Kiko Gianocca, Marc Monzo ‘on second thoughts’ @ Gallery Funaki

I have a soft spot for Kiko – he took one of our classes in our third year at RMIT; so I was very much looking forward to this exhibition. Add to that, Katie was one day wearing the most stunning gold earrings by Marc, and I couldn’t wait!

The conversation between the jewellery of Kiko Gianocca and Marc Monzo in ‘on second thoughts‘ is pretty special.

exhibition media; click on image for original source

Kiko’s work includes some rings with (what I would consider his ‘signature’) two-eye holes, molten neckpieces and enameled (I think?) plate brooches with images on the back. These brooches are beautifully constructed and conceived; they feel quiet when on the bench, though I imagine are fairly monumental when worn.

exhibition image; click on image for original source

The pieces I loved the most from Kiko were his silver-plated wooden pendants. Stunning simplicity; the texture is beguiling. I wanted one. I haven’t been able to find any images of them yet, though they are similar to those in his previous exhibition (as shown by ArtBlart here).

Exhibition media: “The jewellery of Kiko Gianocca (Switzerland) and Marc Monzó (Spain) is born of a need to make sense of the temporality, connectedness and the personal. Each uses a visual and material language entirely his own, yet both share a directness and minimalism that cut straight to the core of what it means to wear jewellery and imbue it with meaning.“

This was the first time I’ve seen Marc’s work. I have no real explanation for it, though I felt there were two kinds of his work – restrained linear pieces and those referencing the ‘ring’ (like these). I was especially attracted to his little brooches, like those in the image below.

not from the exhibition; click on image for original source

There is so much to see in this exhibition, and to be truthful I’m not sure I’ve come to terms with it all yet!

What I do like about this exhibition is that much of it is the ‘quiet’ kind of contemporary jewellery … wonderful.

‘on second thoughts‘ is at Gallery Funaki until 20th October 2012.

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Update (7th October): Gallery Funaki’s facebook page has a beautiful photograph of Kiko’s rings

from Gallery Funaki facebook; click on image for original source

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Warwick Freeman ‘making dust’ @ Gallery Funaki

Finally, I’ve made it to a jewellery exhibition in Melbourne! Hoorah! Sadly though, it was on this exhibition’s last day – but at least I made it to Warwick Freeman’s ‘making dust‘ at Gallery Funaki.

The key piece ‘dust‘ is a pretty amazing collection of panels on which Warwick has adhered dust that he has meticulously collected from his studio (an example is below). I understand that he was incredibly careful to collect the dust from each material he works with and displays them here on cards (with a non-coloured binder) … the collection gives the viewer what is essentially a condensed view of his colour palette.

exhibition media; click on image for original source

A few of the pieces reminded me of birds and faces (below) and noses … and triggered, as expected, my resistance to figurative works. That’s okay, it’s just the way I am; I don’t dislike them, I simply cannot find I can connect with them.

exhibition media; click on image for original source

I did respond to two rings of large pieces of lapiz lazuli … displayed as though the stone was a plinth. I liked the gentle humour in this.

There is quite a range of materials and symbols / iconography …

Exhibiton media: “Warwick Freeman’s latest exhibition explores form, material and the quiet profundity of the everyday object. The rear wall of the gallery features Freeman’s new installation, ‘Dust’, a kind of documentary record featuring the residual dust of sixty materials that the artist has used in his jewellery making, mounted on boards and offering a graphic palette of Freeman’s practice. His jewellery pieces; carved, found or both, are imbued with the directness, honesty and talismanic power that are the hallmarks of his artistic vision.“

While I very much enjoyed his last show at Gallery Funaki, ‘spring collection‘ (I can hardly believe it was almost three years ago!), I had more trouble putting the various components of this show ‘together’ in my mind. I expect this is more to do with my fragmented attention than anything else.

Warwick Freeman’s ‘making dust‘ was at Gallery Funaki from May 1st to 26th 2012.

Carlier Makigawa ‘nature and structure’ @ Gallery Funaki

Seriously, what has happened to time lately? I cannot believe I almost missed this exhibition. Thank goodness I joined the ‘young generation’ on the Facebook, and follow Gallery Funaki, or I shall have completely forgotten it closed today.

