post last updated: 12th May
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post last updated: 12th May
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A little while ago (August last year), after seeing Bin Dixon-Ward’s ‘Grids‘ exhibition at Craft, I wrote the following about three-dimensional printing:
“I am interested in how this technology will impact future creation of adornment – perhaps even self-service jewellery, where a ‘designer’ makes their original design available online and a person can purchase it to have it printed themselves in whatever colour and material they desire.”
With a little more knowledge, I’d amend that to “whatever colour they wished, or cast in the material they desire“.
My recent visit to Maureen Faye-Chauhan’s ‘Concurrence‘ exhibition at Gallery Funaki woke this question up again … as my favourite pieces in the show, the gold rings, were 3D-printed and then cast (available in limited editions).
If memory serves (and that’s quite a significant caveat lately), I think the first time I saw jewellery made with the assistance of this technology were Cinnamon Lee‘s rings … though I’m sure she was working on them for years before I set my eyes on them at the 2009 BUDA award exhibition.
As affordability, level of detail, accessibility to printers and usability of software improves, I’m sure we’ll see much more of this technology in the world of jewellery … not least because it permits expanded creativity for makers, but it also can make pieces more affordable for wearers (as it reduces manufacturing time for complex pieces).
I don’t think it’ll be very long before we see a kind of self-service or click-and-order situation …
What do you think?
I found this recently and utterly fell in love.
I think I shall seek out more of this poet’s work.
“You will hear thunder and remember me,
And think: she wanted storms. The rim
Of the sky will be the colour of hard crimson,
And your heart, as it was then, will be on fire.”
(literary pseudonym of Anna Andreevna Gorenko)
(translated from original Russian)
What a few days I’ve had of jewellery viewing and gallery visiting – it’s been quite lovely and a timely reminder of how enjoyable I find it.
Exhibition media: ““The rebirthed jewels on show in her upcoming solo exhibition at Bini Gallery span the last six years of her artistic output. Included in the display will be the original half-cigarette-tin pair of brooches that launched her investigation, alongside new pieces finished this year. This is the first time that Melissa has had a solo show of just her object works, which begs the question, what has taken so long? “These pieces come out of my studio kind of sporadically, they are often made for specific exhibitions, so it’s only recently that I have managed to get a bunch of them back together to put a good-sized group of them on display.” Melissa adds, “It seemed like a good opportunity to bring them home while I still had all of them together.”“
It’s funny, just last week I published a ‘Other April’ post that included a link to my post of Melissa’s first exhibition (well, her Honours exhibition at Monash), with the image of my favourite piece from that show. Well, it’s been altered from an object to a neckpiece (above) and is in this show.
Still a favourite of mine. And how beautiful are the shadows it casts…
It was interesting speaking with the gallery owner, who mentioned her initial attraction to Melissa’s work was to the geometry … she mentioned she was a maths teacher, so we had a little mathematician bonding moment, bless.
Absolutely worth a visit!
‘Object Evolution: Jewellery from objects 2009-2015‘ is at Bini Gallery (Collingwood) until 30th April 2015.
Maureen Faye-Chauhan is showing her first solo exhibition at Gallery Funaki, ‘Concurrence‘.
I popped into the gallery on the crest of a ‘busy wave’ (five browsing customers); it created an interesting environment in which to consider such a quiet collection. If I’m honest, I’d say it was a little challenging (but I’m just one of those people who likes quiet spaces better; I’d never be a good shop owner!).
Exhibition media: “The complex pierced surfaces of Maureen’s jewellery allow light to play a vital role. As pieces move with the body, their steel surfaces ripple and change; interior volumes become apparent and then invisible as the viewer’s attentions shifts between the surfaces and the negative spaces within.”
The photographs don’t do the work justice; the varying colours of the heat-treated mild steel are beautifully subtle. And of course you need to walk past and around them to see how the light and shadow plays.
