Christmas exhibitions are a tradition at Bilk Gallery. Originally they were held in the Queanbeyan workshop space but they are now in the bijou-style gallery at Manuka. Indeed, as the directors of the gallery state this year, Bilk will be the Christmas tree decorated with and filled with rings bracelets, pendants, objects and brooches. There is however in evidence a very stylish Christmas tree in white wood cleverly designed by the directors themselves that might set a new tradition.

Most of the artists that exhibit regularly at Bilk have contributed work to the exhibition. They have been joined by some very interesting newcomers – Sim Luttin, Wen-Miao Yeh, and Carl Noonan.

Sim Luttin lives and works in Melbourne where, in addition to her studio practice, she is gallery manager and curator at Arts Project Australia. A graduate of RMIT she moved to Adelaide to undertake an associateship with Jamfactory: Contemporary Craft and Design, before travelling to the United States for further study and studio experience. Since 2013 photography has played a large part in her work. The jewellery pieces in the exhibition come from the series called It's always darkest before the dawn which is work that interplays with memory and time. Luttin is known for her affinity with using blackened silver which she employs to great effect in a necklace of curved and pierced beads in the exhibition.

Carl Noonan is a Sydney jeweller and teacher. His current work is concerned with the symbiosis or interrelationships of all parts of the natural world. His silver pendants symbolise this idea in the form of regular polyhedrons (three-dimensional shapes with equal sides) that function as interlocking puzzle pieces. Noonan's heavy silver rings (the Empty series) are outstanding. Hollow in form, the ends of the ring twist back together into open leaf-like forms lined inside with gold or black rhodium coloured metal. Although contemporary and innovative in style, they have a strong sense of inherited tradition.

In contrast Wen-Miao Yeh's jewellery has the appearance of somehow being blown together by the wind and looks as fragile in appearance as a butterfly's wing. However in reality Wen-Miao Yeh's imaginative creations are complex constructions based on the artist's interest in special relationships and architectural indicators of place, time and space. Her brooches and earrings are tiny clusters of varying sized shapes made from thin translucent plastic, copper and paint. They reveal an Asian sensibility to the art of constructing sculptural forms out of such materials as paper, vegetables and bamboo. The colours the artist uses to tip the edges of the plastic shapes of the clusters is predominantly in a sugar pink and grass green. This combination of colours is popular in Vietnam and Taiwan and it is seen widely in textiles and ceramics. Through the elements of colour and materials, the artist also extols her feelings for her homeland of Taiwan. Wen-Miao Yeh was educated in Taiwan before completing her studies in the United Kingdom in 2012. This year she has begun to exhibit in Australia.

Another artist influenced by Asia is Jess Dare who undertook a residency in Bangkok researching the Phuang malai or floral wreaths that are offered in Thailand on all sorts of occasions. Dare has made her own stylised wreaths in brass. She has powder-coated them in white paint and worked the surface back in parts to represent the transient nature of these offerings that are left to decay and die.

Nellie Peoples' work is about reusing metal that has had a previous life. In her present series of works, the Fire Extinguisher series, she uses reclaimed street signs to provide not only the actual metal material of her jewellery but also to supply the surface decoration. Peoples uses her design skills to take full advantage of the original red areas in the metal signs and arranges them so that they become an integral and important part of the design.

Kath Inglis is another artist who begins with what to others might look like unpromising material. Inglis hand dyes PVC plastic in jewel-like colours and cuts them into facets as if they were precious stones and metal. There is a wide selection of Inglis' bangles on display and an impressive deep purple neckpiece – a display that looks like it has been garnered from a pirate's chest.

Among the work of other artists who regularly show at Bilk, I am inevitably drawn to the wide range of attractive earrings. Mio Kuhnen's small, dark pillow-shape domes are based on an image sourced from the Hubble telescope and have tiny star like patterns on them. Mel Douglas has paired her half-moon shaped earrings with coloured and textured glass for a shimmering finish and Phoebe Porter has her sleek and stylish red and metal hoops on display that are just so right for the festive season.

Small glass objects are also part of the Christmas display and there are covetable glass works by Evelyn Dunstan, Giles Bettison, Kumiko Nakajima and Kirstie Rea.

This exhibition delivers a cornucopia of jewellery and wouldn't it be wonderful if Santa delivered some of it to people in public life who seem so very, very fixated on pearls?