Medicinal Plants in Contemporary Jewelry

Article  /  CriticalThinking
Published: 18.01.2024
Nora Sarlak
Edited by:
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Nora Sarlak. Brooch: Scent of Nirvana, 2019. Cinnamon, turquoise, brass. 13 x 2.5 x 11.5 cm. On body. Nora Sarlak
Brooch: Scent of Nirvana, 2019
Cinnamon, turquoise, brass
13 x 2.5 x 11.5 cm

On body

© By the author. Read Copyright.

Estimated price: 200 €

This article delves into the exploration of medicinal plants' broader utility, extending beyond consumption, towards enhancing health through olfactory stimulation - a lesser-known yet significant aspect of plant-based therapy.

The findings reveal the untapped potential of medicinal plants in the creation of artistic and utilitarian pieces, such as jewelry, with applications extending to everyday materials.
Nature is a grand manifestation of the universe's divine essence, housing remedies for numerous diseases in the form of medicinal plants. As a vital part of a region's natural assets, these plants have the potential to spur economic development. Historically, mankind has turned to these natural remedies to combat various ailments, a practice still prevalent in regions rich in medicinal plant biodiversity, such as Iran. Utilizing these plants for disease prevention and treatment can often be a cost-effective alternative to modern medicinal methods. However, just like synthetic drugs, medicinal plants can lead to side effects if misused or consumed over extended periods.

Medicinal plants contribute to health not only through ingestion but also via the sense of smell, opening up the possibility of incorporating aromatic medicinal plants into wearable jewelry for aromatherapy. As we navigate through our daily lives, we constantly encounter a range of scents that can influence our emotional state. A pleasant aroma can instill a sense of relaxation, while an unpleasant odor can cause discomfort. This study aims to foster positive emotions by integrating aromatic plants into wearable jewelry.

In Jewelry as Narrative (1) (2014), the use of both natural and edible materials in jewelry making is explored, emphasizing how jewelry can accentuate a person's uniqueness. Wearable or Not? Experiencing Contemporary Jewelry (2) (2016) delves into the experience of wearing contemporary jewelry and its position at the intersection of art and craft. Meanwhile, Effect of Materials in Jewelry Design and Economics Based on the Philosophy of Emotionalism (3) (2013) investigates the intelligent application of diverse materials in jewelry design, the potential of new materials, the economics of jewelry design in Iran, and the role of users' needs in material selection.

Medicinal plants can stimulate the sense of smell, impacting not only the physical state but also the mental well-being of individuals. This study leverages the age-old science of aromatherapy, driven by the pleasant aroma of selected medicinal plants, aiming to enhance physical and mental health. Other properties of plants, such as their texture and natural color, are also considered. The naturalness and therapeutic aspect of medicinal plants allow for the design of a wide range of creative jewelry that combines elegance, beauty, and therapeutic benefits.

The study includes the use of Cinnamon, Entada rheedii, Boswellia serrata, Salvadora persica (the toothbrush wood), and Areca(Betel) in jewelry-making, chosen for their pleasant aroma and harmlessness. Aromatherapy, a branch of phytotherapy, employs oils from aromatic plants like mint, marjoram, rose, lavender, and rosemary, to alleviate health issues and improve life quality (Seraj and Sayed Arabi, 2017:53). While medicinal plants may be perceived as harmless due to their natural origins, inappropriate or long-term use can lead to side effects, much like chemical drugs (Aramesh, 2018). Moreover, the medicinal efficacy of a plant can vary based on the area of cultivation, soil type, and climate.

Selected for their aesthetic appeal in terms of color, texture, and form, these plants are used to create practical, economically viable jewelry pieces. They are paired with metals like brass and silver and combined with turquoise stone, a favorite among Iranians known for its many properties. Turquoise, a sedimentary stone, has purported healing properties, believed to improve pain and many internal diseases (Rezaeian Attar, 1993). The combined healing properties of this stone and medicinal plant can significantly enhance the utility of such jewelry pieces.

In essence, this research explores the use of medicinal plants and their therapeutic properties as alternatives to traditional jewelry materials. The guiding question of the research is, How can the healing properties of plants be utilized in the design and creation of contemporary jewelry?. Through the creation of contemporary jewelry.
Contemporary Jewelry in the World
Jewelry has been an enduring part of human adornments, securing its significance in societies from the dawn of human awareness about rare and enduring metals and minerals. The landscape of jewelry, however, experienced a profound shift beginning in the 1960s. This transformation was triggered by a succession of innovative independent jewelry artists, often emerging from art colleges, who persistently challenged traditional conventions. The advent of new technologies and unconventional materials, such as plastics, paper, and textiles, upended the time-honored notions encapsulated in traditional jewelry (Dormer and Turner, 1985:24).

