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Tunnel Pendant, 2010
Melissa Cameron is an artist jeweller who lives and works in Melbourne. She holds a masters degree in jewellery and metalsmithing from Monash University and bachelors degree in interior architecture. She maintains a studio practice focused on exploring geometric patterns through spatial forms.
Locally her works recently featured in Return, shown during the 2010 Jewellers and Metalsmiths Group of Australia conference in Perth, where she also delivered a paper entitled Examining connections between architecture and jewellery.
Internationally, several of her works appeared in the recent exhibition Preziosa: Young show in Florence, and in REFINED VI: Back to Basics in Texas.
Rover, object/sculpture, sterling and fine silver, computer, camera and electronic components, model car wheels, powder coated doll, 2010.
Nadine’s recent work playfully manipulates the idea of machines as extensions of our bodies, hinting at the lengths we will go to to preserve our physical being. But it’s a short step from artificial enhancement for practicality to enhancement for vanity - the line between the two is becoming ever more blurred. The views on what’s acceptable are the topic of continuing debate - from the abomination of Frankenstein’s monster to the superbly adapted post-humans of science fiction. As advances in the technology of life support are created new dilemmas will be raised.
The intimate scale of Smith’s sculptural works can make them much less threatening and people young and old are drawn in to look at the pieces closely. Their toy-like smallness and sense of animation reveals both the playful and intense qualities of Smith’s practice and allows the viewer an intimate experience. They are multi-layered, representations of life, and the scale and material is suggestive of the human body as a doll and puppet that can be manipulated.
Smith is interested in creating pieces that suggest the creation of artificial environments to sustain life. To some extent we already live in an age of technological dependency, but what are the limits? Already the line between mechanical and biological has become blurred. By creating an environment that suits us, are we making ourselves incapable of coping with anything else? If our technology fails or turns on us, do we have any defence?
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Woodland neckpiece, artificial plants, plastic beads, brass, 2010 Lauren Simeoni is an Adelaide based artist whose work is an homage to the senses - a wearable passport to a whimsical ‘other’ reality. Simeoni finds the beautiful and seductive in what is otherwise thought of as mundane. Her work toys with mass-production processes and she frequently reconfigures mass produced objects to create wearables of seductive beauty. Simeoni has a Bachelor of Arts in Gold and Silversmithing for Canberra School of Art, which she followed with a Design Associateship at the JamFactory in Adelaide. She exhibits widely nationally and internationally.
Woodland neckpiece, artificial plants, plastic beads, brass, 2010
Lauren Simeoni is an Adelaide based artist whose work is an homage to the senses - a wearable passport to a whimsical ‘other’ reality. Simeoni finds the beautiful and seductive in what is otherwise thought of as mundane. Her work toys with mass-production processes and she frequently reconfigures mass produced objects to create wearables of seductive beauty.
Simeoni has a Bachelor of Arts in Gold and Silversmithing for Canberra School of Art, which she followed with a Design Associateship at the JamFactory in Adelaide. She exhibits widely nationally and internationally.
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Suspended Existence earring installation, recycled VCR components, 925 silver, 2008.
Jessica completed a Bachelor of Visual Arts in Jewellery and Object Design at Sydney College of the Arts in 2006. Since graduating she has been involved in various exhibitions both around Australia and Overseas.
Through her art Jessica explores the idea of transformation and reuse by deconstructing and reconstructing everyday objects.
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Old News Cuffs
The flotsam and jetsam of Asian flea markets, op shops and grocery aisles is what inspires Collins. She sees potential in the everyday and ephemeral – colours, textures, patterns and patina which provide the basis for works both lasting & unique.
Everyday treasures scoured from the Asian marketplace continually suggest new forms and functions. These ‘finds’ motivate her to experiment with different techniques & materials. The notion of transformation underpins not only Collins practice but also her pieces and is particularly evident in her current focus on contemporary jewellery. Here Collins has tried to communicate the grace of the commonplace – embedding Asian newspaper into resin bangles, transforming silver dipped chopstick ends into drop earrings, and giving the generic Chinese chopstick new life as bracelets, pendants and neckpieces.
This body of work uses the ‘everyday’ utilitarian object as a starting point for reinvention, appropriation and reinterpretation.
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“Jam Brooch Group [‘There Are Fake Flowers On The Wall’, ‘Birds In Tress’, ‘HEY!’] ” 2010, mixed media.
Alice Potter is an Adelaide based Jeweller, completing her Bachelor of Visual Arts and Applied Design in 2006. She currently works out of the established South Australian studio Gray Street Workshop, creating pieces with any material she can find; from precious metals to discarded objects. Having studied Visual Communications [2002 - 2004] each piece illustrates her love of design, shape and colour.
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Over the next few weeks, the Box Project will be featuring all of its involved artists including an image of their past work in no particular order starting with Melinda Young from Sydney.
Gold Sprouts brooch 2009, 24 ct. gold, jade, glass beads, marine ply, 925 silver, acrylic paint.
Melinda Young has a Master of Visual Arts from Sydney College of the Arts, University of Sydney and has participated in over 85 exhibitions in Australia and overseas since 1997. Fascinated by the potential for unexpected narrative, her work makes carefully considered use of colour and often possesses a sly, subversive sense of humor. Young generally works to self-set projects, which may provide a particular thematic, impose rules or constraints on her approach to making. Young’s particular interest lies with re-presenting aspects of the natural state of the body and many of her works have an unsettling plasticity or tactility. In addition to working from the jewellers’ bench, Melinda has had a professional involvement with contemporary craft and design since 2000 as a curator, writer, through employment in galleries and as a teacher.
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