Claire McArdle ‘Gilty’ @ No Vacancy Gallery

I was really looking forward to seeing Claire McArdle‘s ‘Gilty‘ exhibition. The exhibition opened on Monday night (22nd April), but I wasn’t able to visit until the Saturday.

Exhibition media: “If an illusion deceives your perception does it make the first understanding invalid?
Does a gilt object betray us in some way or does it possess a truth of its own?
A skin of gold matches the contours of the bead in precise detail. It masks the underlying material of the piece which makes up 99% of its volume and 0% of its surface. How do you value the piece?
Is this piece pretending to be something else or is it exactly what it is and we have deceived ourselves with visual assumptions?
If you know the chain carrying the beads, the chain which is almost fully covered, is made of 18ct gold, how do you value the piece now?
Is this a truth wrapped in a deception? Or is it just a piece to be perceived with available knowledge and accepted for its form and known materiality?
Is this work guilty for being gilty?“

Together with the magic exhibition image below, you can understand why I was fascinated and was looking forward to seeing the show.

from facebook; click on image for original source

I was imagining necklaces just like the one above, in my eyes referring to ancient works, lining the walls and challenging us to wonder how we value them if they’re plated and not pure gold … or even a mixture of both … and how do we know …

Instead there were chains on black circles, accompanied by photographs of what must have been there before.
It was incomprehensible to me and my friend.
We were both incredibly disappointed.
What had gone wrong with our understanding of the exhibition media?

installation; 27th April

We sought out comfort (for me, churros and chocolate) and sat down to chat about it. It was only then, when I spent time reading the little take-away booklet from the exhibition, that it became clearer.

*Spoiler Alert*

In the booklet: “an exhibition experienced twice …
Neckpieces experienced once as wearable gilt forms. Experienced again as edible gilt beads revealing the true gold chain beneath. The pieces have not changed, they are as they always were. But the circumstances of perception have shifted. …
Objects once untouchable, displayed on gallery walls are now free to be consumed. Something on the body to become something of the body.“

Oh, so the beads were edible-gold-covered chocolate on gold chain. So the beads have been eaten at some point. Which explains only the chains remaining.

This is a fantastic and genuinely intriguing shift in perception and a great idea for an installation/performance, and it’s understandable why this was not obvious in the media as the surprise is the whole point.

However, if I knew that the there was to be a one-off ‘reveal’ of kinds, I would have made every effort to make it to the opening night. Perhaps it would have been best as a one-night-only event? With a week-long exhibition, it has left those of us not seeing the original work (well, at the very least me and my friend) really very sad.

Claire McArdle’s ‘Gilty‘ was at No Vacancy Gallery from 22nd – 28th April 2013.

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Update (2nd May): please do also see Claire McArdle’s blog post (posted yesterday), and it has so many incredible images of her work and Zoe Brand’s excellent essays; and I love how Melissa Cameron describes it. You cannot imagine how much I wish I could have been there for the opening night – it looks like so much fun. AND there’s a video!

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‘Signature Style’ @ Craft

The flu has had me in its grip for so long now that I nearly missed ‘Signature Style‘ at Craft, only catching it on the last day.

exhibition media

Exhibition media: “Signature Style is a major group exhibition exploring models of collaborative practice in contemporary jewellery. Featuring the work of some of Melbourne’s most exciting artists and jewellery practitioners Signature Style will be a significant addition to the emerging discourse around collaboration and contemporary craft. Collaboration poses a very different method of working – by its very nature, collaboration eschews individual artistic identity in favour of some kind of ‘third’ position. Signature Style will examine new methodologies of working and ‘work’, thinking through the potentials of collaboration within craft and design.“

Meredith Turnbull & Manon van Kouwijk

The combination of pieces by Meredith Turnbull and Manon van Kouswijk is stunning; their display gorgeous and sympathetic. I noticed though that their collaboration was more a conversation, as there didn’t seem to be any pieces with both of their names against them. This differed from other artists collaborations, as most of these were attributed to both artists.

installation; Katherine Wheeler & Polly van der Glas

I also loved the work by Katherine Wheeler and Polly van der Glas. Even though hair and teeth are not really my thing, and the fingers freaked me out initially, it must be said that their materials seemed well-matched. Katherine has written on her blog about the collaboration, with some lovely images; I especially enjoyed reading that: “We have both found the most successful pieces within our installation are the ones that have been made together- and taken on the 3rd entity through the collaborative process- not entirely either artist’s signature style, but a successful merge of the two.“

Tessa Blazey & Alexi Freeman

Thirdly, the dress by Tessa Blazey and Alexi Freeman is arresting. The shadow it creates on the wall is too beautiful.