This paradigm shift opened up the domain of jewelry-making beyond precious gems and stones, heralding an era characterized by openness towards diverse materials. It inspired designers to embrace innovation, creativity, and material diversity. Arguably, the use of synthetic materials in jewelry-making stands as the most significant evolution in this art form during the 20th century. In the present day, jewelry, as a work of art, transcends mere aesthetic expression. It has grown into an artistic realm that not only embodies beauty but also conveys the conceptual essence of jewelry. Despite its multifaceted development, jewelry continues to serve as a decorative element (Gaspar, 2007; Dormer and Turner, 1985).

Modern jewelry not only enhances adornment but also pursues an artistic strategy, using a unique blend of traditional and modern techniques to impart meaning to an idea. This form of jewelry not only mirrors the zeitgeist but also shapes it. Consequently, an array of material and social factors intertwine to fashion the final product. Ornaments act as symbols of an individual's identity and personal traits (Wallace, 2007:109).

As a medium for cultural and social expression, jewelry establishes a symbiotic relationship with the body. Leveraging the inherent attributes of this art form, jewelry designers communicate messages through their creations (Walgrave, 1995:15). Consequently, contemporary jewelry can be characterized by the following salient features: 1) Wearable art; 2) Transformation of traditional jewelry forms; 3) Diversity of materials, including recycled and affordable materials, with an emphasis on environmental conservation; 4) Acknowledgment of the designer's emotions during the artistic process; 5) The power of expression and concept communication. Each of these aspects is further elaborated below.

Wearable art
In ancient cultures and civilizations, attire played a vital role, often signifying wealth, prestige, and prosperity. Special clothing, accessories, and adornments were not merely functional or decorative but were imbued with deep spiritual significance. They were used for protection, to express religious beliefs, and to establish connections with divine entities. Notable examples can be found in ancient Egyptian civilization and various Indian tribes. Over the centuries, this practice of donning wearable art evolved into a non-verbal medium of communication, allowing individuals to express their unique identities and beliefs.

Up until the 20th century, however, jewelry, despite its intricate designs and craftsmanship, was not recognized as an independent medium for artistic expression. Prominent artists like Pablo Picasso, Salvador Dali, and Alexander Calder dabbled in jewelry creation but viewed it as a secondary artistic outlet rather than a primary medium. However, a significant shift occurred from the late 1950s and especially during the 1960s. This period saw a renaissance in the understanding and perception of jewelry design. Gradually, jewelry began to be accepted as an independent branch of art, resulting in an infusion of fine arts principles into its design and creation (Westin, 1993).

In today's world, wearable art manifests in myriad forms, mediums, and expressions. It transcends traditional ideas and connotations associated with jewelry, pushing boundaries in concept and style (Bunyan, 2015). What makes modern jewelry a tangible work of art, both physically and psychologically, is the transformative perception of jewelry as an art form and its symbiotic relationship with the human body. In the realm of modern jewelry, the body becomes an active participant in the artwork, requiring its interaction and cooperation.

Unlike traditional artists who created works that catered to prevailing tastes, contemporary creators challenge conventions, offering bold and unique pieces. Sometimes, the scale of these works exceeds the comfort level associated with traditional jewelry, aligning more closely with the concept of art than adornment (Bernabei, 2011:26). This paradigm shift has undeniably broadened the scope of wearable art, creating a space for exploration and experimentation where personal expression and aesthetic boundaries are continually redefined.
Diversity of Materials
Mass production of jewelry for public consumption has opened up possibilities for a vast array of designs, ranging from classic and traditional to more audacious and avant-garde forms. Jewelry, which was once seen as the exclusive domain of upper social classes, has now been democratized, thanks to advancements in the art and craft of jewelry making. This expansion has led to the acceptance and use of jewelry across a more diverse range of social classes. In our contemporary society, the monetary value of the materials used no longer solely defines what qualifies as jewelry. This shift has paved the way for a new type of aesthetic, incorporating ecological, social, and symbolic values into jewelry designs (Derrez, 1987:16).