Carlier Makigawa‘s latest exhibition at Gallery Funaki is ‘nature and structure‘.

Exhibition media: “Fragile structures project and expand in unplanned growth. Lines – define volumes and transparencies to explore movement, form – an illusive, simultaneous grasp of life, exploring boundaries of formal definition of the relationship and tension between like and unlike.“

exhibition media; used with gallery permission; please click on image for original source

I absolutely loved Carlier’s previous exhibition at Gallery Funaki, ‘October 2009‘; especially the moving sculptures.

The current exhibition seems to explore and further develop some of the new trajectories that began there. Particularly, the straight linear forms; and coral has graduated from the occasional inclusion to being integral to each piece here (with the exception of the bracelets).

exhibition media; with gallery permission; please click on image for original source

It was wonderful to see earrings take part in a formal exhibition – in my recollection, this is not that common, though I hope it is a trend we start to see a lot more of.

There were also brooches and bracelets – the latter introducing a new graduated silver / oxidised finish that is quite becoming of the pieces.

After my first sweep through, I initially thought there was a strict relationship of the coral colouring to the metal finish used (especially I thought that the darker red coral was always paired with blackened silver). But on second sweep realised that was wrong. And I like that kind of experience … a second, third, fourth, and subsequent look always uncovers something new.

exhibition media; with gallery permission; please click on the image for the original source

The coral was set into some, perhaps many?, of the pieces in such a manner as to allow a little movement of the coral (eg. the orange coral and yellow gold piece in the second image) … it’d be so interesting to see how they would move on the body. I was feeling particularly clumsy the day I visited, so thought handling them would be unwise – last thing I’d want to do is drop a piece, with coral in it, for heaven’s sake!

Though still on that thought … I was a little torn between feeling the coral was free to inhabit the structures made for them, or if they were trapped. In the exhibition writing below, it mentions a tender hold – though I wonder if the tender hold is sometimes the most difficult to bear or break? Is that a bit deep for this time of day…

Exhibition media: “In Carlier Makigawa’s work, it’s often as much what is unsaid, or unframed, that speaks clearest. Areas of absence become vivid: they move in symbiosis with the carefully constructed cages that surround them. Pale, white silver hints at the ephemeral – at something that might easily slip away – while dense, blackened silver seems determined to draw a line against impermanence. Pieces of coral are caught and held almost tenderly, their bright splashes of colour a counterpoint to and reinforcement of the negative spaces around them. ‘Nature and structure’ is an exhibition by one of Australia’s most accomplished artists working at the height of her powers.“

And, as always, it was wonderful to spend time chatting with Katie Scott about the work.

Carlier Makigawa ‘nature and structure‘ was at Gallery Funaki from 13th March to 5th April 2012.

ps. Carlier’s work is also well described in a story on Sim Luttin’s blog here.

Helen Britton ‘industrial’ @ Gallery Funaki – part 2

Still SO excited about this exhibition (see my post from this afternoon).

I have been thinking about one ring in particular that may need to come home with me ….

image courtesy and with thanks to the gallery

Such a beautiful exhibition design … paper structures and a landscape for the pieces to live amongst. I loved it!

I understand that Helen brought some of the construct with her and also made some here.

It was interesting that I’ve seen the bright orange in another exhibition recently – it seems to be of the moment (in a good way).

image courtesy and with thanks to the gallery

The workmanship is exquisite. The collection is cohesive and just stunning.

There are earrings, brooches and extraordinary neckpieces too … though my heart belongs to the rings.

I can most certainly appreciate and like the work in the other pieces; though the more I’ve been asked about it, it seems the more aware I am of my kind of aversion to coloured metals … makes no sense to me though, as I like colour? Something to think more about.

image courtesy and with thanks to the gallery

For me there was a sense of historicity about the rings in particular – Victorian era (from the star-setting of the Argyle diamonds) mixed with dark or medieval ages, with the shapes of portcullis and perhaps shields and key holes (I thought the one on the right reminded me of a chastity belt lock!).

