There has always been something really interesting about the Peterson Jewellery collection antique bangles . Maybe it is the manner in which she melds disparate fabrics together, including plastics and felts, or the imagery she utilises (if imagery is the true phrase to employ, possibly scribbles would better describe her work than imagery) that stirs up such a unique formative dream like style and ensures her jewellery compositions are immediately identifiable. I think perhaps more than any of these things, I find that Linas jewellery disregards the constraints of fresh, identifiable jewellery fashions, which makes her jewellery more akin to miniature carvings or objects that just happen to be wearable.
One of the main attractions for me is her forward-looking use of cloths in amongst each of her disparate technologically advanced textiles which instantly remove connotations of workmanship, and so thrust the possibilities of textile design forward a notch or two. With pieces such as her slender-looking Embroidered Brooch which employ gold-plated copper and a finely seamed cloth or the Orange Necklace which merges material with finished wood and beads, and the Collage Brooch which features foam, textiles, and dip-coated all-metal in Citrus lemon yellow, Lina’s Jewellery traces a precise line between cloths more normally connected with industrial processes and fabrics much neglected in present-day jewellery.
Lina started out her imaginative career on a Foundation course at London Guildhall University in Art & Design before moving on to further study at the University of Brighton. After having achieved tremendous success on graduation, coming away with the New Designer Association of Contemporary Jewellery Award, she also featured as a runner up in the Jewellers Design Junior, Goldsmiths craftsmanship and Design Awards, before going on to perfect her workmanship at the prestigious Royal College of Arts MA Goldsmith, Silversmith, Metalwork and Jewellery course.