While contemporary jewelry maintains deep roots in millennia of history, with designers and researchers still employing precious materials and gemstones, the introduction of new materials, techniques, and concepts has refreshed and revitalized this ancient art form. This wave of innovation has resulted in an impressively diverse range of materials, allowing for an almost infinite variety of forms and designs. The incorporation of these new materials reflects a growing concern among artists for environmental preservation, coupled with an eagerness to experiment with novel design forms and artistic expressions. Many of these materials had not been previously considered valuable or suitable for jewelry-making. Nowadays, numerous pieces of jewelry are not created for commercial gain but instead represent unique pieces of art that communicate the artists' perspectives and ideologies. This shift reflects a movement in the jewelry industry where design innovation and novelty are replacing the traditional emphasis on the economic value of materials.

Jewelry designers have displayed immense creativity in their use and manipulation of these materials. They have developed a unique language in each piece produced, often by recycling and repurposing discarded materials found in nature (Gabo, 1937:105). This creative transformation gives a new life to these materials and creates pieces of wearable art that not only reflect aesthetic beauty but also carry powerful messages about sustainability and ecological responsibility.

Contemporary jewelry in Iran
Iran's abundant resources and substantial deposits of precious metals and minerals have played a pivotal role in the country's rich tradition of metalworking and jewelry-making. Notably, the world's first minting of coins can be traced back to the Achaemenid period in Iran (Seyghali, 2013). The region's ancient inhabitants were skilled artisans, employing gold, silver, and precious stones to craft intricate designs, such as bangles, necklaces, armbands, decorative buttons for clothing, belts, headbands, rings, and brooches, frequently incorporating garnet stones and agate into their creations. Archaeological discoveries from historical sites like Bampur and Tel Iblis, situated in southern Iran, reveal the area's long-standing metallurgical traditions. Notably, these lands have been producing metals, particularly copper, for an estimated 7000 years. Excavations on the outskirts of the Lot plain, dating back to around 4000 BC, yielded several necklaces, bracelets, earrings, and nose pendants made of lead and silver alloy (Giv, 2007:36).

As science and technology advanced, profound changes occurred in the methods of manufacturing and the materials employed in the artistic realm. The eradication of artistic boundaries between countries, facilitated by enhanced communication means, broadened the horizons of creativity. These new approaches to contemporary jewelry, coupled with an array of innovative techniques and tools, significantly transformed jewelry design. As noted by Hassouri (2002:129), each type of raw material offers unique possibilities to the artist. This material diversity, combined with refined production processes, propelled jewelry-making beyond traditional formats.

In recent years, several key developments have fostered the proliferation and evolution of contemporary jewelry in Iran. Among these are heightened awareness of the profound potential of jewelry design, the impact of artwork quality, and the increasing prevalence of formal education in this field (Balali Moghadam, 2012). The introduction of this craft into university curricula has further elevated its status, leading to more expressive forms and innovative artwork. Accordingly, diverse courses related to jewelry, spanning from Handicrafts and Islamic Art (with a traditionalist approach) to Industrial Design (with a modern approach), are now offered. The use of design software signifies another significant advancement in the field of jewelry design. The role of social media in promoting and producing contemporary jewelry is also noteworthy. With its pervasiveness in modern life, social media – often termed as the "Second Life" of online existence, virtual life, or electronic life (Poorreza Karimsara, 2015:56) – has become an influential factor in the art world. As Tajik (2009) remarks, the media, being the eloquent and uncontrollable language of our era, is not constrained by time, geography, discourse, culture, or civilization. The ability to sell products via social networks empowers jewelry designers by facilitating direct communication with their audiences, thus enhancing the visibility and reach of their work.

Iranian artists
Many artists worldwide, including those from Iran, have a historical predilection for incorporating organic materials into their artworks, particularly jewelry. A striking instance of this tradition is found among the women of the Qashqai tribe in Iran. These women adorn themselves with unique jewelry, such as necklaces made from gold or Ashrafi (a type of gold coin), which are intricately embellished with aromatic cloves and Mahlav seeds. They also wear gold bangles and bracelets (Iravani and Pourkhosrowani, 2012). Nomadic women have a unique practice of collecting or purchasing Mahlav seeds, which they dry and grind to craft beautiful necklaces. The aesthetic appeal of these necklaces primarily stems from their intricate paintwork and the patterns formed by the aligned seeds. One such contemporary Iranian artist who expertly utilizes natural materials in his jewelry and sculptures is Abdul Naser Giv. Highly skilled in jewelry-making, Giv is also a devoted educator and researcher in this art field, making him a significant figure in contemporary Iranian jewelry.

