EXPO ‘Pensieri Preziosi 9 : Contemporary Australian Jewellery’ – Oratorio di San Rocco, Padova (Italy) – 30 Nov. 2013 – 23 Fevr. 2014

Pensieri Preziosi 9 : Contemporary Australian Jewellery 

Oratorio di San Rocco (Padova, Italy) 30-Nov-2013 – 23-Feb-2014

 This exhibition allows visitors to get to know, appreciate and examine highly original works created by eight specially chosen artists who have studied at the most important University of Design on the continent of Australia, under the guidance of Prof. Robert Baines”, notes Andrea Colasio, the Municipal Councillor for Culture. Robert Baines is Emeritus Professor at the RMIT University of Melbourne, and together with Nicholas Bastin, Simon Cottrell, Kirsten Haydon, Linda Hughes, Christopher Milbourne, Nicole Polentas and Katherine Wheeler, they have created an exhibition with about one hundred works that will give the Italian public the chance to get to know and appreciate the styles of Australian research goldsmithing.
The works selected for this exhibition use poor materials alongside precious gold, with original and unusual working techniques that combine tradition and innovation: they are conceptually complicated pieces which aim to express each individual artist’s thoughts, feelings and artistic reflection of both the past and the present.
According to Baines, the “poetry of making” needs a tòpos, a real and metaphorical “place” where you can create jewellery. In this search for the tòpos, the artist identifies and indicates four major areas for his students to focus on in order to design and create contemporary jewellery. The tòpos of the “found object”, namely remnants of industrial materials, discarded objects from everyday life, collected and reused by offering them a new dimension and new life; the tòpos of intimate space, personal and private, one’s own body, the home, individual and subjective memories; the tòpos of public space, streets, exteriors and architecture; and the tòpos of history and culture which is inevitably linked to history and personal thoughts.
Australian contemporary jewellery is mainly conceptual, displaying skilful technical experimentation in its use of materials, with a keen focus on personal and collective history, as well as elegant forms with echoes linked to the past but also to modern daily life. At times this produces abstract, fantastical and poetic results which often have a veil of nostalgic irony.
This conceptual process often leads to interpretations that unwind like true stories, real or surreal tales where the works of art are the main characters within a careful and well-thought-out procedure of research and planning.

Artists: Robert Baines — Nicholas Bastin – Simon Cottrell — Kirsten Haydon — Linda Hughes — Christopher Milbourne — Nicole Polentas — Katherine Wheeler

Robert Baines, Brooch: The Oz Brooch, 2003 – Silver powder coat – 2.0 x 7.5 x 7.5 cm
Broaching it Diplomatically: A Tribute to Madeleine K. Albright. Property of the artist.  Photo by Garry Sommerfeld

Simon Cottrell, Brooch: Blobs and white tubes, 2006 – Monel alloy, powdercoat, phosphorescent pigment, stainless steel
4.0 x 7.0 x 6.0 cm – Private collection – Photo by Mark Ashkanasy

Kirsten Haydon, Brooch: Ice valleys, 2009 – Enamel, photo, copper, reflector beads, silver, steel
9.0 x 13.0 x 1.5 cm – Property of the artist – Photo by Jeremy Dillon

Linda Hughes, Brooch: Nicholas 2 pendant (after Giotto), 2013 -  Laminate, wood, silk, silver
9.0 x 7.5 x 1.5 cm – Property of the artist – Photo by Argonaut Design

Nicole Polentas, Brooch (brooch ???) : The Dunes of Orthi Ammos and The Drosoulites, 2011 – Sterling silver, coral, paint, photo, plastic, poly-putty, stainless steel – 8.0 x 11.0 x 5.5 cm – Property of the artist -  Photo by Jeremy Dillon

Katherine Wheeler -  Ring: Flightless, 2013 – Porcelain, fine silver, paper, thread, polyvinyl acetate, paint – 8.5 x 9.5 x 6.0 cm – Property of the artist  - Photo by Katherine Wheeler

Christopher Earl Milbourne, Brooch, Trinity Aquarium with Outdoor Exhibit, 2013
Sterling silver, silver alloys, pearl, paint, epoxy resin – 7.0 x 8.0 x 6.0 cm – Property of the artist
Photo by Jeremy Dillon

 

 

Oratorio di San Rocco

Oratorio di San Rocco
Via S. Lucia
35139 – Padova
Italy
Telephone: [phone]

website: padovacultura.padovanet.it

mail: [e-mail]

ENVIRONNEMENT MODERNE

…. environnement urbain : travaux, béton, ferrailles, échafaudages, palissades, barrières, outillages, machineries, matériaux de construction, lignes, cartes, plans, routes, échangeurs, sens interdits …….. démolition, reconstruction ….  tout cet environnement, même hostile ou menaçant, fascine ….. un moment, le mouvement est arrêté, « photographié », pensé, intériorisé puis réinterprété selon chacun, retraduit, « miniaturisé » pour devenir bijou … une construction nouvelle, en quelque sorte ….

