Ōtautahi / Christchurch jeweller, Jeremy Leeming, loves to use South Island stones such as Argilite, Basalt and Pounamu to craft his sought-after pieces. Jeremy also embraces the beauty of Pāua and gems from far and wide, as well as another material not often seen in high-end jewellery...
Find out what that is and about Jeremy's inspiration, in his own words below.
WHAT DO YOU MAKE / HOW WOULD YOU DESCRIBE YOUR ART PRACTICE?
I'm a contemporary jeweller — or art jeweller, or simply a maker. Labels don't concern me much. What matters is creating jewellery that’s meant to be worn, lived with, and appreciated — not just by the wearer, but by anyone who catches a glimpse.
I work primarily with silver and gold, often incorporating stones gathered from across Aotearoa: Basalt from Banks Peninsula, Argillite from Southland, and West Coast Pounamu. These materials ground my work in place, giving each piece a quiet sense of belonging. My practice is rooted in clarity of form and process — jewellery that speaks softly, but with intention.
Disc earrings and Huia Earrings - Sterling Silver & Basalt
HOW DID IT ALL BEGIN - WHERE DOES YOUR PASSION FOR THE ARTS COME FROM?
I didn’t grow up in an especially “arty” household, and I didn’t discover jewellery until my early twenties. But I’ve always enjoyed making — as a teenager, I’d tinker with clay and carve bone, drawn to the tactile and the hands-on.
Things took shape when I enrolled in a Craft Design course at the Otago School of Art. It was there I met David McLeod — a tutor and fellow Poi Room maker — who helped open the door to contemporary jewellery. That door led me to Jens Hansen’s workshop in Nelson.
Working with Jens was a turning point. He didn’t just teach me the craft — he modelled a life steeped in passion, whether it was for art, food, music, or good conversation. That time shaped not only my practice but my way of being in the world.
HOW DID YOU LEARN YOUR CRAFT?
Like most makers, I’ve been shaped by a generous list of mentors — people who shared not just their skills, but their philosophies of making.
At Otago School of Art, David McLeod introduced me to New Zealand’s hard materials and a thoughtful approach to design.
Pāua Studs and Lapis Lazuli Disc Earrings
Later, working with Jens Hansen in Nelson, I absorbed his love of Scandinavian design, silversmithing, and stone carving — but also his wider passion for living creatively.
Today, I’m fortunate to work alongside Elfi Spiewak and Lynn Kelly at The Filing Kabinett in Christchurch. Between us, we hold decades of experience, and that shared pool of knowledge is invaluable, especially when facing the unexpected technical or creative challenges that come with working by hand.
Pounamu Disc Earrings in a gorgeous range of colours.
WHERE DO YOU FIND INSPIRATION AS AN ARTIST?
It’s a question we get asked a lot at the workshop — and honestly, inspiration comes from everywhere.
Some pieces are sparked by unforgettable moments. My fish pendants and brooches, for example, began after a visit to the Monterey Aquarium in California. The building — an old herring cannery — held towering, column-like tanks where shoals of herring swirled endlessly. I couldn’t stop sketching them. That visit stayed with me, and eventually found its way into my work.
Argilite Fish Brooch with 9ct Gold eye, Fish Pendant - Basalt & Sterling Silver
Other designs come from far more ordinary moments. The Curve Earrings series — one of my longest-running — started around a friend’s kitchen table. I was idly doodling on a scrap of newspaper while we chatted, and the first curve emerged. I knew right away I had something. That casual sketch has since become a design I’ve refined and made for over 15 years.
Sometimes it’s the extraordinary. Sometimes it’s the everyday. You just have to be paying attention.
Curve Earrings - Sterling Silver & Basalt (new stock coming soon)
WHAT ARE THE THEMES/IDEAS BEHIND YOUR ARTWORKS?
Much of my work revolves around the pursuit of simplicity. The “less is more” ethos is a constant presence — a quiet guide in the background of my process.
Pounamu Disc Ring, Argilite Acorn Ring and Argilite Dome Ring
I often begin with pencil and paper, letting my mind drift. Over the years, I’ve learned that some of my best designs emerge not from intense concentration, but from letting go. A simple line, an effortless curve, can suddenly hold the seed of an idea.
These shapes often echo things I’ve absorbed subconsciously — the line of a shadow on a building, a contour in nature, the rhythm of a repeated form. Whether drawn from architecture, landscape, or just the quiet of a moment, I’m always looking for clarity — that perfect balance of restraint and intention.
