biography Anne V MasseyI studied Chemistry at the University of St. Andrews from 1980-84 before changing to a more creative discipline.
From 1985-86 I attended Maidstone College of Art where I took the Certificate in Foundation Studies, and then Brighton Polytechnic, where I studied Wood, Metal, Ceramics and Plastics, specialising in metal and ceramics. I graduated with first-class honours in 1989.
I briefly established a workshop practice at the Blue Cat House studios in Brighton whilst working as a library assistant at the University of Brighton (as the Polytechnic had become). At the time I worked in steel, using oxy-acetylene cutting and welding equipment. Subsequently I became increasingly interested in more traditional silversmithing techniques and enrolled in evening classes at the University. In 2000 I began attending Sir John Cass School of Art at London Guildhall University one day per week to work towards a City and Guilds certificate in Silversmithing. This was completed in 2002. In June 2002 I established my present practice at Brass Monkeys Studio in Hove.
Since then I have attended the British Craft Trade Fair at Harrogate several times and have exhibited at galleries including the Shipley Art Gallery in Gateshead, Yorkshire Craft Centre, the Alexander Gallery and Julian Stephens Gallery (both in Brighton), Sheffield Museums and Galleries Trust, Red Biddy Gallery near Guildford, the Royal Birmingham Society of Artists, Craft in the Bay (Cardiff), the Lakeside Arts Centre in Nottingham, the Platform Gallery in Clitheroe, Art Parade in Saltaire and the Sarah Wiseman Gallery in Oxford. I have participated in the Craft in Focus retail fair at Canterbury, the Lustre event at the Lakeside Arts Centre in Nottingham, the London Art and Design Show 2005, and Design Edge in Esher in 2006.
In April 2005 I attended a workshop on anticlastic raising at the Bergin-Clarke Studio, Co. Wicklow, taught by the American goldsmith Michael Good. It greatly increased my understanding of a technique which had always fascinated me and which I had already begun to explore for myself. Since then it has been the most important influence on my work, incorporated into both my jewellery and my larger pieces, in conjunction with more traditional raising techniques.