Giv's extensive research on Iran's historical art periods informs his creative process, as he strives to amalgamate historical awareness with modern artistic techniques. His philosophical interests have gradually melded with his artistic vision, allowing him to draw inspiration from both the present and the past. His unique multi-piece collage structure is a distinctive characteristic of his work, each piece unveiling a new facet of his artistic world. Giv explains the design process as follows: The artist always seeks to interpret and understand what they have learned in the past. However, during this process, their knowledge evolves, and a new perspective opens up, which they may communicate through art (Giv, 04/24/2019, Artist's Art Studio).

An exhibition showcasing Giv's work highlighted the significance and utilization of natural materials in jewelry-making. Giv expressed his views on the role of the artist, saying, The artist must be aware of what's transpiring in the deeper layers of society and aim to effect positive change through their art. His exhibited pieces were crafted with an understanding of the existence and struggles of the transgender community in society. His works aimed to convey that this community is not deviant or corrupt, nor mentally ill, but rather individuals who have grappled since childhood with determining their true gender identity. They struggle with the discord between their psychological identity and their physical form, even after reaching adulthood, and Giv's work aims to illuminate their quest for a natural existence (Giv, 04/24/2019, Artist's Art Studio).

The methodology employed in this research is qualitative and applied, executed through a descriptive-analytical approach. The data was gathered through comprehensive literature review, involving a meticulous perusal of academic theses, scholarly articles, and books found in libraries. Furthermore, field data was collected via interviews, thereby enriching the research with primary information.

The selection of Cinnamon, Entada rheedii, Boswellia serrata, Salvadora persica (the toothbrush wood), and Areca(Betel) as materials for jewelry-making was based on various criteria. Firstly, these plants were chosen due to their therapeutic properties, which are typically activated when consumed or used as a beverage. Their pleasant aromas also enhance the sensory experience of wearing the jewelry. Additionally, these materials were selected for their natural color and texture, low cost, and compatibility with other materials used in jewelry-making. Their safety when in contact with the body and their accessibility also contributed to their selection. Despite the vast diversity of medicinal plants available, the research was confined to those that are popular among Iranians due to limitations on the scope of this study. However, it's important to note that the confined nature of this research doesn't undermine its potential for future expansion. With countless medicinal plants possessing similar properties yet to be explored, the opportunities for further study are endless. The jewelry produced as part of this research primarily incorporates medicinal plants in conjunction with metals such as brass and silver. Turquoise, a stone deeply revered and frequently used by Iranians due to its aesthetic appeal and positive influences, was also incorporated into the jewelry designs.

Plants used in jewelry
The plant materials employed in this jewelry-making study encompass a variety of unique species, each with their own distinct characteristics:

Cinnamon, a scented spice and herbal remedy, is recognized by diverse names based on the geographical distribution of its various types. It presents as dried, tubular pieces with an inner hue of dark fawn and an outer color of brown. The aroma of cinnamon is pleasant, and its taste is both spicy and delightful. These aromatic sections are derived from the bark of the cinnamon tree, scientifically termed Cinnamomum Zeylanicum Nees, which belongs to the Lauraceae family.

Entada rheedii:
Entada rheedii, a seed that resembles a large pill in appearance, is transparent and red, measuring 5 cm in diameter. Its shell is hard, and the seed core is white, generating a strong foam when in contact with water. The seed belongs to the Entadarheedii Sprengel species, part of the Leguminosae family. This climbing plant grows up to 50 meters in height and is predominantly found in the continental regions of Africa, Australia, and India. Its fruits are impressively wide and long, reaching 1-1.2 meters in length, making it the longest fruit in the legume family.

Boswellia serrata:
Boswellia serrata is a fragrant resin collected from a small tree scientifically named Boswelliacarterii Bird, belonging to the Burseraceae family. It comes in small, shapeless, or spherical pieces, which can range in color from white, light yellow, brownish-yellow, bluish-white, to green. When boiled, frankincense turns into a substance akin to turpentine that is as flexible as chewing gum, yet it can be digested once ground.

Salvadora persica:
Salvadora persica, also known as the toothbrush tree, appears as a smooth, white cylindrical piece, up to half a centimeter in thickness. When soaked in water, its skin softens and can be peeled off easily, exposing inner fibers that resemble toothpicks.

