Jewelry Technique: Nerikomi
Kenwood Porcelain is a collection of ceramic jewelry handmade from colored clays. The various patterns seen in the multicolored disks are created by layering and manipulating slices of colored porcelain to form a block or loaf of patterned clay, a technique called Nerikomi.


Double Disk Earrings in Blue
Sky blue patterns on smooth matte porcelain. 2" drop on sterling silver earwires.
$21

Through a masterful manipulation of the clay, delicate, organic, and often complex patterns are created in the block of clay, which is then sliced to shape the disks. After firing, the disks are tumbled in water to create a smooth matte finish that are then used to create jewelry that is very affordable.

The disks are strung on tough waxed linen cord to make a necklace, or are fitted with sterling silver earwires, surgical steel posts, or base metal clip backs to make earrings.


Porcelain Squares Necklace in Blue
Shades of blue on smooth matte porcelain. Each disk is 3/4" and strung on blue waxed linen cord. 30" length fits easily over head.
$39

Thomas Hoadley, owner/artist at Kenwood Porcelain, was first introduced to the Nerikomi technique by a Japanese master potter while in graduate school. Much experimentation followed, and in 1980 he started selling pottery made from colored porcelain using the Nerikomi technique.


Single Disk Earrings in Black
Black with mauve on 3/4" smooth matte porcelain. Sterling silver earwires.
$15

In 1985, Thomas introduced Kenwood Porcelain, a line of porcelain jewelry made with the same materials and techniques. He continues to produce both types of work, and his pottery can be found in several museum collections. Tom's sources of inspiration for the colors and patterns are quite varied, the natural world being primary. Patterns seen in shells, rocks, flowers, butterfly wings, seed pods and even clouds have all influenced his designs.

Artist Statement

My initial attraction to the Nerikomi technique came from its organic union of pattern and structure. Rather than the former being applied to the latter, as in most decorative pottery traditions, the two are one and the same. The natural world abounds with this sort of union and as a result, offers endless inspiration for pattern making.

The other aspect that was particularly attractive to me was the translation of the physical properties of clay into a visual format. By this, I mean that the very plasticity of the clay is made visible in the way that an imposed pattern is altered. Straight parallel lines are created by stacking up slices of variously colored clays, but during the manipulation of the resulting soft block of clay, the lines become undulating or are perhaps made to taper down to a hair's breadth.

Porcelain shows off this quality to its greatest extent but the principle is the same with any clay. I think of my patterns as being a collaboration between my imposed structure and the clay's wise alteration of that structure.