And they feel amazing on … like they were meant to be on my hand …

from exhibition media; click on image for original source

Exhibition media: “A tiny girl stands in an enormous factory. They are casting steel: steel for ships, steel for the mines. Nearby the ships will be built; that she knows. The steel pours, the men like ants in scale, the heat, the stench, the noise, all are embossed into her being.

Later on, she took that little walk to the edge of town; she walked across those tracks. No viaduct, but the gritty screaming bands in the workers clubs alongside the steel works, again embossed.

Now, almost 40 years later: a post-industrial city in Europe. No steelworks, no bright clear beaches (where the massive ships sometimes end broken in the winter storms).

Where do these tracks now lead and what do they allow?

Steel bridges, steel lines in the snow, construction site grey dust, an assemblage of materials that will be ordered and built back into the cold, greasy grey.

Stretch all those years of looking, that line of experience back again to the steelworks. Pour that music in through the ears and out through the hands. Cut that line deep in the shapes, organize the elements, tie them down and connect them all together again. There you have it: an explanation.“

from exhibition media; click on image for original source

I still adore Bettina Speckner, though I feel she may now not be first-favourite but equal favourite … seriously, absolutely smitten.

Then I second guess myself and wonder if I can admit to being smitten if it’s only for the rings … is that okay? Not sure that’s okay … but I’m going with it for now.

Helen Britton ‘industrial‘ is at Gallery Funaki until this Saturday 3rd December 2011 – make haste!!

Helen Britton ‘industrial’ @ Gallery Funaki

I’m writing this at work. Don’t tell anyone. I’ll write more when I get home.

But I was just busting to tell the whole wide world that I’ve fallen in love.
And I don’t care who knows it.
Helen Britton’s rings in her ‘industrial‘ exhibition at Gallery Funaki are stunning, incredible.
I may have tried every single one on; I may want more than one; I may have skipped and danced a little with joy.

More to come … when I’m not meant to be working at my ‘day job’.

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Update (later the same day): I’ve written a whole new post about this exhibition

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Melbourne jewellery galleries and artists: part 2

PART 1 yesterday———————————————————————

PART 2 ——————————————————————————–

It’s actually been two weeks since I wrote the first section of this post (part 1), and I’ve since received responses from many of the galleries I contacted.

The question I asked was pretty simple (as I know gallery staff have way more important and interesting things to do than spend time on my emails). And I offer them my sincere thanks for answering me.

Does ***gallery*** have a standard policy for their artist relationships?
(i) exclusive within Melbourne and/or Victoria; or
(ii) an exclusive range or collection, with the artist free to have other work at other galleries / online store / private commissions; or
(iii) no exclusive requirements; or
(iv) something else / combination / depends on the artist.

My summary of the responses is below (with general comments underneath):

• Alice Euphemia – “rarely requests” exclusivity (as the “handmade nature of the work we have stocked usually limits the production and creates uniqueness and ‘exclusivity’ anyway“)
• e.g.etal – do not ask their artists to be exclusive as one of their “founding principles was, and still is, to support artists to make a living from their work“; though they do recommend stocking different ranges / collections at different outlets; and they do requests of their artists that prices are consistent if sold through other galleries / outlets (Emma was very generous in her reply)
• Gallery Funaki – traditionally an exclusive requirement within Victoria, and still to a large extent on a case-by-case basis (Katie sent me a wonderful reply too)
• Lord Coconut – no exclusivity; though request for consistent pricing if the pieces are sold elsewhere
• Pieces of Eight – the lovely ladies at Po8 are super-busy on their work in developing Edition X; an online shop for a selection of artists – which implicitly speaks volumes about their vision of the future of the contemporary jewellery space (will write about this soon! and I’ll update this post when I receive their response)
• Small Space – if possible, a different range / collection from other outlets (though the majority of the work stocked here is Robyn’s); Robyn made an important point I totally understand and can agree with: “to ask a contemporary jeweller to stock exclusively to just one gallery in Melbourne is not a feasible option when making a living from the handmade and the contemporary can be so difficult.” (Robyn was also very generous with her reply to my email)

To add to the above, some of the main points made in the replies included:

