My jewellery collection #30

22 12 2014

Holy kniption Batman.

I have ticked off one of the longest-standing and most heartfelt items on my lust-list … I own a Helen Britton ring.

I know!! There has been much dancing and squealing on the inside today.

I feel I must apologise a little – these are all photographs taken at night. I couldn’t wait until the morning, and decent daylight, to share such immense news.

with the Gallery Funaki photograph - all mine!

with the Gallery Funaki photograph – all mine!

You cannot imagine how comfortable it feels on – it’s quite wide and thick, so it is almost a beautiful surprise to be so immensely comfortable. And the hollow construction means it cannot be resized, so lucky me it fit beautifully.

Of course its dimensions mean you really feel it on, and regular readers will know my penchant for jewellery I can feel.

helen02

beautiful top detail in red gold

I’m a little bit in love.

helen03

side detail, oxidised silver

This is a significant investment, and I feel I just may be on the verge of being able to call myself a genuine collector. Perhaps.

Sincere thanks to Katie at Gallery Funaki for being such a wonderful gallery owner, exceptionally knowledgeable and terribly patient with me as I wrestled with the purchase.

I am SO going to wear this like I MEAN IT.

Other stories about Helen Britton:





My jewellery collection #29

13 10 2014

I’ve finally had time to pop into Gallery Funaki (as evidenced by my recent post) and collect my Helen Britton Showtime bag

showtime

showtime

… and therefore I now have a new piece to add to my collection: a Helen Britton (obviously!) little sterling silver lucky tooth charm.

Helen Britton piece

Helen Britton piece

A genuinely significant piece of Helen’s is still on my lust-list … soon Karen, soon.





Svenja John ‘Assembly’ @ Gallery Funaki

11 10 2014

I do like the revamped Gallery Funaki website. You can see many of the pieces in this exhibition online if you aren’t in Melbourne; though it’s certainly worth personally seeing the current exhibition if you can, for Svenja John‘s ‘Assembly‘ is a riot of colour.

photograph taken with gallery permission

photograph taken with gallery permission

Exhibition media: “In the 20 years since I began working with the polycarbonate MakrofolTM I have developed, bit by bit, my own ‘Jewellery Construction Kit’. In the beginning there were only bone-shaped parts (which I called x-bones), linked together with rings of various sizes to form chains, earrings and bracelets. Eventually more than 10 different basic elements developed from which all the complex jewellery assemblies are plugged together“.

Svenja has a wonderful gift of putting colours together; and the mobiles are whimsical and I think I’d like one in my house.

photograph taken with gallery permission

photograph taken with gallery permission

To me the neckpieces are the stars of the exhibition. Strangely though I think I love the photographs of them more than the items themselves in person. It’s a strange thing indeed; I’m quite unsettled by the realisation. Perhaps the photographs are taken with some backlight, as the material somehow seems more translucent or even glowing.

Most attractive about these constructions are their allusions to medieval jewellery and Berlin iron work. My favourite is the piece in the middle; unfortunately there isn’t a detailed image of it on the exhibition site, but the colour combination is magnificent – magenta, purples, greys.

photograph taken with gallery permission

photograph taken with gallery permission

I did take some photographs of the right-hand side of the gallery, but I was a little distracted at the time and it was only when I arrived home that I realised they were all out of focus. Oopsies.

Svenja John ‘Assembly‘ is at Gallery Funaki until 25th October 2014.

Also see: Svenja John ‘X_BRANEN‘ @ Gallery Funaki, August 2009





Showtime!

10 09 2014

Oh good lordy!
Look at what Gallery Funaki is doing ….

reproduced with explicit permission from Gallery Funaki

reproduced with explicit permission from Gallery Funaki

Holy moly!!!





Mari Funaki Award for Contemporary Jewellery @ Gallery Funaki

16 08 2014

It just may be that Gallery Funaki has never looked more enchanting or amazing.

