Sheila Westera

Bio

Sheila was born and raised in the Netherlands. During her formative years, she was captivated by her microscope—drawn to the small and the unknown. As she grew older, her interests and concerns broadened to encompass the environmental impact of humanity on its host planet. Her focus shifted from the microscopic to the macroscopic.  Nature and the cosmos had always fascinated her, and during family holidays, she loved visiting medieval and archaeological museums. Mesmerised by loosely woven textiles, and marvelling at how a simple tread could be used to create something warm and functional. The pure, intuitive approach of ancient cultures, and the use of natural fibres later fuelled her passion for textiles.  

Encouraged by her stepmother, who managed a high-end jewellery company, Sheila took a job in the field and began exploring various styles and eras of jewellery. This complemented her enduring fascination with why humans feel the need to adorn themselves. While studying Art History and Architecture in Amsterdam, she also discovered the emerging contemporary jewellery scene of the 1990s, which deeply resonated with her.

She attended several short courses in traditional jewellery-making techniques. However, she felt a need to develop her own approach. Her now-patented methods of manipulating wire—creating structures mostly by bending—enabled her to support and present found objects in innovative ways, and using jewellery as a medium to pose questions. Later, when she began incorporating stones with precious metals, her work took on an unintentionally luxurious quality—a duality she initially struggled to accept, though her clients were already convinced.

Statement

I have struggled with the duality in my work. Are there more worlds within me?  

As a child, I must have been a young activist because I questioned most things. I was entranced by my microscope, mesmerised by glimpses of the unknown—a universe contained within the smallest details before my eyes. The many meditative hours spent observing must have shaped my developing mind. I became much of a wonderer.  

Today, having grown up in the shadow of environmental concerns, I find myself longing for meaningful societal critique. I cannot recall a time when I accepted the norm or stopped questioning the world around me and for years, I have pondered why people feel the need to adorn themselves. I convey my thoughts on many of these predicaments, along with other pressing issues of our time, only to discover that jewellery is a powerful form of self-expression for both the maker and the wearer. The microscopic now speaks of the macroscopic.  

After developing my own innovative jewellery techniques, I began creating miniature structures for the body. For instance, with my ring Macho Man, I aim to raise awareness about toxic masculinity, which I view as an unnecessary and damaging trait. The world could be a far better place without the constant struggle for power.  

My work evokes strong emotions. Some people find it beautiful, particularly when I incorporate stones, while others view it as shocking or provocative due to its societal critique. It is difficult to categorise my work within a single definition because I am driven by a variety of mindsets: beauty, earnestness, and at the same time, not taking myself too serious. I enjoy a tongue-in-cheek sense of humour too. There is a clear duality in my work—one that I have finally learned to embrace in 2025.  

Two worlds of contemplation, each reflected in a collection.

- Arty Scenes: This encompasses my earliest work, where I utilise found objects to highlight issues of global or personal concern. I have explored a range of topics, including environmental issues, animal abuse, child trafficking, religious indoctrination, and most recently, humanity's origins.  

- Conversation Pieces: This collection reflects my passion for stones of all kinds. Perhaps it serves as an antidote to the heavier themes of *Arty Scenes*, acting as a poignant reminder of the planet’s precariousness while celebrating its natural beauty and poetic essence. This lighter side allows me the space to breathe.  

Although I have mastered the time-honoured skills of silver- and gold-smithing—and I deeply admire the master craftspeople of today and throughout history—perfection does not align with the way I choose to express myself. Contemporary society places immense pressure to conform to an ideal standard that simply does not exist. Instead, I prefer my work to be intuitive, I want my creations to be raw, real, and archaic. I have come to accept that my work carries a sumptuous quality, paired with a contrasting ironic edge. My art challenges convention while celebrating the beauty and the complexity of life.  

CV