The Areca is an almost spherical fruit that is yellowish-white with grey streaks and has a circular white spot on one of its two tops. Inside the betel nut, there is a reddish-brown seed with a bitter taste. Scientifically, it is referred to as Areca Catechu L. In French, its tree is known as Arequier, and its fruit as Arec, while in English, it is known as the Areca tree and betel nut respectively (Sanei, 2016).

Making jewelry
Having explored the characteristics of contemporary jewelry and the medicinal plants outlined in this study, a unique style of jewelry was conceived. This new approach to jewelry design marries the artistry of jewelry-making with the wisdom of traditional medicine. The metals primarily used in this innovative line of jewelry are sterling silver and brass. The choice of sterling silver was influenced by its physical properties such as malleability, softness, and ductility. These traits allow for detailed work and elegant designs. On the other hand, brass was chosen as a more economical alternative to gold. Its yellow color and high malleability make it an appealing option for crafting jewelry. Moreover, creating more cost-effective pieces aligns with the underlying aim of this study. Both brass and sterling silver hold historical significance in Iran. Their usage dates back to the origins of jewelry-making and remains widespread today. Further materials applied in crafting this jewelry collection are discussed in detail in the preceding chapter.

In this segment, we introduce the pieces created in alignment with the objectives of this study. Furthermore, we outline the process of producing these distinctive pieces of jewelry. This elucidation of the creation stages serves to shed light on the intricate artistry and craftsmanship involved in this novel approach to jewelry design.

Drawing upon the historical precedence of medicinal plant utilization for healing and the ancient art of jewelry-making in Iran, this study set out to amalgamate these two shared cultural heritages. Accordingly, by evaluating the characteristics and potential of contemporary jewelry and understanding the properties of select medicinal plants, a unique line of jewelry was designed and crafted. These pieces not only cater to the innate human desire for beautification and adornment, but they could also potentially aid in alleviating certain health conditions. In this research, jewelry is treated as an interdisciplinary medium that meets human needs, resulting in the creation of significant works of art.
Incorporating medicinal plants in jewelry design allows for the possibility of oral consumption, while their pleasant aroma also contributes to well-being. Additionally, the naturalness of these plants elicits a visually appealing and familiar effect that is pleasing to the audience. The design, color, patterns, and texture of these plants play a significant role in expressing the artistic value of these creations. The combination of these plants with metals, leather, and turquoise enhances the aesthetic appeal of the jewelry. Meanwhile, the healing properties inherent in turquoise align perfectly with the therapeutic qualities of these plants. Through the course of this research, the potential of several other plants was also uncovered, indicating a broad scope for the inclusion of medicinal plants in jewelry design. Future studies could explore diverse applications of these plants.

Ultimately, these unique jewelry pieces could appeal to markets where contemporary jewelry is widely accepted and not viewed purely from an economic standpoint. Although such a perception is not prevalent among Iranians, who traditionally view jewelry as an economic asset, these pieces, with their integration of medicinal plants, could still find their niche. Medicinal plants hold significant value for Iranians, as they often turn to these plants for health remedies. Thus, the combination of such plants with jewelry could be both practical and attractive to them.

Currently, the artistic aspect of jewelry in Iran is not strongly emphasized. However, there is an emerging interest among young people in acquiring unique artistic jewelry from galleries, exhibitions, and stores showcasing artistic and traditional products. Considering the practical and aesthetic attributes of this innovative jewelry, early adopters have expressed delight at the notion of adorning a piece of jewelry that could also cater to their needs if required. They contend that this dual functionality enhances the allure of these creations. Those who are particularly interested in using medicinal plants have expressed interest in acquiring a piece from this unique line of jewelry.

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About the author

Nora Sarlak
is a PhD candidate specializing in "Contemporary Aesthetics" at UAB (Universitat Autònoma de Barcelona), she is an artist with a diverse range of talents, including jewelry design, painting, calligraphy, and photography. Additionally, she has a Master's degree in Research, Art and Design from UAB and a Postgraduate degree in Applied Contemporary Art from Escuela Massana - UAB. She has significant experience in photography and design and has individually and collectively participated in international events, such as the "Indian Culture Web", and the "Iran and India Exhibition" sponsored by the Embassy of India in Tehran.
She was selected for the 'Enjoia’t Awards Disseny Hub Barcelona 2021'. Her works have been showcased at various esteemed venues including the "Touch Gallery" in Tehran and the "Art in the Hand" exhibition held by the British Art Medal Society in London.
From 2001 to 2005, she studied Spanish language and literature at "Azad University" in Tehran. Currently residing in Barcelona, she contributes to different film festivals across Catalonia.

