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Categories : Calendar
A quick little skip around the interwebs:
- Bethany Linton bemoans spam (oh how I relate) but does share a beautiful new object
- Claire McArdle shares some amazing pieces
- oh my good lordy, in lust with David Neale’s cufflinks
- Jennifer Martin has shared some new images of older work, I especially like the Sea Twine ring
- The Needle Files highlights that 1st April is the deadline for applications for Artist in Residence at Birmingham Jewellery School (for anyone planning on popping over to Europe)
- naturally I still love reading Katherine Bowman’s blog, especially her recent ‘inspiration’ post
- Katherine Wheeler makes some interesting observations about the work in ‘Containment‘
- enjoying Kim Victoria Wearne’s opal explorations
- Lucy James says ‘think less, do more’ … I like this a whole lot
- if you’re not already regularly reading Mel Miller, add it to your list; after reading her post about getting whiter backgrounds in images, I will need to do some more investigation as this is something I’d like to improve in my photos
There are lots of lovely writings and images on many blogs; see my Links page for more.
I wish I could write about everyone, but that would take me days and days!
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Categories : Blog_roundup
It’s a little late, and you’re likely to know this already …
The winners of the Herbert Hofmann Award at Schmuck 2013 were announced on 9th March 2013.
- Robert Baines of Australia
‘Parrot’ – that´s the title of one of the works by Robert Baines. This is not the only piece of jewellery in which this Australian designer makes use of animal motifs. In his round and oval brooches Robert Baines plays with the depiction of animals ranging from serpents to teddy bears. In a humorous and ironic way, commented the jury, he hints at the forms of historic jewellery. Indeed, history is his point of departure for creating an expressive style of jewellery that is superbly executed and entirely his own.
- Fumiki Taguchi of Japan
The works of Fumiki Taguchi of Japan are reminiscent of medals and decorative marks of distinction – but only at first glance. According to the jury, Taguchi´s brooches inventively confront the cliché in Japan that the value of a work of jewellery is often based on the size and the quality of the gems. Fascinated by the forms of historic jewellery and medals, he turns away from the traditional employment of precious stones, creating instead a trompe l’oeil effect of diamonds in silver. The piece called ‘Expression of White’, for example, imitates the luminance of precious stones, confounding the eye. Taguchi´s very different approach certainly appealed to the jury.
- Helina Lehtinen of Finland
The group of works by Helena Lehtinen of Finland consists of seven different pendants. The work with the title ‘Family’, a composition of simple, reduced forms such as bars and disks, has the character of a still life in which each part relates to the others. What stands out, too, is the quality of the craftsmanship. The jury were attracted to the “clear austerity of the individual form” and the “composition of the group in different materials and delicate colours”.
The above text is from the Handwerk & Design website announcement.
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Categories : 'Schmuck', Exhibition, Jewellery, Robert_Baines
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.
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!
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]
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.
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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Categories : City_CBD, Exhibition, Jewellery, My_Work_2006, RMIT, Silversmithing
One of our ‘context’ projects was to design and set up a mini-exhibition in the display cases in the hallway of the RMIT G&S part of the building.
We worked in pairs and the exhibition was up for a week each. We were required to document the show as well.
I partnered with the lovely lovely Jamie Andersson – he was one of my dearest friends during my degree. We decided that of the five panels of the display case, we would have two each and the middle one would share our work.
My side included work that was being used for my ‘Mapping the Self‘ project. The intent was to work from left to right, white to black, large to small scale, paper to solid materials, one layer to mulit-layer.
This mirrored Jamie’s work ‘Grey Matt(er)‘, which was a selection of his vast collection of found object, which he (matt) painted in graded scale from black to white. I remember he was really happy with this collection and it featured in our year-end exhibition.
A few more detailed photographs below.
… last post in this series: RMIT Year 3, Semester 2, Silversmithing, continued …
… see more projects from RMIT Year 3 here …
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Categories : My_Work, My_Work_2006, RMIT, Silversmithing, Visual_Art
To continue with this project…
3. Outer Hebrides, Scotland
dimensions: 170 * 85 * 22 mm
map source: Bartholomew’s “Half-Inch to Mile” Map of Scotland, sheet 23
4. Main Island, Orkney, Scotland
dimensions: 165 * 90 * 22 mm
map source: Bartholomew’s “Half-Inch to Mile” Map of Scotland, sheet 28
These were all made from 0.5mm aluminium sheet and bone-coloured 3mm perspex. Initially I had used the perspex as a kind of stiffener to help saw-piercing the aluminium. Though I loved the look of it I kept it as part of the finished object… reminded me of the saying ‘in my bones’.
The engraved lines are the four compass points. And all of the securing post points are placed at the end of these lines.
These are still among my favourite pieces from university – definitely in terms of silversmithing, and perhaps only third after the gold and quilt brooches.
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Categories : My_Work, My_Work_2006, RMIT, Silversmithing
I’ve made some new socks.
You’re as excited as I am, I can tell.
- MadelineTosh tosh sock yarn, in Black Velvet colour-way; this is my favourite colour yet! delicious silvers, charcoal, wisteria, jacaranda, mulberry, ribena, boysenberries …
- start with favourite cast-on: Judy’s Magic
- main pattern from Froot Loop sock on Ravelry
- heel pattern from The Crazy Monkey on Ravelry (used simple slip, not partridge)
- favourite cast-off: Surprisingly Stretchy
If you’re on Ravelry, check out my project here.
Next? Perhaps another cowl for autumn, or a new cardigan …
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Categories : Craft, Knitting