It’s breathtaking; full, though beautifully arranged, with work from artists selected for the inaugural Mari Funaki Award for Contemporary Jewellery.

photograph taken with gallery permisison

photograph taken with gallery permission

It’s quite a treat to see such exceptional quality and variety in the one exhibition.

Especially attractive in my eyes were:

  • little precise and refined silver-white (surface-depleted) brooches by Jo Hawley; in the foreground in the above image
  • gold fine linear neckpiece by Hermien Cassiers
  • beautifully coloured pieces by Kaori Juzu; especially the blue one, it reminded me of Anish Kapoor, I could have become lost in the blue interior
  • the astonishing brooches by Lore Langendries; while I couldn’t see myself wearing one, the treatment of the material (fur) is wonderful and shows genuine pathos and understanding
  • paper and stitched brooches by Gitte Nygaard; left in the below image

Honestly though, it’s hard not to find something to admire, learn from or desire in every one of the pieces.

photograph taken with gallery permission

photograph taken with gallery permission

I’m sad I couldn’t take more photographs – the gallery was quite busy at the time I was there, and I don’t like to include people in images (they may be gift shopping or meant to be somewhere else etc!).

My previous post shared the prize winners.

The exhibitors are:

  • Ela Bauer (Poland/Israel/The Netherlands) , Alexander Blank (Germany)
  • Conversation Piece (Sweden) , Hermien Cassiers (Belgium)
  • Jane Dodd (New Zealand) , Patrícia Correia Domingues (Portugal/Germany)
  • Benedikt Fischer (Austria/Germany) , Emi Fukuda (Japan/Germany)
  • Sara Gackowska (Poland) , Kiko Gianocca (Switzerland) , Marcos Guzman (Australia)
  • Jo Hawley (England/ New Zealand/Australia) , Therese Hilbert (Switzerland/Germany) , Lucie Houdková (Czech Republic) , Linda Hughes (Australia)
  • Kaori Juzu (Japan/Denmark)
  • Jiro Kamata (Japan/Germany) , Inari Kiuru (Finland/Australia) , Jun Konishi (Japan)
  • Lore Langendries (Belgium)
  • Carlier Makigawa (Australia)
  • Thanh-Truc Nguyen (Germany) , Gitte Nygaard (Denmark/The Netherlands)
  • Nelly van Oost (France/Belgium)
  • Martin Papcun (Czech Republic/Germany)
  • Mette Saabye (Denmark) , Michihiro Sato (Japan) , Helen Shirk (USA)
  • Blanche Tilden (Australia)
  • Julia Walter (Germany/The Netherlands)
  • Reinhold Ziegler (Norway)

This exhibition is a must-see. The Gallery Funaki website has images of each piece from each artist.

The Mari Funaki Award for Contemporary Jewellery is at Gallery Funaki until 13th September 2014.





Mari Funaki Award winners announced

13 08 2014

I’m sure regular readers are already aware of the fabulous news: the winners of the inaugural Mari Funaki Award for Contemporary Jewellery were announced last night in Melbourne.

From Gallery Funaki’s facebook page:

The results of the Mari Funaki Award for Contemporary Jewellery are in: the winner of the prize for an established artist is Kiko Gianocca with his series of 3 necklaces, ‘Veneer’.

The two emerging winners are Patricia Correia Domingues with her pendant from the ‘Duality’ series, and Sara Gackowska with her ‘Membrane’ brooch from the ‘Methamorophosis’ series.

The judges were also very impressed with the work of Inari Kiuru (emerging) and Jiro Kamata (established) and gave each a commendation. It’s been a wonderful night and congratulations to all!

screen shot from Gallery Funaki facebook page; click on image for original source

screen shot from Gallery Funaki facebook page; click on image for original source

I cannot wait to see all the pieces in person!





Karl Fritsch ‘yodel’ @ Gallery Funaki

11 07 2014

What’s not to love about Karl Fritsch I ask you?

