For some, being unconventional is second nature, and doing the unthinkable is routine. One such lateral thinker, who is celebrated for his deconstructivism, is Leen Heyne, an avant-garde Dutch artist.
Single strips of gold, platinum, titanium, and steel turn to putty in his hands – and his one-off pieces greet you with curves, crisscross patterns, folds, twists, holding aloft oversized gemstones, as if enfolding them in an embrace. The free-flowing, sensual and silken forms that showcase gems seemingly defying gravity stir emotions and curiosity.
Leen treats diamonds differently – they are set not after but during the process when the metal takes shape – becoming an integral part of the creative process. This signature technique allows Leen to amplify the inherent beauty of diamonds in its most expressive form.
The raw, fuss-free fluid forms express a striking duality – exuding both strength and grace in a singular blend. In an exclusive interview with Solitaire International, the artist delves into the philosophy behind his distinctive designs.
Tell us more about yourself … what influenced you to get into the field of jewellery making?
I started my first collection in 2010 after graduating from the gold and silversmith academy in Schoonhoven, the Netherlands.
I’ve been fascinated by well-made objects, tools, and fine arts since early on and have always enjoyed making things with my hands. I don’t quite remember why I decided to go into goldsmithing. However, looking back, I believe it has been a logical decision.

Your designs evoke an organic rhythm and fluidity. What inspires this connection to natural forms, even though your work isn’t directly influenced by nature?
My approach is a very natural way of building, bending, and twisting, looking at what the metal does and likes to do.
Especially in my first collection, I was not trying to make any specific shapes but rather paying close attention to what happened after applying forces to the metal. Understanding, enhancing, and trying to redo the outcomes led to my first folded and twisted bands.
In my current work, I am more deliberate, conducting the metal more into specific shapes and leading it around a fancy-cut diamond. These works start with diamonds – it’s a conversation during which I try to find out how to give the gemstone the best platform.
Some stones are very dominant and proud, others can be submissive. A simple example is that some diamonds want to be placed perfectly aligned to the finger and others don’t mind if I give them an asymmetrical position.

Could you tell us the creative process and the techniques that make your designs so distinctive?
My work is all hand-bended, not carved, cast, printed or assembled. Every piece is made from a single strip or wire, forced, folded, or twisted into shape. This requires working closely with the metal and understanding how it behaves. The deep matte lines are pre-sanded before shaping the metal.

You emphasize the natural forces within gold and platinum. How do you balance their inherent qualities with your vision during the design process?
I choose my metals mainly for their properties, on what kind of curve or setting I envision doing with it. Gold, yellow or grey, platinum, steel, or titanium, they all have their unique language and qualities. Sometimes it’s a hard choice between a shape I’d like to make and the colour of the metal that suits a particular stone better.

Your approach to integrating diamonds, where they are held by tension instead of traditional settings, is fascinating. What inspired this technique, and what challenges does it present?
I love the look of the metal wrapping around a gemstone. It’s a minimalistic approach where the flow and tension enhance the natural appearance as if the metal has grown around the stone.
One of the challenges is that in some cases, the gemstone secures its place during the formation process, but the ring hasn’t taken on its final shape yet. It requires great care in predicting the next steps, making sure the stone sits straight on the finger, or the ring size will not end up right.
Another challenge with tension settings is supporting the stone just right; there shouldn’t be any risky hotspots, and the tension should be strong, but not too strong, or the gemstone can get damaged.

Your designs are marked by minimalism, with a focus on authenticity and the absence of decoration. How do you see simplicity enhancing the storytelling aspect of your jewellery – since jewellery is all about embellishments?
The beauty lies in the metal showing its true nature and the stone being given the right platform to shine. In my opinion, there is no need for further enhancements when these two elements are right. I try to make my works beautiful from all angles and pay attention to how it flows/fits the finger.
How long does each piece or collection take to complete?
All the creations are handcrafted by me, from start to finish, without any fancy equipment. The “one-of-a-kind” gemstone pieces can take a long time. Sometimes, I make up to 10 test metal try-outs before starting on the final ring.

Are there any new materials, techniques, or themes you are excited to explore in the future?
I’m still learning and exploring the black metals, titanium, and zirconium. At first, I wasn’t very drawn to these metals, however, when I started testing it, I found I could do things with it that I couldn’t do with the more traditional gold and platinum alloys.
I’m planning to focus a bit more on bangles and pendants in the upcoming year, though I will probably be and stay a ring maker!
