Victoria McLester has used the medium of contemporary jewellery to explore gender stereotypes and examine current debates around gender fluidity and neutrality. She has used repeat patterns generated from biological diagrams of male and female genitalia to produce an ambiguous mix of elaborate mandalas. These oversized components can be worn as an example of non-conformity, but also can be displayed as a wall sculpture, creating an adaptable statement. Her ambitions are to start conversations around gender fluidity and challenge the stereotypes perpetuated by the world around us.

Victoria McLester has used the medium of contemporary jewellery to explore gender stereotypes and examine current debates around gender fluidity and neutrality. She has used repeat patterns generated from biological diagrams of male and female genitalia to produce an ambiguous mix of elaborate mandalas. These oversized components can be worn as an example of non-conformity, but also can be displayed as a wall sculpture, creating an adaptable statement. Her ambitions are to start conversations around gender fluidity and challenge the stereotypes perpetuated by the world around us.

Victoria McLester has used the medium of contemporary jewellery to explore gender stereotypes and examine current debates around gender fluidity and neutrality. She has used repeat patterns generated from biological diagrams of male and female genitalia to produce an ambiguous mix of elaborate mandalas. These oversized components can be worn as an example of non-conformity, but also can be displayed as a wall sculpture, creating an adaptable statement. Her ambitions are to start conversations around gender fluidity and challenge the stereotypes perpetuated by the world around us.

Victoria McLester has used the medium of contemporary jewellery to explore gender stereotypes and examine current debates around gender fluidity and neutrality. She has used repeat patterns generated from biological diagrams of male and female genitalia to produce an ambiguous mix of elaborate mandalas. These oversized components can be worn as an example of non-conformity, but also can be displayed as a wall sculpture, creating an adaptable statement. Her ambitions are to start conversations around gender fluidity and challenge the stereotypes perpetuated by the world around us.

Victoria McLester has used the medium of contemporary jewellery to explore gender stereotypes and examine current debates around gender fluidity and neutrality. She has used repeat patterns generated from biological diagrams of male and female genitalia to produce an ambiguous mix of elaborate mandalas. These oversized components can be worn as an example of non-conformity, but also can be displayed as a wall sculpture, creating an adaptable statement. Her ambitions are to start conversations around gender fluidity and challenge the stereotypes perpetuated by the world around us.

Victoria McLester has used the medium of contemporary jewellery to explore gender stereotypes and examine current debates around gender fluidity and neutrality. She has used repeat patterns generated from biological diagrams of male and female genitalia to produce an ambiguous mix of elaborate pierced copper mandalas. These oversized components can be customised to create an individual modular livery chain which partially reveals underlying mirrored surfaces that reflect the viewer. Creating distorted fragments of misrecognition. Her ambitions are to start conversations around gender fluidity and challenge the stereotypes perpetuated by the world around us.

In the latter years of her life Lady Emma Edgcumbe was struck down by a mystery illness, after several days she was pronounced dead and arrangements made for her burial. Whilst the sexton was preparing her body he noticed that she was wearing some very valuable rings, feeling that it would be a waste he decided to return after dark to remove them. That evening he returned and lifted the lid of the coffin. Whilst trying to remove the rings the corpse of Lady Emma sat up. Filled with fright he ran away leaving poor Lady Emma to make her way back to the house. The Countess lived for a long time after, outliving her husband by twelve years. This story led to James Gilray caricaturing Lady Emma as a witch a reputation she was never able to shake. You can read the full account of this tale in The Fireside Book of Death by Robert Wilkins.

In the latter years of her life Lady Emma Edgcumbe was struck down by a mystery illness, after several days she was pronounced dead and arrangements made for her burial. Whilst the sexton was preparing her body he noticed that she was wearing some very valuable rings, feeling that it would be a waste he decided to return after dark to remove them. That evening he returned and lifted the lid of the coffin. Whilst trying to remove the rings the corpse of Lady Emma sat up. Filled with fright he ran away leaving poor Lady Emma to make her way back to the house. The Countess lived for a long time after, outliving her husband by twelve years. This story led to James Gilray caricaturing Lady Emma as a witch a reputation she was never able to shake. You can read the full account of this tale in The Fireside Book of Death by Robert Wilkins.