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Jewellery & Metal (MA)

Talora Welsh

Talora Welsh is a designer and artist specialising in metalwork. Born in England, Talora studied Design Crafts at De Montfort University, Leicester. Through her undergraduate course, Talora found a passion for creating narratives through metal, leading her to study Jewellery and Metalwork at the Royal College of Arts.

The work that Talora produces focuses on her autobiographical experience of the human condition, more specifically mental health and emotional growth. Through playing with the boundaries of perception, Talora challenges the importance of functionality and attractiveness, aiming to create work that invites her audience to interact and understand. What attributes are important in the things we cherish? How can the objects we care for reflect ourselves? 

With a curiosity for objects Talora aims to open up communication with her audience in the hope of creating a kinder world.

Her work has been exhibited across England as well as being displayed through public commissions in both England and Canada.

Degree Details

School of Arts & HumanitiesJewellery & Metal (MA)RCA2023 at Battersea and Kensington

RCA Battersea, Woo Building, First and third floors

Young white woman looking to the left with a wine glass in her hand

Through living life, objects cannot be avoided. Every day humans encounter countless objects from a ring passed down through generations in a family, to the wrapper that their purchased lunch came in. Throughout societies people have created a hierarchy of things that are deemed more important based on their own personal criteria. As the world continues to develop into the digital, our connections with objects feel more important. The objects in Talora’s work breathe a new meaning to everyday items, highlighting their original importance and challenging their limits. 

The kitchen is an important place in every house, it is an important place for wellbeing and survival. The idea behind this project was to take that comfort and manipulate it in order to understand the artist's relationship with fear. 

To fear something is the instinctual reaction to a stimulus that evokes some form of danger. However, when a fear response is out of proportion to the circumstance, these are considered irrational fears. Irrational fears can become so common that they are labeled rational, such as a fear of the common house spider. A fear of fish, Ichthyophobia, remains irrational, unless the subject is a plankter.

This collection looks at what the world would look like if the objects that society uses every day, reflected the users emotional state. If the objects that are relied upon to live, started mirroring emotions that are deemed inconsequential. People would be unable to dismiss ‘messy’ feelings when the items in front of them failed to carry out their purpose.

Through this collection, Talora documented her reaction to preparing a series of meals that featured a whole fish. Talora’s methods were based around the principles of exposure therapy combined with art therapy. Through these documented subjections to the stimulus, she was able to increase prolonged exposure to sea-life, however, becoming increasingly more interested in the fear response itself.

Talora writes:

“There is no room for personalised words to express individual emotions in a greater language. Fear is the general terminology, but no two experiences are the same. Through art, however, we are able to express these feelings through objects. This collection is my way of breaking down how I experience fear. The audience is invited to use these objects to feel with me, or to use them to aid their own expression.”

An, in focus, silver fork resting onto of a knife so that they create a t-shape. These rest on a pomegranate
a knife and a fork lay next to each other on top of two pomegranates
A spoon and fork about to scoop up a pomegranate segment each
The design for this collection was mainly for aesthetic purposes, despite the pieces working successfully, taking loose inspiration from line drawings of fish. Designed on illustrator, these pieces were created to appear thin as though they could have been made of card. The purpose of this was to compel the viewer to interact with them as though they fear the cutlery will break. Fragility and caution being key themes through the collections.
a knife, fork and spoon are placed in a triangle formation on top of two pomegranates


Silver Plated Copper
This video was made using the cutlery collections along with other curiosity objects that were made under the ichthyophobia title. We watch as the protagonist continues to have a worsening time in a setting that should be extremely mundane but starts to feel very frustrating. Much like the playful nature of the pieces themselves, the video sits in between tragedy and humour as the housewife figure comes face to face with her fear of fish.
blurry photo of woman holding a wine glass forward with a fish head in it
Spoon with reflective surface top top of the bowl section. Lying next to a papaya
Knife rests on a papaya, knife blade pressed between two clear plastic rectangles
knife with clear plastic covering the blade, rests above spoon with mirror surface instead of open bowl
These two pieces were designed to emulate the brief feeling of shock when faced with a phobia. The feeling where being in the presents of the stimulus feels impossible and there is a strong feeling to evacuate from the situation. In both cases function is removed from the object, but the previously functioning object is still clear under the clear Perspex. This lack of coherence, is also designed to invite the audience to see if they can remove the Perspex from the object and make it work


Silver plater cutlery with Perspex attachment
A knife and a fork each with a clear plastic handcuff attached. The fork is resting on a lemon
fork attached to clear handcuff, reasting on lemon
a fork with a clear handcuff attached
While these pieces sit within the realm of cutlery, due to the working Perspex handcuffs, these pieces attach to the wrists like bracelets. This was designed to comment on the way that anxiety can feel confining and never ending as without the key they are very difficult to remove. However, when worn, the clear handcuffs seem to disappear, playing on the idea that it is ‘just in your head’.
A fork on top of tomatoes, holding a tomato half. You can see part of a clear handcuff to the left of the image
Spoon broken into three parts, sitting on a cut up mango
two forks creating an x pattern on top of a mango, one had no prongs
One broken spoon sticking out of a mango, lying next to it is a norma spoon
These pieces were designed to create frustration when used. With the fork prongs falling off and the spoon collapsing, these objects skirt the line between anger and comedy, creating a juxtaposition between the person using the object and someone just watching.

Behrens Foundation