Caroline Broadhead

Artist Statement

My necklaces are often constructed as double forms. The glass beads I use evoke another kind of bead—one that carries a different sense of tradition—while in other cases I incorporate actual pearls.

I am interested in the values that pearls signify, and in how these values are continuously evolving. Traditionally associated with wealth, status, dignity, and decorum, pearls carry a strong cultural and symbolic charge.

In my work, vintage imitation pearl necklaces become indicative of a shift. When suspended or contained, they are no longer able to function as they once did. Instead, they exist in an in-between state—neither fully active as jewelry nor entirely symbolic, but suspended within a process of transformation.

Curriculum Vitae

Caroline Broadhead’s work centres around objects which come into contact and interact with the body, and include collaborations and performance work. Some pieces are intended to be worn and changed through touch and movement and other works have explored the outer extents of the body through light, shadow and reflection. 

Caroline has lectured, taught and exhibited widely and her work is represented in many public collections worldwide. A recent book, published by Arnoldsche, and a retrospective exhibition at CODA Museum, Netherlands showcased work spanning four decades. Other acknowledgements include: Jerwood Prize for Applied Arts: Textiles, 1997; The Goldsmiths Craft & Design Council Lifetime Achievement Award, 2017 and Hderbert Hoffman Prize 2022. 

Retired as Course Leader of BA Jewellery Design at Central Saint Martins in 2018, she is now Professor Emerita there.

Title: 
Double Frill Necklace

Kind: 
Necklace

Materials: glass beads, thread