wood and thatch beach hut, in quiet contemplation, I looked out and noticed bits of driftwood strewn out across the black sand. All at once, I received 'the sign', and the collection came to me at once, depicted in the very nature in which it was splayed out. Off roots - in every way, represents myself at that current stage of my journey- It is presented 'Of Roots', speaking to me going back to the root and truth of my passion- the only place at which I could find true pleasure and fulfillment- in creating MORE, it represented me going 'off route' in terms of jewelry, yet still it was an 'Off root' of my current area of focus, though still connected to the whole. The evolving collection, again, goes symbolically deeper: being created during a time in which I began the quest for more knowledge of my family's history and our ancestral roots. Off roots, like all of my collections, are representative of where I am;  Now I am on the journey back to the root of pure creation.

You mention an internal call to create work with a positive impact. Can you share some examples of past pieces that embody this philosophy?

I am deeply committed to creating pieces that not only exude beauty but also foster a positive impact on individuals, our community, and the environment. Here are a few examples that illustrate this philosophy:

1. Peace-is of HIStory Collection & Heirloom Peace-is: Peace-is of HIStory is a collection inspired by a solid gold commemorative Jamaican Post-Independence coin pendant gifted to my mother by my father. The collection of original coin medallion pendants utilizes the trove of pre-emancipation, as well as pre and post-independence coins from his collection. The coins are bezel set using recycled gold or sterling silver, as well as ethically sourced diamonds. By repurposing existing materials and ensuring the stones are conflict-free, I aim to reduce the environmental footprint of my work and promote fair labor practices within the industry. Whenever I do any custom work, my collectors are first given the option to use their existing gold material for the project. More importantly, to reduce the environmental impact of sourcing 'new gold', given the metric tonnes of waste per 1 ounce yield of gold, and also due to the amount of sentiment in pieces passed down through generations. At times, the design may not be the taste of the inheritor; in upcycling, we reduce the need for new materials and preserve the history; thus, in essence, the sentiment remains, though the form may have changed.

2. The Collection' Many Moods And Peace-is' is a spin-off from the 'Off Roots' collection. Designed in collaboration with a local Jamaican family, this collection of hand-carved cedar bowls, forks, and spoons adorned with bronze elements is created from naturally felled trees and incorporates the wood carving skills of the men in the family, who are predominantly involved in domestic labor, providing them with an opportunity to develop new skills, access markets and earn a higher income. Trees are replanted to replace the ones found, despite not being cut by us; in addition to this, the Bowens retain almost 100% of the revenue from their input

3. Peace is for Charity: Being a part of a greater organism is how I see myself, and so doing my small part for humanity is vital. I've had the honor and pleasure of not only teaching and working with women in Jamaica's Maximum security all-female prison, Fort Augustus but have also been able to contribute to causes such as auctions to raise money for children with Scoliosis, as well as the improvement of the country's National Children's Hospital, donating peace-is to various charities leading the charge.

4. Local Eyes- Being from a developing country such as Jamaica, manufacturing costs are high, and so over the years, many industries, including the jewelry manufacturing industry, in Jamaica have almost diminished. Since beginning my line Peace-is of Bianca, it has been important for me to work as much as possible with existing, as well as new, local expertise in Jamaica. Though difficult, I also aim to source as much of my raw material as possible locally before looking overseas for technical support, mass production, or product input. Though, at times, it reduces my profit margin and presents several other 'third world' challenges I won't get into- it's always more important for me to help sustain our county's internal cash flow. These are just a few examples that give testament to my dedication to sustainable practices and my desire to create meaningful, impactful work that resonates with my values and those of my clients.

On a different note, you also mention exploring different mediums and larger works. What challenges and opportunities do you see in moving beyond the jewelry format?