WHAT DOES A TYPICAL DAY LOOK LIKE FOR YOU?
If it’s not a gym morning, I’m usually up by 7am — first job is letting Lola, our 3.5-year-old Bernese Mountain Dog, in from her crate outside. She loves the cold far more than the fireplace, which becomes a point of contention come winter. Coffee is next, and Lola and I settle into our favourite chair for a morning pat and a scroll through the news.
Then it’s onto the cargo bike — Lola riding up front like royalty — and we cruise through the city, stopping at a local park for a quick stroll before arriving at the workshop by 9:30am.
From there, every day is different: a mix of hands-on making, custom client consultations, and the occasional visit from someone curious about the work or looking for something special. The Filing Kabinett is a shared, vibrant space, and the exchange of ideas is as much a part of the day as the jewellery itself.By 5:30, we’re back on the bike and homeward bound. I usually take over cooking dinner for my wife and son. In winter, there’s a fire roaring — which Lola disapproves of — and we’ll wind down with a show and a snuggle before bed around 10pm.
Then, as they say… rinse and repeat.
WHAT IS YOUR STUDIO/CREATIVE SPACE LIKE?
I’m lucky to share a workshop with fellow jewellers Elfi Spiewak and Lynn Kelly. Elfi and I have been working together for over 15 years, and along the way — thanks to earthquakes, children, and life in general — we’ve moved studios five times.
For the past eight years, though, we’ve been happily settled at The Tannery in Woolston, Christchurch. It’s a warm, light-filled space that suits us well, with a steady hum of creativity and the welcome temptation of excellent cafés and bakeries just steps away.
The workshop is both a place of making and a space for conversation — clients drop in to explore ideas, and between the three of us, there’s always someone to help troubleshoot a design or spark a new direction. It’s not just a studio — it’s a shared creative home.
Pāua Disc Ring, Mother of Pearl Disc Ring and Basalt Dome Ring.
WHAT'S YOUR COFFEE ORDER and WHAT SNACKS KEEP YOU GOING?
My go-to is a small flat white — simple, effective, and essential. Most days, we’ll split a pastry from Bellbird Bakery three ways in the workshop… somehow sharing makes it feel less indulgent (or at least that’s what we tell ourselves).
It’s not just the humans who are well-fed at The Filing Kabinett. Lola, my Bernese Mountain Dog, has a steady stream of canine visitors — Pablo the Bichon, and Karen, the Toy Poodle/Chinese Crested Chihuahua mix. There’s a big jar of dog treats in the studio, and it’s fair to say they’re as much a part of the daily ritual as the coffee.
Jeremy creates his Sterling Silver Disc Earrings in three sizes and a range of materials like Mother of Pearl, Lapis Lazuli and Corian.
WHAT DO YOU LOVE ABOUT WORKING & LIVING IN AOTEAROA (NEW ZEALAND)?
After spending a decade in London during my 30s, coming home to Aotearoa felt like a gift. Living in Christchurch, I’ve grown to truly love the rhythm of the seasons — whether it’s skiing in winter, beach days in summer, or time spent exploring the Banks Peninsula, this place is a stunning playground for both life and inspiration.
There’s also something deeply grounding about being a little isolated from the wider world, especially in these uncertain global times. And in moments of real adversity — from the earthquakes to the mosque attacks — I’ve seen the resilience and compassion of this community shine through. That spirit, that quiet strength, makes me proud to live and work here.
Pounamu Disc Pendant, Basalt pendant and Aquamarine Pendant, all handcrafted with Sterling Silver.
WHAT WOULD YOU LIKE YOUR LASTING IMPRESSION OR LEGACY TO BE AS AN ARTIST?
I’m not sure I’m actively seeking a legacy. I feel incredibly fortunate to be able to keep making and to have people connect with and enjoy the work I create. That in itself is enough.
One day, I would love to pass on what I’ve learned—to share my experience with someone just starting out, in the same way that David, Jens, and Ray did for me. If there’s any legacy, I hope it’s that: to support the next generation of makers the way I was supported
Pounamu Disc Earrings, Pounamu Cufflinks.
WHAT DREW YOU TO WORKING WITH THE POI ROOM?
When Melanie-Jane and Clayton approached me just over 10 years ago (I had to look that up!), it really was a no-brainer. I remembered visiting The Poi Room many times when I was back from London, always taking home beautiful pieces of New Zealand art.
They’ve always been so passionate about supporting local artists—it’s a real privilege to be part of their Poi Room whānau.
Thanks so much for this wonderful insight into your practice and daily life, Jeremy!