• Some of the galleries have commented that the inclusion of cast elements may impact the possibility of non-exclusivity (and therefore requests may change in the future).
• Also, many galleries do ask for artists to be considerate and respectful when managing private commissions, with many requesting (one with a specific policy on the matter) a customer to be referred back to the gallery where that customer has used the gallery to effectively ‘shop for’ a jeweller and then approached the maker directly (a practice I wondered about in my previous post).
• Further, there is consensus that the artist-run online retail-space (like bigcartel platform) is a bit blurry; its increased prevalence and popularity may introduce the need to review such agreements (or at least make explicit considerations of such) in the near future.
• Finally, galleries are usually founded by people who make and/or support makers, so they are very respectful. Many do take a great deal of care in developing excellent relationships with their artists, through which any of these kinds of matters can generally be managed as they arise.

My sincere thanks to the gallery people who have been so generous in replying to my emails and sharing their practice with me.

I will watch in interest in the coming years as the online economy moves and changes the retail environment – and I hope that galleries can still survive, in fact thrive, in the new market.

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Melbourne jewellery galleries and artists: part 1

PART 1 ——————————————————————————–

I’ve been thinking about this for a little while … the relationships between the key Melbourne jewellery galleries / retail spaces and the artists they stock.

For each of the below galleries (in alphabetic order) I went looking for a page on their websites showing a full listing of the artists whose work they represent. Not as standard as I actually expected – a bit surprised really.

• Alice Euphemia – a ‘jewellery page‘ but this may not be all their artists?
• Black Finch – no artist page
• Craft Victoria – there is a accredited member list, but is this actually an artist listing of represented artists? (the example I’d use is that I didn’t see Elfrun Lach or Karla Way here but I thought they has work at Craft Vic?)
• e.g.etal – no artist listing / page
• Gallery Funaki – artist page, links to biographies
• Lord Coconut – only a text listing (not a bio on each)
• Pieces of Eight – a page for each artist
• Self Preservation – no artist listing / page
• Small Space – a page for each artist
• Studio Ingot – artist page, links to biographies

From seeing which artists are with which galleries, it looks on the surface that artist agreements with these galleries are not strictly exclusive.

Some examples are below. I haven’t chosen these artists for any other reason than I likely love their work and therefore remember them in each gallery (note though, these may not be the only galleries they have work in):

• Anna Davern: Alice Euphemia & e.g.etal & lots as per her stockist list
• Darren Harvey: Black Finch & e.g.etal & Studio Ingot (complete list on his site)
• David Neale: Gallery Funaki & his own online store
• Julia deVille: Alice Euphemia & e.g.etal & lots as per her stockist list
• Justin Austen: Lord Coconut & Pieces of Eight
• Katherine Bowman: e.g.etal & Studio Ingot & her own online store coming soon
• Karla Way: Pieces of Eight & Craft Victoria (and many others, as per her site)
• Lucy Hearn: Studio Ingot & Craft Victoria and her own online store
• Sue Ewington: Small Space & Self Preservation (complete listing on her site)
• Suzie Zutic: Black Finch & Pieces of Eight (complete listing on her site)

So it’s pretty clear we have a pretty amazing group of galleries in Melbourne that are okay with giving artists a greater chance of making a living by being stocked in a number of locations (and not locking them in exclusively).

The only possible exception to that is Gallery Funaki … I think … I thought their artists were exclusive, though the David Neale example has confused me.

Also, I vaguely remember being told that Alice Euphemia had ‘exclusive-range’ requirements of artists – though I’m not sure that’s the case for the above artists, so maybe the arrangement is artist-specific?

I also thought some of the other galleries prefer a separate or exclusive group of pieces / collection from the artist; so that it is unique to their retail space.

So to be sure I had the correct information, I wrote to each gallery to ask.

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So all of the above text was written before contacting any of the galleries. I wanted to keep it unedited, as it shows the thought process of this post.

Also, while researching the above, I remembered the first post I wrote on this kind of topic earlier this year – it is still relevant and I’d like to expand on it a little further in this post too.

PART 2 coming tomorrow—————————————————————–