Renowned for his originality, ingenuity, and multidisciplinary approach, John Moore, holds a unique and fertile space where art, jewellery and performance converge to form a new frontier. Exhibited internationally, his work is held in several public collections and has twice been winner of The Goldsmiths’ Company Award, affectionately known as “The Jewellery Oscar”

His work draws from a multitude of influences. He excelled in dance, music and art from a young age and throughout his life has been fascinated by movement and natural architecture. With an ongoing spiritual practice he is led by powerful visions, often received during deep meditation, across a range disciplines, scales and media. The meaning of his distinctive creations cannot be explained with words nor understood through thought. It is mean to be felt.

A love of making

As a child I was fascinated by nature and obsessed with drawing and making things. My favourite things to make were masks, puppets, kites and simple automata: objects that could either be worn or handled and brought to life through movement. I was also taking dance classes, acting and playing musical instruments.

Throughout my education I explored many creative paths but I kept returning to making objects for the body. Jewellery naturally became the focus for the final year of my degree in 3D Design and has evolved into a lifelong practice. It’s how I process the world and express appreciation for the beauty I see around me, and for our existence within it. Whether small and understated or large and expressive, each piece carries a kind of charge — like a battery — intended to be felt as much as seen.

Process and materials

I work with a wide range of materials and processes, from the traditional to the experimental. I certainly have my favourites, particularly anodised aluminium for its light weight and decorative qualities, but I’m not married to any one material or process. Sometimes I’m inspired by the material itself and other times I’m led by the idea first, selecting appropriate materials for their unique properties.

Collaboration and cross-disciplinary work

As my work has grown more expressive it has naturally led to collaborations with artists, dancers, choreographers, filmmakers, musicians, photographers and other craftspeople. These exchanges have broadened my creative horizons in ways I never imagined - deepening my relationship to the work and showing me the power it can yield — not just as adornment, but as something transformative, alive and spiritually connective.

For me, the success of any collaboration depends on chemistry and a shared appetite for exploration. I don’t believe anything genuinely new is born from sameness. The most rewarding projects tend to exist at the edges, where practices overlap, stretch, and subtly reshape one another.

If my work resonates with you, I’d love to hear from you.
Let’s see what might unfold.

My mother, my Nanna and two year old me

James Maskrey and I blowing glass in Sunderland - view project

Me giving direction to dancer Nancy Osbaldeston during the shoot for ‘A World Away’ - view project