Julia Tzouroutis

On Practise

Aesthetically, there is nothing I’m more drawn to than metal. I like looking at jewellery more than wearing or buying it. I think my influences growing up and getting really into metal and goth bands when I was around 13 allowed me to be exposed to different historical styles. 

I became obsessed with medieval and Victorian aesthetics and the idea of warriors and armour. 

I began making jewellery when I was 15, just simple cross earrings and other pieces with religious or mythological imagery. I feel bad for anyone who bought those pieces… I would use my teeth as pliers!

On Iran

I haven’t been to Iran and the only family from that side I'm physically surrounded by is my mum. Its influence on my work comes from her and my own attempts to learn about its art and culture. I think it has one of the most beautiful languages in the world.

Persians know that intense feelings cannot be reduced to single words, they use metaphors or very directly explain how they feel physically, there’s no “I miss you”, instead, it’s “your absence makes my stomach tight.” It’s very romantic. I’ve never felt fully comfortable expressing myself in English the way I do in Persian. 

On Learning

I was originally in design school and hated it. Besides a few specific class that teach you some technical stuff, you mostly learn rubbish. I don’t know who enjoys being told how to keep a journal or how to find inspiration, at least where I was studying there, there was definitely an ideal type of aesthetic being sought. It was hard to find authenticity. I study history and art history now and although there’s still thoughts and ideas that are pushed onto us students, it’s easier to have creative and critical freedom. There’s endless inspiration to be found in what’s happening in the world, both past and present. Learning about how people design for destruction or religion or love has been very influential in the images I want to create.

On Metalwork

I can’t say I have a particular influence or reason for creating something, especially jewelry. Most of the time, ideas just pop into my head, and I feel compelled to lean towards specific concepts. I think many artists or designers can relate to this. I’m interested in exploring how the body gives jewellery life but also imposes limits. There’s only so much you can do when the body is your canvas; anything beyond that is just metalwork.

I’m obsessed with performance art that depicts people engaging in borderline criminal acts. I think it’s one of the purest mediums for women to express themselves. Traditionally, historians have recorded women who were publicly persecuted, exiled, or executed, often framed as witches or satanists. It’s refreshing that we can now recognise them as artists instead.

I’m also highly inspired by runway jewelry, more than by mass-produced or indie pieces. Jewellery created for fashion shows and editorials is theatrical and extravagant. It’s brought to life by the models and the set, which I adore. It represents a kind of beauty that’s elusive and not meant for everyday life.

I don’t have too much to say about the piece to be honest. I liked how similar the word amour, French for love, is to armour, also coming from French. One being the most vulnerable state a person can experience and the other a form of protection. Jewellery has the same effect, it has the ability to contain stories that draw people in or keep them away.

On Spaces

Working in my bedroom allows me the sort of comfort to work sporadically without worrying if I’m wearing the proper ppe or what time it is. But it is tough, most of the time I’m sleeping in dust and I struggle to find enough space as everything is so cluttered. Otherwise I do enjoy working somewhere that I feel comfortable and surrounded by endless inspiration.