(voir également l’article « Architectures …………… en broches »)

Andrea Zeuner  – Superhighway Brooch 2011  Brass, asphalt crack repair, steel

Andrea Zeuner – Superhighway Neckpiece – Brass, asphalt crack repair, nickel – 2010

Andrea Zeuner – Neighborhood Brooch – sterling, copper, raw garnets, wood, steel

Caitie Sellers Transistor Brooch – sterling & steel

Caitie Sellers topographic brooch – Sterling Silver.
The inside of this brooch is composed of 5 pierced disks to make that image. The top of the brooch screws off so the wearer can take out the slices and do something else with them

Phoebe Porter - transit necklace

Andrea PIneros – Broche CIRCUITOS, 2011. The city, the friends, the family and you – Brass, Cristal, car paint

Stephanie Barbié -Lo natural, lo artificial – broche – alpaca, plata, resina, metacrilato
« El mapa de una ciudad, como primera aproximación de un espacio, reune lo artificial y lo natural, lo simbólico y lo real. Confronta imaginación y deseos con vivencia y realidad. Esas piezas surgen de esta confrontación. «

 

Michael Dale Bernard Excavator necklace, stainless steel, silver, vinyl tubing, powder coat,  2009

Michael Dale Bernard Dozer brooch, one of a pair designed for the Neo-Rococo show. Stainless steel, aluminum, silver, brass, iron pyrite, powder coat, 2010

Maru Lopez – Derrumbe paredes – 200 – Silver,Iron and cement

Vanessa Arthur - ‘Demolition necklace’ – Reclaimed wood, laminate, copper, wooden beads, gold elastic, 925 silver.

Diego Bisso – Environmental Jewelry – Marmo (marble)

Dana DiPlacido (2011 graduate from MassArt, Massachusetts College of Art and Design ) – House bracelet, 2011 – stainless steel

Robean Visschers  «under-construction» structure ring -Gold, silver (oxidized)- 2006

Robean Visschers  - construction/structure ring

Robean Visschers Untitled 2009 Brooch

Bin Dixon-Ward – brooch – 2009

Ara Kuo – ‘MAZE’ brooch

Alice Bo-Wen Chang Bodyspace/bodyscape serie – red brooch

Linda Hughes Square Neckpiece and bracelet

« Colour plays a very important part in your jewellery and it is often bold and bright. Would you consider this a signature style or do see yourself moving towards a different palette in the future?
The palette relates directly to street signage but I do feel free to incorporate other colours and don’t feel inhibited by it.
What ignited your interest in signs? Was it marked by a particular experience or moment?
Some of the urban landscape in Australia seems particularly contrived, like a theatre set. A mixture of international influences all mixed up, often without connecting to the environment. My attention is drawn to signs as ‘street furniture’ if you like, ‘props’. « 

Linda Hughes – Necklace

« In her new body of work, contemporary jeweller Linda Hughes explores the ‘stripe’, historically favoured as a metonym for danger, exclusion and as a device to attract attention. Hazard signage, ubiquitous in the urban landscape, changes when placed on the body as jewellery. In this exhibition, Hughes applies the visual language of the stripe to the sculptural form of the wearable. Displayed against as a series of graphic backdrops, the work explores the tension between body and environment, critiquing the complex theatre of public space. »

Linda Hughes -  necklace  – « It’s got legs » exhibition

« Shared Zone, is both the culmination of Linda Hughes master’s research and her first solo exhibition.
Hughes utilises the familiar urban language of invisible everyday objects such as road signs, posts and hazard markings. Juxtaposing these symbols on the body she uses them to define space and create landscape. Her work invites the wearer to become a part of the “theater of the wearable” that arises when the brooches, neckpieces and bangles are placed so as to interact and create their roles – transforming the body into a stage. »

Linda Hughes, Wing Brooch, Red & White Series, 2009, laminate and acrylic. Photography Argonaut Design

Galatée Pestre   sautoir ‘Sens Interdit’ – argent noirci, émail.

