VIBE Sheffield - Interview
Also read the interview on Vibe.
For those who may not be familiar with your work, how would you describe what you do and the unique concept behind your Contour Map Collection?
Contour Map Collection focuses on the narrative power of maps; which have the capacity to tell tales of our travels, adventures, and history so well. Maps are both functional and beautiful - I think many people are fascinated by them. I transfer the contour lines from iconic and meaningful locations, and cut their pattern into a sheet of metal before hand-forming and finishing the map to create striking, topographical works of art & jewellery. I engrave rivers & bodies of water into the landscapes, as well as adding markers on bespoke maps which pin-point special locations, using silver or gold granules or gemstones. Often customers like to have their map personalised further with engraved details, such as initials, place names and dates, on the reverse of pendants and cufflinks.
Can you describe the process you follow to create a contour map piece, from the initial concept to the final product? What materials do you use, and how do you incorporate them into your designs to bring a map to life as jewellery or wall art?
For both the jewellery & wall art, the process begins the same way :- extracting the elevation data using specialist mapping software. If it’s a commissioned map, I generally create templates at two different scales for the customer to choose from. Then, I have a discussion with the customer to ensure that I create a piece that meets their expectations, in terms of the specific design for their treasured memory. When I’m making a piece of jewellery, I create the template, glue it to my silver (or occasionally gold) and cut carefully along the contour lines, using a jeweller’s piercing saw with an ultra fine blade. If I’m making a wall piece, the template needs refining & editing. In this case, I need to add many little bridges between contour rings throughout the map. This ensures that the design hangs together from one sheet when it is cut. I outsource the cutting of these larger maps to a laser-cutter, and I receive back the flat brass sheet with the design cut. This is where the making process for both jewellery & wall maps converges again, and it’s time to add any location markers that are needed, e.g. setting stones required, engraving any rivers and soldering on the wire supports onto the back of the map. I then bring the flat sheet of metal to life, by carefully raising the cut contours into their positions to show the lay of the landscape. For the wall pieces, I blacked the brass using a solution, then go in with some wire wool and brush back the high points on the map, bringing a warm golden glow back through. This gives them a lovely antiqued look, and a sense of contrast when viewed from a distance. Next, I use a ‘cold-connection’ method of riveting using tubes to attach the map to its backing - wood for the wall maps, or another disc of silver for the jewellery. The jewellery pieces are then given a final polish, or satin matte finish and they’re ready to go.
You’ve mentioned in the past that maps have a narrative power, telling the stories of our adventures and history. How do you approach translating something so vast and emotional into a tangible piece of art, whether it’s jewellery or a wall piece?
Memories are made in places; we often tie a lot of meaning to certain locations, forming strong connections with them because of events that happened there. Whether it’s the treasured location of a whole life lived, a milestone occasion experienced, or an epic physical challenge completed, every map has a different story to tell. One particular commission that I think demonstrates this was a map for a 70th birthday, stretching from the family home in Buxton-Spa to Win Hill in the Peak District. This map has several significant locations on it; home, the first big hill climbed with their daughter and the village in which he married. Each important point was marked with a beautiful gold tuxedo pin, which he had worn to his daughter's wedding. Being able to transform these precious memories into tangible heirlooms is what gives me such great pleasure.
Creativity often stems from personal experiences and values. What aspects of your personality or life story do you think shine through the most in your Contour Map Collection?
I love the outdoors in all its forms. I want to be in the landscape running up and over its contours, climbing its craggy edges and swimming in its chilly lakes, whilst also appreciating it in art form. I love landscape paintings, especially those that are more impressionist. Maps in particular, have always held a certain fascination for me, especially the older ones with their gorgeous colour palette & densely packed, flowing contours. My first contour map creation was of the village I grew up in. It was then that I realised that maps contain life stories, as I could place my own memories within the contours. Creating objects that can spark memories in others is incredibly satisfying.
Who is Holly Clifford beyond the artist and jewellery designer? Can you share a bit about your background, interests, or values that have shaped the person and creator you are today?
Working on craft projects & spending time outside in nature were always on the agenda as I was growing up, and I don’t think I’ve changed much now I’m 30! As a teen I was in the Sea Scouts (we kayaked on the in the summer, and did the more traditional scouty things in the winter) which was probably when I first became acquainted with maps. Nowadays, I’m quite into running, usually getting out into the Peaks every week with the club and into my local valley (Rivelin, you can’t beat it). You’ll rarely find me pounding the pavements; it’s the trails (and more often than not boggy fells) that I crave, filling my cup with good views, sunrises & tired legs. My on-the-move navigational skills during fell races leaves a lot to be desired, which is somewhat ironic, but I’ll keep working on it! I feel very lucky to be able to have a job which ties in with my passions outside of work.
