I'm working more on how to achieve quality of colour; the pigment experiment (dusting on top of wet paint), obviously a little primitive and impractical in that form, although I'll do more experiments with this in a different way. Meantime, I read more about the Colour Wallah exhibition and Kate Dineen has worked in Rajasthan for over 13 years now with a process of fresco painting called Araash, that mixes lime, marble dust and pigment to create luminous colour washes for the walls. I'm excited about the potential for making smaller, spherical, hemi-spherical pieces from this process. It's potentially also quite fragile, but will certainly hold the colour and plays with light in a really exciting way. Next steps on this are both to contact Dineen in London, but also to identify araash practitioners in Jaipur. I have some contacts to move forward on this, just need to pick a time. I wanted to play with the possibility of setting gems (fake ones, the real preciousness coming from the pigment itself) in it, or on it too. Dineen finishes her pieces with coconut oil too, so interesting to experiment with scent here. She uses a plaster base, but I thought also about trying porcelain . . . There's a video of her explaining the process on You Tube ww.youtube.com/watch?v=R0-bPNZ0N7Q

I also saw in Zurich a few striking Buddha sculptures that appear to wear jewellery pieces that link all the way down the body. This excites me as a way of unifying this narrative; sixteen linked pieces that create one piece, one narrative, if all worn together.

I've also decided to work on making the box, and collaborating with Desmond Lazaro to paint the interior shelves; this is a possibility he's prepared to explore once his show is finished in September. 16, Desmond suggests, is the mirrors of the 8 "brides" or faces of Krishna, which would explain the fact that my original box is a Krishnavite shrine also.