PARIS — For the British jewelry designer Natasha Collis, there is an organic relationship between the rugged landscape of Ibiza, where she lives and works, and her creations.

Her trademark hand-melted, irregular gold nuggets are inspired by "a feeling of freedom, of living in the elements" that she discovered upon first visiting the island in 2005, she said.

In June, tired of London and enamored with the quiet north area of Ibiza, away from the reputed debauchery of the island's wilder beaches, she made a permanent move and opened her shop and studio in a 400-year-old building in San Miguel, a hamlet that has changed little over a century. A number of other artists and artisans have also settled there.

In her boutique and workshop, Ms. Collis, 38, focuses on her delicate pieces, experimenting with chance combinations of hand-melted gold nuggets and associations of fine stones. Her pieces are now available in select locations throughout the world, including Browns in London and Barneys New York and Beverly Hills.

Ms. Collis initially did not follow any formal apprenticeship. A painter by training, she graduated in Fine Arts at the Slade School of Fine Art in London in 2001. Soon after, she won a prize allowing her to temporarily move to New York to focus on her art. There, she found herself sharing a studio space with body piercing jewelry designers and had the opportunity to observe the entire process from beginning to end — and found herself remarkably at ease with the medium, she said.

When she returned to England in 2002, she taught herself the rudiments of handling different metals. She began making pieces and selling them in a boutique near where she had grown up in Primrose Hill.

But discovering Ibiza on that vacation visit several years later, she felt immediately inspired by it. "You see the storm approaching, the light changing," she said.

In San Miguel, there is only a cafe and a few other small artisan shops, whose owners have equally been attracted by the rugged charm and hilly landscape.

"I felt Ibiza gave me the space and the silence I could never get in London," Ms. Collis said.

Although she had been painting for years, she decided to give it up and focus on turning her jewelry into a business.

"My painting had become stressful, static," she said. "But with jewelry, I didn't mind showing the pieces, I just didn't take it as personally."

She developed her own techniques of irregular, hand-melted gold nuggets, which today have become her trademark. These are individually made and each is unique; she lets them melt randomly, without casting or molding them. She then goes on to set tiny diamonds in each of them.

"I can't control the nuggets, they control me, I can never decide how each one will look, it just forms its own shape once it cools," Ms. Collis said. "I probably wouldn't use this technique if I had had a proper training."

"That's the difference with my painting, which felt contrived after five years of intense studies," she added. "I feel freer with jewelry."

Yet Ms. Collis believes that her experience as a painter still has a great effect on her practice as a jewelry designer.

"I can relate so much between the two," she said, "particularly in the way I introduce color, the combination, the balance, combining silvers, subtle grays, sapphires."

Instinct plays an important role, she said.

"I think of it not as a product but as a three-dimensional piece," she said. "I start by writing before drawing, look at pieces of gold and then let them guide me so that the ideas flow organically."

As in her paintings, compositions of natural elements translated into seemingly random compositions are a great source of inspiration body jewelry factory.

"My paintings often consisted of objects put together," Ms. Collis said. "At first they seemed not to make any sense, but when you looked at them, there was a feeling of them making sense in an organic way."

She sees a relationship between the arbitrary, instinctive nature of her jewelry and the natural elements around her.

"Look at nature: many things don't make a logical sense when taken out of context but fit together strangely," she said.

"I don't miss painting," she added, "because when I make jewelry, I just feel that I finally found my medium."