Geoff Taylor
Edward Geoffrey Taylor – Goldsmith and Jeweller.
Born 30 November 1950
Son of Edward Bruce and Beverly Henton Taylor née Barron.
Married Billie Taylor with three children
Justin Marcus Taylor, Jesse Alexander Taylor & Caroline Wendy Usher.
Main achievement: The pursuit of the art of goldsmithing for 35 years.
Representation: Chele Clarkin PO Box 474 Cambridge ph. 827 5577
Career
1968
Entered apprenticeship and studied many aspects of the goldsmith’s art in 12,000 intense hours of learning and practicing bench skills, including alloying, rolling, gem setting, engraving, ring-making, gemology, enameling, costing and design;
1971
Studied gemology at Victoria University of Wellington
1973
Qualified as Tradesman
1975
Operated a small business in Wellington, then moved to North Auckland to begin first workshop in first exhibition, Behind the Eye, Whangarei
1976
Continued to practice new techniques including mokume, silversmithing and ring making; foreman for a jewellery company, teaching and custom making
1977
Continued practicing techniques, including overlaying, forging and inlay, moved to Auckland 1978 and set up workshop to make silver and jade boxes and custom work for export to USA;
1980
Moved to Cambridge and set up a more permanent workshop, supplying galleries, and one exhibition at Van Helden Gallery, Wellington; new workshop became place to study in-depth techniques including engraving, repousse, investment casting, steatite casting, specializing in wax carving, silver hollow ware, chiener making, gem setting and continued study of gemology; sales of gold to Double Bay, Sydney;
1981
Bronze casting course with David Reid
1982
Mould making and ceramic shell casting, some bronze casting also done in his workshop; Billie & I opened shop called Zigzag
1983
Custom making and promoting other NZ craftsmen in NZ
workshop with Hendrick Foster in hot-forging silver which opened up a completely new horizon in metalworking spoons, ladles, serving utensils; workshop with Hendrick Foster
1984
Repousse and niello; diversified in materials
1985
Making use of organic materials including diced avocado skin, walnut shells, gourds and bamboo; forging silver and chain making; export of works to England, USA, Argentina and Australia
1986
Custom work, ring making
1987
Enameling course with Helen Aitken-Kuhen
1988
Practicing basse, taille, cloisonne, champleve and plique-a-jour;
exhibition at Shibui Gallery, Parnell Auckland
Tutor of Diploma students at Waikato Polytechnic
Built a new studio in Cambridge and equipped it well to cover as many aspects of the goldsmith’s art as possible, including engraving, melting, alloying, rolling, polishing, hot forging, carving, setting, ring making and tool making;
1989
Received a QEII Arts Council grant to enable access of national graduates from the Craft Design courses to complete their diplomas;
1990
Extended clientele and employed a manager in and through her many equestrian contacts, began making a wide range of equestrian jewellery supplied less to retail outlets but gained more private clients; worked on improving techniques including wax carving, making up of special waxes for various functions, ring making, pattern making and developing new techniques;
1991
Took on an apprentice; birth of the foxtail chain, inspired by the Norfolk Pine needle
1994
After a great deal of trialing and tool making, succeeded in making a chain similar in appearance, and from then on it was made in different gauges and sizes, proving very versatile and adaptable to numerous ideas; taught son, Jesse, wax carving techniques to complement his industrial design degree;
2000
Began doing commission work for Tunku Mahkota Johor, The Crown Prince of Johor, Malaysia in; very special items included solid gold spurs, hip flask, hinged cigarette case, lighter cases and other hinged boxes, all in nine carat gold, the gold sheeting being made in workshop, also made a native timber sea chest which included a miniature cutlass in steel and gold; crafted hand made chains, pendants, tie tacks and key rings in various metals, predominantly 14 carat yellow and white gold;
made and designed some jewellery for Fruitful Endeavors’ new venture 2001; purchased a digital camera, set up a website, and continues to improve on techniques to continue to give existing and new clients unique pieces that are excellent quality at a very reasonable price.
2007
One of the most wonderful aspects of creativity is the discovery of new things.
Over the past seven years my focus has been toward the making and use of Mitsuro wax. The birth of Mitsuro wax was in approximately 1st century AD in Japan from local materials and was the key sculptural material for the modeling of most of the cast bronzes in Japan. It has wonderful characteristics, it can be used soft with the application of warmth but hardens also so as not to overwork during handling. I was very fortunate to be able to work with my son Jesse, his ability to source the materials needed and with him living in Japan enabled me to view many bronzes with had been made from this unique lost wax technique. He sourced the pure pine resin needed to give hardness and in New Zealand I sourced the purest beeswax, the component to give flexibility.
It took 3 years of experimentation to blend these two to the right consistency for working into form. This is now perfected, following the formula of Japanese past masters. It’s true beauty is that it takes on natural form and can be made into anything for casting from insects to leaves, eyes, sticks, petals etc then from there cast as lost wax into bronze, gold, silver or other castable metal combinations.
Awards:
First equal runner-up in the National Walker and Hall Competition 1987.
Winner of the Taris Award for Excellence, Hamilton Community Arts Council 1988.
Merit Award, National Walker and Hall Competition 1988.
Community service:
The School of Philosophy.
Sporting achievement:
Qualified glider pilot (NZGA).
Media coverage:
Article in Fashion Quarterly Winter Edition 1999.