Analiese Stinson (2011 graduate from MassArt, Massachusetts College of Art and Design )- Map Bracelet #2–The Trip to School and the Long Way Home, 2011 silver, fabricated

Fabrizio Tridenti’s complex structures

Bergner Schmidt – Concrete jewellery

Benita Dekel, Massconstruction – silver & concrete (ciment)

« Benita Dekel, a graduate of the Department of Jewelry Design at Shenkar College of Engineering and Design (Israël), developed a series of jewelry pieces that combine silver with concrete. The results of the combination of concrete, which we usually associate with heavy, industrial construction, and delicate constructions in silver is that despite being made of concrete the pieces do not appear heavy. The shapes of the pieces, which are very familiar, almost as though they have been taken from various construction sites, manage to surprise both in their shape and new function« 

Todd Pownell – architectural nest

Donna Veverka – Spiral Staircase bracelet

Silvia Walz – série « Casitecturas » Victors Haus – brooch – silver, copper, enamel

Sabine Conrad – necklace Burnt Future 2011, copper, silver, wood, paint

Esther Knobel – 4 brooches From “The Mind in the Hand” series

Renzo PASQUALE – OLIMPICA – spilla (brooch) – omaggio a Palladio (2008)

Christina Elleni Cox « Changeable Cities » bracelet (on Kit&caboodle)

EXPO ‘Australian Jewelry TOPOS’ – Gallery Loupe, Montclair (New Jersey, US) – 10 Mars-2 Avril 2011

« The theme of « topos » (place) is explored through a diverse and fascinating group of jewelry objects. The group will be joined by Professor Elizabeth Grierson, Head of the School of Art, RMIT University, and Professor Robert Baines, PhD, Postgraduate Coordinator of the Gold and Silversmithing Department.
“Jewelry is a bearer of cultural and historical meaning and memory. In particular it is concerned with the relations of those meanings with the personal and urban settings, acting as a way of defining and interpreting ‘topos’ (meaning ‘of place’, Greek). The concern of this jewelry research is to recognise and explore the ways the jewelry artefact opens our engagement with, and understanding of, the personal and external places we inhabit. Jewelry conveys settings of human identity and presence as well as external settings such as urban spaces and ‘topos’ takes on a broader significance as place itself becomes an expanded notion. Jewelry Topos explores the ways jewelry engages with our understanding of the physical and metaphorical places we inhabit.”  » Professor Robert Baines

 (Dougal Haslem – the elephant & the umbrella ring)

Artists:
Katherine Brunacci — Robert Baines — Elfrun Lach — Anita Van Doorn — Dougal Haslem — Julie Mitchell — Karla Way –  Kirsten Haydon — Lucy Hearn — Mel Miller — Natalia Milosz-Piekarska — Nicholas Bastin — Nina Oikawa — Penelope Pollard — Renee Ugazio — Linda Hughes — Christopher Earl Milbourne — Nicole Polentas.

 Lucy Hearn

 Natalia Milosz-Piekarksa

Nicole Polentas

Kirsten Haydon

Linda Hugues

Robert Baines

Renée Ugazio

 

Gallery Loupe
50 Church Street
NJ 07042 – Montclair/ New Jersey
United States
Telephone: [phone]
Fax: [phone]
website: www.galleryloupe.com
mail: [e-mail]

 

EXPO ‘Metonymy-look both ways’ Linda Hughes – Gallery 2-JamFactory, Adelaide (Australia) – 10 sept-17 oct 2010

Metonymy – look both ways – Linda Hughes – New Jewellery

« Through the visual noise of street and cityscapes, our gaze is often captured and directed by the urban motif and iconography of street signs. Attention grabbing ciphers, that warn or target our vision by the distinctive feature of line or stripe, punctuate the landscape. Historically favoured as a metonym for danger, barrier and exclusion, “the stripe”, is manipulated by Hughes in her jewellery through shape, colour and texture to shift its iconography into another more fictive and localised zone.« 

Gallery 2 – JamFactory Contemporary Craft & Design
19 Morphett Street
Adelaide SA 5000 (Australia)
Phone: [phone]
http://www.jamfactory.com.au