When I began this project, and this phase of my life: the evolution of my work to a larger scale and my own evolution required to execute this new body of work, instead of assessing my situation from the viewpoint of "what do I need? What don't I have?" as we perhaps are taught to do, I decided that I was going to look at my situation by first taking an inventory, looking at, 'what is it that I already possess?" not my prior self-defeating standpoint that I think comes in to play when an artist begins to focus on the business of art. 
My approach to my project and this new body of work is one being executed with childlike surety, infused with the excitement for this novel experience and sustained by raw passion. Years ago, I would perhaps think,  "I don't have the time or money that I need to focus on and fund this project," or "After it's created, how do I market it to a larger audience internationally as is my desire, how will they find me in Jamaica, an island in the middle of the ocean?" Instead of doing that, I stepped back with new eyes, my chest figuratively inflated as I took stock of all that I actually already had, which was required to begin. 
l view this new project as an opportunity to expand just as I'm expanding myself;  instead of seeing something as a challenge, I get excited, seeing it as an opportunity to learn from and experience something new. This April, I sat with myself, applying for various grants and artist opportunities; I thought, "If I have something fabulous that I am creating, then I know for sure that there is someone who either wants to fund or purchase pieces from my project after completion. There must be someone that wants to market my work and is looking for something interesting to bring to a wider audience." And so I am on a relentless quest to find these opportunities. Being interviewed by Al-Tiba9 Contemporary is proof of the value of re-assessing your situation: I've been passed over for grants and business loans in the past, which for over a decade deterred me from exploring further: by putting myself out there confidently; I came across this beautiful opportunity to be featured. 
I am personally tired of 'seeing' obstacles- a lot of my previous collections speak to that; I am now blind to them- it's all opportunities! One thing I will say is an outright opportunity is having a proven track record in my current field. I believe that will definitely create more opportunities for me while expanding my range. My collectors are used to work of a certain caliber, and so naturally, with the trust that I have developed with them over the years, I believe the transition will be quite seamless. I'm keeping interested and interesting. This is a perfect opportunity to create some extremely beautiful work and succeed at something new yet again.

You seem to be very attentive to materials and the production process. In recent years, this seems to be a great focus in both fashion, design, and art in general. How do you envision "Peace-is of Bianca" contributing positively to society, culturally and environmentally?

Thanks for recognizing my dedication to materials and the production process. I believe if one is doing something, it must be done with meaning, purpose and positive intent.  As a brand/business, one has a platform from which one is able to make a difference, no matter how small, and contribute to the wider society. Here's how I have already begun to ensure my Peace-is make an impact and will continue to do so for years to come.

Cultural Contribution:

1. Celebrating Heritage: Our Peace-is of History collection, which features medallion pendants made from original Jamaican coins set in 14k yellow gold, is a prime example. We also create pieces that are symbolic of Jamaica's coat of arms, our national bird, and flowers, to name a few. These pieces, especially the medallions, celebrate Jamaican history and culture, creating a connection to the past while allowing wearers to carry a piece of heritage with them. We also cross cultural boundaries, creating meaningful work for collectors across the world. 

2. Supporting Artisans: By collaborating with local artisans and incorporating traditional techniques into our designs, I help preserve cultural craftsmanship and provide sustainable livelihoods for these skilled workers. This not only maintains the cultural integrity of our work but also ensures that these artisans' skills are passed down through generations.

Environmental Contribution:

1. Sustainable Materials: I prioritize using recycled metals and ethically sourced gemstones in our creations. By repurposing existing materials, we minimize our environmental footprint and support eco-friendly practices within the jewelry industry. In the new works that I'm producing, nearly 100% of the material will be upcycled. And that's something I'm also working back into my jewellery.

2. Eco-Friendly Practices: Our production processes are designed to be as sustainable as possible. We employ energy-efficient methods and reduce waste wherever possible. For example, I now offer collectors the option to have their custom work made with lab-grown diamonds, which have a significantly lower environmental impact compared to traditionally mined diamonds.

3. Conscious Design: Every design is created with longevity in mind. I strive to craft timeless pieces that can be cherished for generations, reducing the need for frequent replacements and promoting a more sustainable approach to jewelry ownership.

By embedding these principles into our work, I aim to not only create beautiful jewelry but also contribute to a more culturally rich and environmentally conscious world.

Where do you see your art evolving in the next few years?

It was with intention that I named my line 'Peace-is of Bianca.' It's a play, of course, on the word 'pieces'. I've always been passionate about many areas of the arts; I've focused primarily on jewelry for more than a decade, with punctuations and dabbling into other areas, such as furniture production. Currently, my focus is on much more than just jewelry. I'll not say in which particular direction(s) it is that I'll go. Right now, I'm fully BEING in the flow of pure creativity, working on many personal projects that I'm very excited about. I will say that as I evolve, my art will do so in alignment, continuing to reflect my truth and my exploration of the various possible outlets of its expression. That's what Peace-is.

Lastly, what advice would you give to someone who wants to pursue art but might not have a formal background like yourself?

I think Nike has already given us all the best advice in life. I'd just insert an expletive in there for emphasis. 

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.