I strongly believe that if you love nature & being outdoors, you should be doing all you can to protect & conserve it, in both home & work life. I follow a vegan lifestyle for environmental and ethical reasons and business-wise, I aim to be as sustainable as I can. Working with metal is brilliant, as you can easily recycle the materials you work with, ensuring very little is wasted. The silver I purchase is always recycled and I make sure that all the off-cuts and metal dust is collected to re-melt and use in other ways. Another way of bringing the customer’s personal experiences to life on their map is by offering to use heirloom jewellery they may have gathering dust at home in new pieces they commission. For example, I made a beautiful pair of maps of an area in the Lakes incorporating sentimental gold and precious stones from the clients’ late parents' wedding rings. We repurposed them as location markers within the maps, highlighting points where their ashes were scattered & where they holidayed as a family for many years.
Sheffield has such a rich history of craftsmanship and making. How has being part of this city’s creative heritage shaped your identity as a maker and your approach to building your business?
Sheffield is such a fabulous place to be a maker, and I feel especially lucky to have been enveloped into it by Yorkshire Artspace (YAS). I moved to the city in 2018 for bench space in what is now known as the ‘Silver Space’ at YAS, which is an amazing fully equipped communal studio which offers business mentoring, exhibition opportunities & skill growth with technical workshops. It was through this programme that I was able to connect with Sheffield's strong metalsmithing history, in large part thanks to Robert Lamb. Now in his 80s, Bob is an extremely talented silversmith who’s worked in Sheffield all his life, and for a time lent his help to the early career makers in the Silver Space at YAS. I’ve learnt a lot from Bob over the years, not only in terms of technique, but he also introduced me to the wider trade, showing me where to go to get silverware buffed, polished and engraved - usually just down the road in tucked away ‘little mesters’ that were still functioning. I’ve been introduced to characters such as ‘Tony the Hammer-man’ (shapes larger sheets of metal to perfection) and ‘Spinny Dave’ (will knock up any design for you on his lathe in no time). Sheffield is also one of only four cities in the UK with an Assay Office, which is where you take precious metal creations to be hallmarked. I feel very connected to the city’s silversmithing past & present, making me appreciate even more the areas of the trade that are in decline (chiefly spinners and hand engravers).
Whereabouts in Sheffield are you from? Were you always creative growing up?
As I mentioned, I’m not born and raised in Sheffield, but I have been living in Walkley for 6 years now and it feels like home. I think being creative came naturally - thanks largely to my Mum, who spent a lot of time with my sister & I crafting, baking and making music with us as kids. Painting & drawing were my big loves growing up, alongside playing the saxophone (and piano, badly) in both concert and jazz orchestras, which took me to some pretty cool places.
Has any one person been influential on your work and the route you have taken with your art?
My parents have been hugely influential in my work. Even though they’re very humble and neither would say they’re very good at ‘art’ (they both have science careers) they’ve inspired me and encouraged me endlessly. Mum made us costumes and clothes, played the piano, made friends & family wedding cakes adorned with handmade sugar-craft flowers, whilst my Dad crafted height charts and toy boxes that Mum would then paint beautifully, made coffee tables and even a chocolate-box perfect ‘Wendy House’ complete with tiny veranda that my sister and I would spend hours in making potions. As he nears retirement he’s really getting into wood-turning, with an idea eventually to take his own handmade goodies to craft markets. I think growing up, seeing them constantly create in different ways has definitely shaped me. I could not have more enthusiastic & engaged supporters behind me & my business, something I’m unbelievably grateful for.
Do you do commissions?
Absolutely, I love working on commissions! Most of my work is to commission, as the idea lends itself so well to creating one-off, highly bespoke pieces which feature very specific locations.
What are your future plans?
To grow and thrive! I would love to create some even larger map installations, in public or commercial settings. There may be something exciting brewing for the (2026) Festival of the Mind, we shall see…
What’s the biggest piece of art you have created?
A large map of Sheffield & the region, currently on display until November at Weston Park Museum in their ‘City of Rivers’ exhibition. It’s a large oval map measuring 70 x 58cm with all of Sheffield's rivers engraved then filled with silver leaf and each reservoir cut out of silver sheet and riveted onto the blackened brass landscape. Read more about the piece here.
Where can we buy your work?
I sell online via my website, however if you’d like to see the work in person, I exhibit at different shows throughout the year. The next show is the Great Northern Contemporary Craft Fair in Manchester (18th-20th October) and then more locally, our own Open Studios as YAS in November (16th+17th). You can also find a small collection of my work at the newly opened ‘Yard Gallery’ at Leah’s Yard in town.
Do you indulge in any other types of artwork?
Yes, I have another business in which I make botanically inspired art jewellery (here) which is very different from my map work. However, outside of ‘work’, I don’t dabble in other crafts as much as I used to, or would like to - something I need to change! I go through phases, and have really enjoyed embroidery and knitting. I’d really like to start painting again, the trouble is having the time for it all!