Gold is a controversial material. Today, it’s largely used on the ground of its physical properties - electrical conductivity, resistance to corrosion and radiations, ductility, etc - for the functioning of consumer electronics, digital media, telecommunications, and even as shield foil in space explorations. It is one among a group of rare minerals on which our daily interactions, entertainment needs, communications and access to information rely. Think of the mobile phones we carry in our pockets, computers, videogames, and television screens. Gold is diluted into all of these devices. It’s at the base of their secret functioning. The Gold Rush series has been exhibited in a group exhibition - CULT, which co-curated by Fredric Baas (curator of Stedelijk Museum ’s-Hertogenbosch) and CurrentObsession Magazine. The exhibition of CULT deals with the elusive ways jewellery relates to, and is reflective of, culture and identity. It may act as a highly personal manifestation of style and individuality, it also can be indicative of subcultural groupings, real or imagined. At times it’s even a vehicle for protection, or protest. Man’s resolve to show allegiance to powerful doctrines, obscure social collectives, or anything in between, gives jewellery its ultimate seductive power: the ability to speak about personal belonging in a way no other object can. Wearing jewellery is a universally shared will, a phenomenon fascinating in all expressions. For CULT, eight overlapping categories have been defined to help navigate the means through which this happens: identification, participation, non-conformation and fetish, persuasion, conformation, ritual and fantasy. How does wearing jewellery strengthen human relationships, or harness new kinds of social collectiveness? Is it subcultural, ideological, or both? Either way, the true allure of jewellery is cult.