Participating artists are:

• Nicholas Bastin [site] & Matthew Dux
• Dan Bell, Bianca Hester, Charlie Sofo, Nathan Gray, Christopher LG Hill, Liang Luscombe & Oliver van der Lugt
• Tessa Blazey [site] & Alexi Freeman [site]
• Michaela Bruton & Kane Ikin [site]
• Milly Flemming [site] & Dani Maugeri [site]
• Natalia Milosz-Piekarska [site] & Katherine Doube
• Nina Oikawa & Bridget Bodenham [site]
• Meredith Turnbull & Manon van Kouswijk
• Karla Way [site] & Dylan Martorell [site]
• Katherine Wheeler [site] & Polly van der Glas [site]

installation

Karla Way has written about her work on her blog too, and has some amazing images of her incredible work with Dylan; while I found the sheer number of objects to look at a little overwhelming, my friend loved LOVED it [see her blog post here].

Natalia Milosz-Piekarska has also written about her work on her blog too. Her body piece is incredibly beautiful and the video shown alongside it, worn by dancer Katherine Doube is mesmerising.
Update (30th April): also see VettiLiveinNorthcote’s post for some lovely images of the installation.

Bridget Bodenham has also shared an image of her work with Nina.

‘Signature Style‘ was at Craft 8th March – 27th April 2013.

Commission: platinum weave

It’s been some time now since I was commissioned through Lord Coconut to make these items, but I’ve waited to post about them because they were a gift. While it’s not likely the recipient even knows of my blog, I didn’t want to risk spoiling the surprise.

This was the first time I’ve been commissioned by someone I didn’t personally know, through a representative gallery (well, they’re my only stockist to date).

Platinum Commission; image not to be reproduced without permission

Initially the client wanted a gift for her partner for their 20th anniversary, and as such platinum was to be a significant component. I understand she liked a number of the cufflinks in the gallery, and after a few iterations of ideas she asked if I could do my round weave cufflinks in platinum (with the settings in sterling silver). After investigating that A&E Metals could make me the platinum cloisonné wire I needed, I agreed.

It was then a bit exciting that she also asked for a matching pendant for herself (with the bezel in sterling silver; if you’re wondering, the bezels are deliberately file-textured).

In sending Lord Coconut the quote for the work, I had to make very accurate calculations for the pure platinum cloisonné wire requirements – as it was approximately $345 per meter (and the minimum order was one meter). So each little row of a 20mm weave (including the turns) was around $10 or so.

By way of comparison, at the time (from memory) one meter of fine silver cloisonné (0.8 * 0.15mm) was $2.20 and one meter of fine gold cloisonné (which I think was 0.20mm) was $240 … the difference to platinum being in part due to the metal being more expensive, but I think mostly due to the special manufacture.

Platinum commission; image not to be reproduced without permission

I hadn’t worked with fine platinum cloisonné before, and was uncertain it would behave the same way that fine silver did. I probably should have expected it would, given the thinness of the flat wire sheet; though I did fear it may split and not be as malleable.

I swear I didn’t breathe the whole time I was weaving the panel … one mistake, one split in the metal, one break in the paper (which would mean attempting to unwind the weave and again risking breaking the metal) … the thought of making a mistake and having to buy more metal (and at a minimum of a meter per order, not to mention the week for manufacture and postage) was terrifying!

The fact it was platinum may seem extravagant at first viewing – with the exceptional cost of the metal compared to silver – but I do understand the desire for integrity and symbolism for such a special gift.

You can actually tell the difference to silver when they’re side-by-side: the platinum is less shiny, a slightly more matt grey. I like the platinum a lot, in fact I think I prefer it to silver … though cannot see myself playing around with platinum any time soon (except for commissions)!

My thanks to Mark at Lord Coconut for this opportunity.

RMIT Year 3: graduate exhibition

Our final year exhibition was called ‘Out of the Basement‘. I love this title.

For those unfamiliar with RMIT G&S, our rooms were in the basement of building 2 – so this was a wonderful turn of phrase, and I’m still incredibly fond of it.

We’d decided to use the image from the previous year’s graduating exhibition book, with a slight twist. We were keen to develop a series, and hoped that following years may continue – a kind of motif for RMIT G&S. Happily they did for at least two more years after this.

book cover for exhibition ‘Out of the Basement’

We had a great deal of difficulty in securing a location for our exhibition – a tip for any graduating class, start sorting this at the end of second year or the beginning of third year at the latest, seriously. We eventually agreed to ‘renovate’ an unused building across the grass courtyard outside building 2, called ‘The Cottage’. Apparently at one stage it was the space for G&S postgraduate students, but had fell into serious neglect.