The Gallery Funaki website has detailed photographs of the pieces – and you can see just how considered, precise and refined they are. There’s a sense of lightness, strength and delicacy.
I especially like the shell pieces. And the three pendants (in the middle of the above image) remind me of the building in London known as ‘The Gherkin’ … in the good way of definite design and clean lines.
That said, my favourites were the gold rings … if I hadn’t already heavily invested in jewellery recently, I may be more seriously considering taking one home.
‘Concurrence‘ is at Gallery Funaki until 2nd May 2015.
Other reading: AJF (Art Jewelry Forum) have just recently published an interview with Maureen about this exhibition that’s absolutely worth reading, for her eloquence as well as the content. I had a bit of an ‘ah ha’ moment when I read about her interest in the moiré effect in Op Art.
[As per my usual approach, I didn’t read it until after I’d had time to distill my own thoughts (above) first.]
I like how she’s phrased this: “hasty unconsidered shortcuts most often create more work” … it’s a more elegant manner of my regular statement that ‘the short cut is often the long way around’.
This collection is titled ‘Redacted Brooches‘.
Without being able to see these in person, I can only get a feel for them via Zoe’s images. But what’s not to love about this group I ask you? The muted colours of the denuded transfer-printed fabric, the little ephemeral wisps of brightly-coloured embroidery thread saved into little plastic bags … like the outcome from an archeological dig or scientific investigation.
Exhibition media: “I had no idea so much of the handicraft I saw as a child came in kit-form, allowing impressive household items to be fashioned by women who had very little skill or feel for materials. My mother subscribed to a monthly magazine full of projects to sew, weave, cast and carve. It was like a craft recipe book with a list of materials and tools, step-by-step instructions, tutorial images and patterns to cut out and use. It was craft-by-numbers. I thought what my [relatives were] doing was accomplished and difficult. I am now not so sure that it was.”
I admit to getting a bit lost in revery about this collection.
I wondered if Laura’s quasi-destruction of these pieces is an expression of her disappointment that these aren’t the unique and special objects she was led to believe. She is excavating the evidence that they’re not personally designed nor very special at all.
Perhaps she wants revenge for being tricked by exposing them for what they are? Though I dare say that if there was genuine anger then these handcrafted brooches (in their original frames) wouldn’t be so carefully disassembled for us to see their components.
At times I can see a kind of sadness here too … a quiet sorrow for things not being as once thought.
This is a such a brilliant meditation on the subject…
I completely love the display – the large group makes the investigation seem compulsive and perhaps even unfinished, both sentiments I can relate to.
As a child I did a lot of similar ’embroider by numbers’ – textile kits, with pre-printed and cut and finished fabric, and all the thread you need. I have a soft nostalgia for these objects, maybe a kinder recollection. Interestingly, I don’t ever remember seeing embroidered brooches like these, and perhaps that’s explained by Laura being a UK native – maybe these just weren’t done in Australia, but more a British object.
Be sure to read Zoe’s text about the work for her perspective too – I like reading how others’ see things; and also for more images.
Laura Potter ‘Craft Samples‘ is online at Personal Space Project (personal visits by appointment) until 30th April 2015.
Finally I’ve made it to Craft to see an exhibition; though I’m still sad I didn’t manage to see the previous show ‘White Goods‘ (boo).
So it’s ‘Fresh!‘ time again.
I’m still getting my thoughts in some kind of order … but in reading the works list I noticed that all but two artists are RMIT graduates [there are ten artists; whereas previous years had 12]. I hope that doesn’t mean the Melbourne graduate craft scene is becoming RMIT-centric. Where are the other universities’ students? Are the courses just not there any more? Are the courses not of an equivalent standard (that’s a terrible question, but you can understand why it’s asked)? Are the selections simply reflections of this year’s judges preferences? Lots of questions.
Selected/awarded artists are:
For me the most outstanding are the jewellery pieces by Katie Collins (below).
Mmmm … what did you think when you visited?
‘Fresh! 2015‘ is at Craft until 24th May 2015.