Nora Sarlak. Necklace: Cosmic Seed, 2019. Entada rheedii, persica, silver. 7.5 x 2 x 7 cm. Nora Sarlak
Necklace: Cosmic Seed, 2019
Entada rheedii, persica, silver
7.5 x 2 x 7 cm
© By the author. Read Copyright.

Estimated price: 250 €

Nora Sarlak. Ring: Summit's Secret, 2019. Areca, turquoise, silver. 4.5 x 2 x 5.5 cm. Nora Sarlak
Ring: Summit's Secret, 2019
Areca, turquoise, silver
4.5 x 2 x 5.5 cm
© By the author. Read Copyright.

Estimated price: 250 €

Nora Sarlak. Ring: Lunar Pool, 2019. Areca, turquoise, silver. 6 x 4 x 2.5 cm. Nora Sarlak
Ring: Lunar Pool, 2019
Areca, turquoise, silver
6 x 4 x 2.5 cm
© By the author. Read Copyright.

Estimated price: 250 €

Nora Sarlak. Ring: Spiral Vitality, 2019. Cinnamon, silver. 7.5 x 2 x 7 cm. Nora Sarlak
Ring: Spiral Vitality, 2019
Cinnamon, silver
7.5 x 2 x 7 cm
© By the author. Read Copyright.

Estimated price: 200 €

Nora Sarlak. Necklace: Terra Drops, 2019. Entada rheedii, cinnamon, areca, turquoise, silver. 9 x 1 x 10.5 cm. Nora Sarlak
Necklace: Terra Drops, 2019
Entada rheedii, cinnamon, areca, turquoise, silver
9 x 1 x 10.5 cm
© By the author. Read Copyright.

Estimated price: 200 €

Nora Sarlak. Ring: Zenith Serenity, 2019. Areca, turquoise, silver. 2.5 x 2.5 x 4.5 cm. Nora Sarlak
Ring: Zenith Serenity, 2019
Areca, turquoise, silver
2.5 x 2.5 x 4.5 cm
© By the author. Read Copyright.

Estimated price: 350 €

Nora Sarlak. Brooch: Scent of Nirvana, 2019. Cinnamon, turquoise, brass. 13 x 2.5 x 11.5 cm. Nora Sarlak
Brooch: Scent of Nirvana, 2019
Cinnamon, turquoise, brass
13 x 2.5 x 11.5 cm
© By the author. Read Copyright.

Estimated price: 200 €

Nora Sarlak. Brooch: Vital Essence, 2019. Areca, silver. 5.5 x 2 x 5 cm. Nora Sarlak
Brooch: Vital Essence, 2019
Areca, silver
5.5 x 2 x 5 cm
© By the author. Read Copyright.

Estimated price: 250 €

Nora Sarlak. Ring: Sanctum Aromatica, 2019. Boswellia, silver. 2.5 x 2.5 x 5 cm. Nora Sarlak
Ring: Sanctum Aromatica, 2019
Boswellia, silver
2.5 x 2.5 x 5 cm
© By the author. Read Copyright.

Estimated price: 300 €

Nora Sarlak. Necklace: Aqua Vita Orb, 2019. Entada rheedii, turquoise, leather, silver. 6 x 0.5 x 5.5 cm. Nora Sarlak
Necklace: Aqua Vita Orb, 2019
Entada rheedii, turquoise, leather, silver
6 x 0.5 x 5.5 cm
© By the author. Read Copyright.

Estimated price: 250 €

Nora Sarlak. Necklace: Ethereal, 2019. Boswellia, leather, silver. 2 x 2.5 x 2 cm. Nora Sarlak
Necklace: Ethereal, 2019
Boswellia, leather, silver
2 x 2.5 x 2 cm
© By the author. Read Copyright.

Estimated price: 250 €

Nora Sarlak. Necklace: Whispering Spice, 2019. Cinnamon, silver. 7.5 x 2.5 x 13 cm. Nora Sarlak
Necklace: Whispering Spice, 2019
Cinnamon, silver
7.5 x 2.5 x 13 cm
© By the author. Read Copyright.

Estimated price: 200 €