Man, did that take some work. Though to be fair, a great deal of it was undertaken by our fabulous lecturer and technician. As it turns out, the university was so impressed and suddenly ‘remembered’ the space, that they then undertook to properly renovate it the following year.

I exhibited a group from my ‘Quilted Fragments‘ collection, and the ‘Mapping the Self‘ group. And my essay ‘Stealing the Mona Lisa‘ was also published in the exhibition book – so I’m officially a published author.

Strangely, it seems that I didn’t take an photographs … though I cannot believe that! So I can only assume I have misplaced the photo files somewhere. That makes me very sad. I cannot even find a copy of the exhibition invitation. Any of my RMIT alumni with an invite, please do send me a scanned copy.

I’m glad to have found Fitzroyalty’s post, which includes some images of the exhibition – the second image, reproduced below, is my work (erm and yes, the bottom one is of unphotogenic me and the beautiful Lucy). Thank you Brian!

image by Brian Ward, Fitzroyalty; reproduced here under Creative Commons; click on image for original source

I do have such intense memories of this exhibition, and the preparation for it (the auction, the book, the space) … ah, memories.

Graduates were (alphabetic by first name):

• Claire O’Halloran [website; artist profile]
• Danielle Lott
• Emma Sher
• Jamie Andersson
• Jenna Wilson
• Julia Storey [website; artist profile]
• Kara Breadmore [artist profile coming soon]
• Karen Thompson (me)
• Kat Goodwin
• Lucy (nee Blackmore) Hearn [blog, P+K; artist profile]
• Michelle Taylor [website; artist profile]
• Nicole Polentas [artist profile]

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This is my last post in my series from my RMIT years. I’m happy to have all the projects (at least partially) documented here. Though it is a little sad that I’ve finished talking about them already.

… see more projects from RMIT Year 1 here …
… see more projects from RMIT Year 2 here …
… see more projects from RMIT Year 3 here …

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ps. As I was doing a little internet research for the exhibition, to see if anyone else had written about it, I found that the National Library of Australia‘s copy was ‘missing’. So I sent them an email asking if I could send them another copy for their collection – you know, doing my bit – and I’m pleased to say they accepted my offer. I love sharing the love!

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My work in ‘The Wedding March’ @ Lord Coconut

The ‘The Wedding March‘ exhibition opens at Lord Coconut today.

I’ve contributed a pair of cufflinks titled ‘Mother of Pearl‘.

image not to be reproduced without permission

Regular readers may recognise the paper colours, they’re an edited section from the papers used in my ‘Glo-mesh‘ earrings.

‘The Wedding March‘ is at Lord Coconut until  28th March 2013.

*disclaimer: I regularly stock Lord Coconut with cufflinks

‘Containment’ @ NGV

The 2012 Cicely & Colin Rigg Contemporary Design Award is exhibited as ‘Containment‘, at the National Gallery of Victoria Ian Potter Centre.

I was looking forward to seeing this exhibition as the lovely Katherine Wheeler [artist profile] was part of it – and I wasn’t disappointed, her collection was astonishing.

Katherine Wheeler; photograph with gallery permission

Exhibition media: “The Cicely & Colin Rigg Contemporary Design Award is a generous legacy of the late Colin Rigg (1895-1982), a former Secretary of the Felton Bequests’ Committee. This ‘Award of Excellence’ focuses on contemporary design practice in the state of Victoria and is a reflection of the NGV’s continuing support for and commitment to contemporary design. It is arguably the richest and most prestigious prize ever offered to a contemporary designer in Australia, with a prize of $30,000. Held every three years, each exhibition is devoted to a particular design discipline. The past five exhibitions, in 1994, 1997, 2003, 2006, and 2009 represented ceramics, metalwork, textiles, jewellery and furniture design respectively. In 2012 the exhibition is dedicated to vessels and the notion of containment.“

I also loved Robin Bold’s group too. This is such a striking group of magnificent vessels; I really wanted to bring one home, especially one with the little ‘egg’ insert (see my previous adoration of her work).

