So this happened:
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I’m off to be a Master!
New horizons await.
Completely new horizons.
It’s both exciting and daunting.
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Therefore I’ve decided it’s perfect timing to take a break from the blog.
I’ve loved writing, for over 7 years now. I’ve loved the people I’ve met through this blog who I wouldn’t have met otherwise (you know who you are). I’m so glad for the experiences it’s brought into my life.
I’m not sure if I’ll be back. But you’ll know it if/when I am.
Happy making.
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Once more with the documentary watching … oh I know, but cold weather does induce such indulgences.
This thing of beauty caught my eye.
screen shot from documentary
It’s thought to be the crown of the wife of Richard II, and the only known English crown surviving from the medieval period. Now it’s called the ‘Crown of Princess Blanche‘.
screen shot from documentary
So delicate and gorgeous.
Yes … I’d like one … thank you.
Oh dear readers, it has been a marvellously convoluted life that I’ve been living over the last month or more … so much so that it was only possible to visit ‘5×7: early career Australian makers‘ at Gallery Funaki on its last day.
For that I most sincerely beg forgiveness … though I anticipate that many of you have visited yourself, and if not I hope you’ve been watching the online pictures.
photograph taken with explicit gallery permission ; Lindy
Makers invited to exhibit are:
photograph taken with explicit gallery permission ; Marcos (left) and Zoe (right)
I’ve been a long-time sincere admirer of Inari’s work – you may never, or perhaps only rarely, see work with such genuine spirit; or an artist with such a bright internal fire and need to create. The earrings and brooch in this collection were standouts for me; their darkness and surface finish is incredibly ethereal, though somehow broodingly standoffish at the same time. The little aluminium pin was a delight too. And while I admit to being troubled by not being able to hear what the larger scale sculptures were saying, I cannot help but be impressed by their scale and confidence.
I’ve also been a long-time supporter of, and interlocutor with, Zoe – her work is full of words and I freakin’ love words. I’m brutally self-critical and open about my struggle with humour and irreverence in jewellery, as I am far too much of a rigid traditionalist regarding the preciousness of adornment … though I like to think that I’m lightening up a little through exposure to work like Zoe’s (the earrings she’s making for the current Bilk exhibition are fantastic fun – see!). I have such respect for her work, her ethic, her enthusiasm in encouraging other makers, and truly wish I had her approach to making. I actually had a bit of a senior moment, when I initially misread the ‘GO ON’ pendant as ‘GOON’ … ah, showing my Queensland university days there.
photograph taken with explicit gallery permission ; Inari (left) and Annie (right)
In all her previous graduate exhibitions (that I’ve been able to visit) I’ve called out Lindy’s work as exceptional – I do really respond to her vessels’ shapes, and the black is the blackest black I’ve seen in a very long time (it must take her so much preparation and intense care to create). If I hadn’t blown my budget on my recent Norwegian adventures, I may have brought one home with me – though the ones I responded to most had already been bought (which is so super for them and Lindy, not so much for me).
Annie’s work felt a little different to the other makers, though I couldn’t quite put my finger on why … perhaps it was due to the colours, with these pieces being pale blue and pinks, and the other work in the show being quite monochromatic and/or low/subdued colouring. Sadly I have quite an aversion to pastels – completely not the fault of the maker of course, all my own fault!
The collection of pendants by Marcos was a revelation. It shouldn’t have been of course, as I’ve seen his work in many graduate and other shows … but it seems this particular group really called out to my attentions. I was speaking with another maker recently, and they made a great observation that I agree with (but cannot claim as my own) : he makes perspex look like it’s not perspex. It can really be a tricky material, though in his hands it’s transformed and given a delicious matt finish. How he put the colours into the holes in the material is beyond me! I spent ages, along with today’s most excellent gallery attendant, trying to figure how how he did it … part of me really really seriously wants to know, but I rather enjoy the mystery of not knowing too.
Warmest congratulations to the makers for being invited … by the best contemporary jewellery gallery in the universe no less(!) … to exhibit in this group show. I look forward to seeing how their work develops over the coming years.
‘5×7: early career Australian makers‘ was at Gallery Funaki until 14th May 2016.
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ps. a note on photography: there was a sign asking for no photographs; this is the first time I’ve seen this at Funaki though it is of course understandable; the above photographs were taken with explicit gallery permission
Melbourne Jeweller 