Experiment: ‘Study in White’

2 05 2015

Picture essay of a recent experiment:
Study in White 1
or ‘Study 001 in White’
[still a exploring naming convention for these; hoping there’ll be many more]

study in white 1; image not to be reproduced without permission

study in white 1

study in white 1; image not to be reproduced without

study in white 1

study in white 1; image not to be reproduced without permission

study in white 1

study in white 1 - amazing how different it looks in different light

study in white 1 – amazing how different it looks in different light

study in White 1 - pinned

study in white 1 – pinned

[images in this post are not to be reproduced without explicit author permission]





3D printing and the future of jewellery

28 04 2015

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?





And then more…

7 04 2015

Following from yesterday :

  1. full metal weaving
  2. scroll/poster hanging
  3. cut and framed
  4. free play and pinned
    ..
  5. free play, pinned and adorned
    for the Winter Brooches‘ exhibition at Studio 20/17 in 2010; I don’t consider these pieces very successful actually, though I quite like the bar brooch at the bottom of the image

    Time: group

    Time: group

    … the ‘Quotes’ group for that exhibition were better in my eyes, as they’re less ponderous and more whimsical

    Quotes

    Quotes

  6. long weave neckpieces
    for Winter Neckpieces‘ exhibition at Studio 20/17 in 2011; these I love!

    For William

    For William

    For Caroline

    For Caroline

  7. gem and bezel set
    for Oh Opal!‘ at Redox Gallery (and then Studio 20/17) in 2012; this was the start of a series of experiments with bezel setting; these, being the first experiment, didn’t have perspex on the top … that was to change for future work (to make them more durable)

    group

    ‘Oh Opal!’ group

    …which I then extended in the ‘My Australia’ exhibition in 2013

    My Australia group; image not to be reproduced without permission

    My Australia group

  8. simple bezel set
    for ‘The Love of Coffee‘ at Studio 20/17 in 2012

    Coffee group

    Coffee group

    then for Deck the Walls‘ at Studio 20/17 in 2012; I think they tired of my weaving (and that they didn’t sell; it’s labour intensive and therefore not inexpensive), so this was the last collection of work for this lovely gallery

    Summer group; image not to be reproduced without permission

    Summer group

    then cufflinks for Lord Coconut; including a platinum commission

    Platinum Commission

    Platinum Commission

    … again though, the bezel setting is similar to the cut-and-frame work; I’m still not quite content with how it seems to be trapping the material, constraining it, making it ‘less’ somehow; pretty clearly I haven’t yet figured out what is actually my problem with it!

I wonder what will happen next.

[no photographs in this post to be reproduced without explicit permission of the author]





And then…

6 04 2015

It seems I have a penchant for tracing things back to their origin … you know when a conversation has veered off on some kind of tangent, after we’ve exhausted that little escapade I then like to track back to how we got there.

So, I have a need to see how my weaving developed … and in the process hopefully uncover some hidden tangents that perhaps I could explore further.

After the initial weaving tests I posted about previously, I then tried out :

  1. full metal weaving
    RMIT Yr1 project; not terribly successful, and I didn’t continue with it

    necklace; original image by Mark Kral; not to be reproduced without permission

    necklace; RMIT Yr1

  2. scroll / poster hanging
    RMIT Yr1 project; oh dear, look at the kinky silk thread, how embarrassment! (blame first year keenness to get the photograph taken, and naivety in not knowing how to get the folds out); I may experiment with this format again

    scroll pendant; original image by Mark Kral; not to be reproduced without permission

    scroll pendant; RMIT Yr1

  3. cut and framed
    RMIT Yr1 project; I love this pendant; however the only thing that didn’t quite sit well with me with this format is that the weave is cut to a frame … somehow it made it just a disembodied material, instead of a whole; I’m unlikely to do this again (though, never say never)

    Year 1, Semester 2, Machinery project; paper and silver

    Machinery project; RMIT Yr1

  4. free play and pinned
    RMIT Yr2 project; this was fun, I experimented a lot in this project with colour and widths and introducing new threads in the weave and taking them away … just joy; and this is where I left the weaving for a few years, I didn’t use it again during the remainder of my degree

    black fancy ring; image not to be reproduced without permission

    black fancy ring; RMIT Yr2

    …though I did return to it for the Feast‘ exhibition at Studio 20/17 in 2009

    Nana's Trifle Recipe

    Nana’s Trifle Recipe

More tomorrow … this has turned out to be a longer trip down memory lane than I expected.

[no photographs in this post to be reproduced without explicit permission of the author]





In the beginning…

3 04 2015

I’ve previously written about the first project in which I made the woven silver-paper element I’ve been working with for years now.

Recently, inspired by my strong connection to Emma Fielden’s work, I’ve revisited the visual diary and research from that project … and started perhaps to toy with new ideas.

This is my first working example of the weaving, from way back in 2004 … I tried to figure it out in paper first, then a (I now think rather terribly awful!) attempt in cloisonné wire.

first weaving play; image not to be reproduced without express permission

first weaving play; image not to be reproduced without express permission

Humble beginnings.

My lecturer at the time was especially taken with the paper weaving …. what do you think?





Metal price update

10 03 2015

My last update was a little over four months ago … there’s been a bit of movement, but mostly due to the A$/US$ exchange rate.

1. Gold per gram in A$ : ooh err, the price has gone berserk since the last update.

as at 09Mar15

as at 09Mar15

1a. Gold per gram in US$ : the difference to the above graph will be due to the A$/US$ exchange rate:

as at 09Mar15

as at 09Mar15

Ah ha, so the rise in the price we pay for gold is almost entirely due to the exchange rate (ie. weakening Australian dollar). It looks like there was a drop in the exchange rate in September and again in late November/December …

1b. exchange rate A$ / US$ over 1 yr:

exchange rate

exchange rate

—-

2. Silver per kilogram in A$ :

as at 09Mar15

as at 09Mar15

2a. Silver per kilogram in US$ : so it’s been relatively stable for a few months, but the A$ price hasn’t been … the pattern is approximately the same with the spike in late Jan15, but the rise in the above graph is exaggerated by the exchange rate

as at 09Mar15

as at 09Mar15

Though in the scheme of things, it’s still among the lowest price in the last few years.

as at 09Mar15

as at 09Mar15

—-

previous metal price update: 3rd November 2014

—-





Hoorah: 6 years

1 03 2015

Today is my sixth anniversary … six years since I started writing this blog.

The first anniversary called for paper (traditional) or clocks (modern).
The second anniversary called for cotton (traditional) or china (modern).
The third anniversary called for leather (traditional) or crystal (modern).
The fourth anniversary called for fruit or flowers (traditional) or appliances (modern).
The fifth anniversary called for wood (traditional) or silverware (modern).
This sixth anniversary calls for iron (traditional) or wood (modern).

Perhaps to celebrate, an image of the only piece I made during my RMIT degree that included a wood element : Ring for Priest, Martin, 1522.

J#4: ring for priest

J#4: ring for priest

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