Robin Bold; photograph taken with gallery permission

Participating artists (alphabetical by first name) are:

• David Pottinger (nerikomi ceramics)
• David Ray [website]
• Emma Davies [website]
• Garry Bish (ceramics)
• Ian Mowbray (glass)
• Katherine Wheeler [website, blog]
• Marian Hosking [website] – recipient of the award [article]
• Mark Edgoose [website]
• Neville French [website]
• Owen Rye [website]
• Richard Morrell [website]
• Robin Bold (metalsmith)
• Titania Henderson (ceramics)
• Yhonnie Scarce (glass / metal)

There are some wonderful images on the NGV exhibition page.

I felt the weight of the ceramics here; which isn’t a criticism but my personal response to the medium. There were representatives of metalwork, ceramics and glass; though I couldn’t help but wonder if other media or artists could have qualified to be included in a ‘Containment‘ contemplation, like woodwork or paper or even something entirely sculptural (remembering that ‘craft’ was central to this award). Though I imagine there are criteria I just don’t know about.

This exhibition has also been written about on HandMadeLife – interestingly they also wonder what other media could be included, adding textiles (basket weaving) to my above list.

‘Containment‘ is at NGV Ian Potter Center until 21st July 2013.

‘Radiance: The Neo-Impressionists’ @ NGV

When I studied Art in high school – only up to grade 10, I had to choose between advanced maths and art for grades 11 & 12, it wasn’t permitted to do both; it was an outrage I tell you, and broke my heart, but I digress – I was particularly attracted to Impressionism.

So it was quite a joy to visit ‘Radiance: The Neo-Impressionists‘ at the National Gallery of Victoria. Even more reason to make me happy was that it was the first time I’ve been to the NGV for over a year or more.

It was refreshing to see artists other than the most well-known of the movement: Georges Seurat, Camille Pissarro and Paul Signac. Though of course their works are amazing. Maximillian Luce and Henri-Edmond Cross were revelations to me.

My favourites of the exhibition were many. Naturally photography was not permitted (this is not a free exhibition), so I will link to the website images.

• Paul Signac, ‘The Pont of Saint-Tropez‘; it was fascinating to see the marked-up proof lithograph and the final
• Maximillian Luce, ‘The Louvre and the Pont du Carrousel, night effect‘; so much of the art work of this movement focus on daylight, but this is a night-time one (of a few in the exhibition) and it is stunning
  

  exhibition media; click on image for original source

• Camille Pissarro, ‘Charing Cross Bridge, London‘; I also love the frame
• Georges Seurat, ‘Beach at Gravelines‘; a beautiful intimate little delight
• Henri-Edmond Cross, ‘Toulon, winter morning‘; brush strokes more like tesserae than points and much bolder colours
• Henri-Edmond Cross, ‘The Breaking Sea‘; colouring tending toward Expressionism
  

  exhibition media; click on image for original source

• Paul Signac, ‘Avignon, morning‘ and ‘Avignon, evening‘; beautiful little watercolour sketches
  

  exhibition media; click on image for original source

• Achille Lauge, ‘Portrait of Madame Astre‘; an astonishing large scale study in whites

An excellent quote was on one of the walls: “The belief that the Neo-Impressionists are painters who cover their canvases with multi-colour little dots is a very widespread error … the Neo-Impressionist does not dot, he divides.” Paul Signac

A few observations as I walked around the two rooms of artworks:

• The lithographs were a surprise, their washed out colours so beautiful and muted.
• The term ‘Divisionism‘ was also new to me.
• Pointellism must in a way constrain the ability for an artist to differentiate their work; as the brushstrokes are similar to others using the method; though I imagine they can be individualistic about the size of their dots, the colour palette, the degree of realism and definitions … so maybe it’s not such a limitation.
• I noticed that there was no audio-tour but that many of the images had those little pixel boxes for smart phones; as you can tell by the simple fact I don’t know what they’re called that I have an old-fashioned phone device, so was unable to unlock these little extra snippets of knowledge. I thought this was a bit ‘exclusionist’, and would have liked the option of an audio-tour. Though that said, I recognise this is probably pretty great for international visitors as maybe it would show up in their native language – yes?

I enjoyed the visit, it was wonderful to feel well enough to wander about an exhibition for nearly an hour and fill the visual-image-well; but by the end was suffering a little of pastel and pixel overload.

‘Radiance: The Neo-Impressionists‘ is at NGV until 17th March 2013.

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Update (25th February): it was remiss of me not to mention that this exhibition has a lot of little tips for children – I thought these were especially thoughtful and engaging.

Others have reviewed the exhibition: Hannah Duke, Hannah Duke for Melbourne Pulse, Catharine of Pondering Art,  Peter Madden for Kryztoff, Howard of Extemporanea.

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