The first step in making a piece cast leaf jewellery is to collect the leaves themselves. Most of the Tasmanian native species I work with, such as the celery top pine, Huon pine, and nothofagus (beech) varieties, exist only in the sub-alpine areas of the Tasmanian forests, from where I collect small batches of leaves every few weeks.

In preparation for the casting process I paint the back of each leaf with melted bee's wax for thickness and strength - the front of the leaf remains untouched. The leaves are then sent to a foundry where they are magically transformed into bronze or sterling silver through a lost wax casting process - a practice of metal fabrication which has existed for over 6000 years - forming a once only rendering of each leaf.

The now metal leaves are then sent back to me, sprues, stems and plaster remnants attached. The results are often surprising - I'm never quite sure what I will be working with over the next few weeks. Each leaf is unique, and each series of designs is an intuitive response to the small groups leaves I collected from the forest just a few days before.

It is a satisfying process that keeps the act of making a creative practice, and reflects a direct relationship with place.