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Sunday Afternoon,925 Silver, Corian, Hobby moss, Silk Thread
Min’s work relates to his earlier studies in Philosophy and Literature as well as to the different religions that he has tried to understand and question. His creative motivation began with an exploration of relationships in everyday life. Min likes to see the contrast, harmony and emotions through these relationships and the way that the results are not always what we expect.
“ Taking photos, getting wild flowers from country, collecting old coins or stamps. Are these our nature to memorise or to have? There is no separate line between before and after because we are living in the world that moves continuously. We tend to memorise or capture the moment especially when we know it won’t last forever, either moments of scenery or objects.
As a jeweller, I capture my moment, which I found so special for me and then I create wearable pieces using my moment of memories or objects that I collected.”
Pollen Pendant Models
Lander’s work broadly encompasses an interest in science and technology and how this informs cultural paradigms. In past work the form of her jewellery pieces have been heavily derived from scientific instrumentation. A common thematic is the plump, a metaphor for balance, a possible physic balance, acquired by the wearer through the use of the talismanic qualities traditionally attributed to jewellery. The jewellery pieces are created to have an interaction with the wearer, an interaction as simple as tactility, kinetic or more recently the olfactory engagement of the senses.
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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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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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The Box Project invites jewellers to create work specifically for an exhibition that will be held at Keeper Gallery, gaffa in November from the 18th - 30th, 2010.
Each artist will receive a box in the mail containing some materials, with the contents of the boxes, the artists are asked to make between 1 and 3 works which will be returned complete for the exhibition in November.
All the boxes will contain different materials however some may be very similar. I am very interested to see the different makers interpretations of the materials into tangible wearables.
Inspiration for the exhibition
Growing up as a child, there existed a room in my house that we labeled the ‘craft room’. This treasure trove contained the exciting wonders of my mother’s creative passions.
Sewing equipment, doll making needs, chocolate moulds and cake decorating wares, an over-locker, paints, pastels, crayons and a tin box of 72 coloured derwent pencils lined the shelves. A never ending supply of textured papers; all shades under the sky, wools, fake furs, an array of glues and special scissors that were off limits to our shaky young hands.
My strongest memory of this room was the ‘busy box’. A magical box created for my sister and I by my craft-loving mother. The busy box was brimming with crafty materials with which we would build, make and create inventions of sorts. Hours would pass unnoticed as we were enthralled by cutting, sticking, drawing and making masterpieces that would end up proudly displayed atop the television or on the fridge’s smooth surface.
This room was almost forever messy. However chaotic, you could always find what you were after and more. Searches uncovered long buried strands of sequins, bags of sparkling glitter, googly eyes, pompoms and fuzzy pipe cleaners. It was overwhelming and the possibilities were endless. In retrospect I realize that my passion for making and working with my hands as my primary tool for creation began at a young age.
This jewellery project, 20 years on from my childhood aims to recreate the idea of the ‘busy box’. Approached in a sophisticated manner using more complex materials and involving professional emerging and established jewellers and makers who’s technical skill and knowledge of contemporary jewellery far exceeds the good old days of Clag glue, Crayola and safety scissors, the out-come being a real exhibition rather than a fridge display!