Karl’s latest exhibition, yodel‘ at Gallery Funaki, delivers what you’d expect, and hope for, from this modern master – subversiveness, cheekiness, playfulness, unusual handling of materials, challenge, uncertainty, remarkable individuality, smirks, and absolute delight.

beautiful image courtesy of Gallery Funaki; image copyright belongs to the gallery

beautiful image courtesy of Gallery Funaki; image copyright belongs to the gallery

Exhibition media: “His rings, both precious and anti-precious, beautiful and proudly anti-beautiful, bear the weight and scars of centuries of embedded cultural belief about jewellery’s manifestation of status. Using precious materials as well as rough hewn aluminium, stones and glass, Fritsch’s work has the look of something buried for a thousand years while remaining utterly contemporary.
Selected works are also shown from a recent collaboration between Fritsch and Auckland based photographer Gavin Hipkins

exhibition media; courtesy of Gallery Funaki and the copyright remains with the gallery

exhibition media; with thanks to and courtesy of Gallery Funaki; copyright remains with the gallery

There are some truly monumental pieces in this exhibition, including those in the exhibition image (above). These are made of aluminium and set with brightly coloured stones. I admit to being both amused and uncomfortable with them.

They’re cheerful and hilarious in their chunkiness, scale and gaudy colour combinations … and in reflecting on them I realised that for some reason I do prefer my jewellery to be serious [which is entirely my burden to bear and not the responsibility of any artist to relieve me of it!]. I wondered if I may have found them more satisfying if the finish were more textured and bashed-about and a smidge less shiny-shiny [again, totally my perception]? I’d like to think more about these…

Ring #351, 2011; image with thanks to and courtesy of Gallery Funaki; copyright remains with the gallery

There were some rings that I genuinely fell in love with, much to my delight. Most especially a yellow gold ring set with orange garnets (above). The gold rectangular strip, perhaps 10mm by 2mm (or so), has been simply curved into a ring with a satisfying overlap; with five little pillows set with varying colours of tiny garnets. Completely delightful in my view. I tried it on, though sadly my skin tone doesn’t do it justice – it needs someone with more olive or tanned skin than I to bring it to life. Sigh.

The others that particularly appealed to me where the yellow gold ones, set with little stones. I suspect I’m in a matt gold kind of phase… how ridiculously gorgeous is the one in the image below?!

with thanks to and courtesy of Gallery Funaki; copyright remains with the gallery

with thanks to and courtesy of Gallery Funaki; copyright remains with the gallery

There is so much to look at and think about: 67 rings (with creations years varying from 2014 back to 2004), 2 bracelets, and 7 collaborative images and objects.

with thanks to and courtesy of Gallery Funaki; copyright remains with the gallery

with thanks to and courtesy of Gallery Funaki; copyright remains with the gallery; ‘Der Tiefenglanz (Cosmos)’, 2014, silver gelatin print, aluminium, cubic zirconia

The photographic collaborations with Gavin Hipkins are moody and interesting; though I did find myself somewhat distracted by the glory of Karl’s rings. The above is particularly amazing – the scale in the image is misleading, as I originally thought it may be about postcard size, but in fact it’s about A4 and so the scratches are forceful and have great presence.

It’s a surprise to me that my understanding of Karl’s work continues to deepen, and I’m glad for it. Go forth and see what you see too.

Karl Fritsch’s ‘yodel‘ is at Gallery Funaki until 9th August 2014.

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Other posts about Karl Fritsch:

20th December 2010: Returning to the jewel is a return from exile’ @ Tarrawarra Museum of Art

9th June 2010: Karl Fritsch ‘freeling‘ @ Gallery Funaki

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Update (12th July): after a little more thought, I wondered about the title of the exhibition … why ‘yodel‘?

A little bit of research later … consider these descriptions of yodeling: “repeated changes of pitch during a single note” or “oscillates on neighbor tones” or “an ornament or trill in phrases which have long syllables” and “the basic yodel requires sudden alterations of vocal register from a low-pitched chest voice to high falsetto tones” and of course its use as a means of village-to-village communication.

While I cannot speak for why the title was chosen, I do like very much the connections these little snippets create in my mind.

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Update (8th August): a review in The Age has also reviewed this exhibition

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