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13/06/2015

EXPO ‘Black on Black’ – Manchester Art Gallery (GB) – 20 Juin-9 Oct. 2015

 « Black on Black » held in the Manchester Art Gallery from 20 June to 9 October 2015

Curated by Jo Bloxham

Black on Black

with :  Karin JohanssonJorge ManillaGeorg DoblerMelanie IsverdingAgnes LarssonSondra ShermanBettina SpecknerTore SvenssonKarin SeufertPatricia DominguesJulia Maria KünnapStephen BottomleyLore LangendriesJivan Astfalck Philip Sajet – Florian LadstaetterJose Antonio Moralejo

 Sondra Sherman - Rorschach Corsage: Belladonna II, 2015 steel, 750auSondra Sherman - Rorschach Corsage: Belladonna II, 2015 steel, 750au
Sondra Sherman will show 3 brooches from the ‘Rorschach Corsage’ series.

Sondra Sherman  BACK VIEW w/o pin stem Rorschach Corsage: Papaver Somniferum, Brooch 2015 steelSondra Sherman  BACK VIEW w/o pin stem Rorschach Corsage: Papaver Somniferum, Brooch 2015 steel

Jose Antonio Moralejo - rings - 'Black on Black" exhibition at Manchester Art GalleryJose Antonio Moralejo – rings

Lore LangendriesLore Langendries brooch

Philip Sajet - black ring  (& red neckpiece)Philip Sajet – black ring  (& red neckpiece)(photo The Morning Bark)

 

 Manchester Art Gallery
Mosley Street
Manchester M2 3JL  – UK
Tel: 0161 235 8888

05/10/2014

2014 Shanghai Design Week – EXPO ‘Shanghai Jewelry Art Exhibition’ – Shanghai Exhibition Center (CN) – 9-12 Oct. 2014

2014 Shanghai Jewelry Art Exhibition, October 9-12, 2014

Shanghai Design Week

 

2014 Shanghai Jewelry Art Exhibition, October 9-12, 2014 Shanghai Design Week, Shanghai Exhibition Center, West Hall  http://awards.jwcenter.net/  http://www.creativecity.sh.cn/2014/news2.aspx  http://www.fashionshanghai.com.cn/Article/ArticleDetail.aspx?ID=8834

We are very pleased to present the complete list of participating artists in the 2014 Shanghai Jewelry Art Exhibition, October 9-12 2014 :

Ezra Satok-Wolman Jie SunSerena HolmInbar ShahakRia LinsKaren Vanmol –  Marina Sheetikoff — Sina EmrichAnne Luz CastellanosLital MendelStephen BottomleyMette SaabyeAnna Fornari — Rebecca Rose (US) — Bethamy Linton — Siegfried De BuckDana BloomPeter HoogeboomFelieke Van der Leest – Evan Larson-Voltz — Anne Mondro — Thomas Madden — Susan Holt — Tanel Veenre Melissa Cameron — Holland Houdek — Margherita MarchioniAnnette DamKarin Roy AndersonReka Lorincz — Nicole Taubinger — Jen Townsend — Bas BoumanLinda EzermanIsabella Liu — Joanne Garner — Anshu Hu — Yu Hiraishi Wendy McAllister Terhi TolvanenCharlotte Gorse (UK) — Juliette Bigley — Mara Irsara (IT) — Ellie Corp — Steven Follen — Ayano Nakajima (JP) — Haruko Sugawara — Nagai Junko — Michie Kitada — Mami Katsuki — Ingjerd Hanevold

In addition to the exhibition, a lecture series will be presented featuring presentations by Machtelt Shelling (Ubi Gallery), Evan Larson-Voltz (Wayne State University), and Ezra Satok-Wolman (Atelier Hg). To register for the lectures or find more information about the scheduled events, please use the following links

Jichang Chai, Brooch, 2014Jichang Chai, « Welcome on Board » brooch, 2014 - Aluminum, copper, nature screens

Shao Hong En, Brooch, 2014Shao Hong En, Brooch, 2014 -Silver, gem

Li Sang, Necklace, 2014Li Sang, Necklace, 2014 – Silver

Ezra Satok-Wolman, Medallion, 2014Ezra Satok-Wolman, The Golden Ratio, medallion, 2014 – 791 (19k) yellow gold, 750 (18k) white gold, synthetic ruby spheres, silk
6.1 x 6.1 x 0.85 cm – Fabricated, Kumihimo braid – Back view

Isabella Liu, Pieces, 2014Isabella Liu, Pieces, 2014 - Mending- One Brooch in a Midi Ceramic Pottery, 2014 – Ceramic, gold plated metal – 13 x 10.4 x 3.9 cm -  Object and jewellery

Felieke van der Leest, Brooch, 2007Felieke van der Leest, Brooch, Jumbo Star Brother, 2007Plastic animal, textile, silver, cubic zirconium – 12 x 17 x 7 cm

Inbar Shahak, Necklace, 2014Inbar Shahak, - Woodland patina necklace, 2014 – Etched brass leaves, mix green patina with oxidize silver plating

 Annette Dam Brooch: Finding a safe way down, 2012 Silver, brass, wood, epoxy, fringes, elastic band, clipsAnnette Dam Brooch: Finding a safe way down, 2012 Silver, brass, wood, epoxy, fringes, elastic band, clips

Anne Luz castellanos - Anillos Ramas Anne Luz Castellanos – Anillos Ramas

 

 

Shanghai Exhibition Center, West Hall

http://awards.jwcenter.net/

http://www.creativecity.sh.cn/2014/news2.aspx

http://www.fashionshanghai.com.cn/Article/ArticleDetail.aspx?ID=8834

 

 

24/11/2012

EXPO ‘Stephen Bottomley: Retrospective’ – The Scottish Gallery, Edinburgh (UK) – 7-28 Nov. 2012

Stephen Bottomley: Retrospective

Born in Norwich 1967, he studied at Farnham then Brighton, before graduating from the Royal College of Art, London in 2001. For more than twenty years Stephen Bottomley has reflected an emerging digital age in the creation of contemporary jewellery with a quietly confident minimalist beauty.

The work in this exhibition spans the two decades each side of the turn of the Millennium, a period that most clearly witnessed the gradual shift across many craft practices as digital possibilities were explored and accepted. Clarity of line, simplicity of form and pattern are all trademarks of his jewellery made with the traditional skills of Goldsmiths interwoven with the then newly emergent computercontrolled tools of design and manufacture. It is work that does not rely on technological innovation alone, but has at is root an original aesthetic authenticity and a love of material.

Stephen Bottomley  Brooch: Black Diamond 2012  Silver, precious yellow metal, enamel and diamond encrusted aerospace materialStephen Bottomley  Brooch: Black Diamond 2012  Silver, precious yellow metal, enamel and diamond encrusted aerospace material

Stephen Bottomley  Brooch: Deep blue 2012  Oxidised silver, blue enamel, goldStephen Bottomley  Brooch: Deep blue 2012  Oxidised silver, blue enamel, gold

Stephen Bottomley  Brooch: Lemon yellow 2012  Oxidised silver, blue enamel, goldStephen Bottomley  Brooch: Lemon yellow 2012  Oxidised silver, blue enamel, gold

Stephen Bottomley  Drape Bangle  2007  oxidised silver and acrylic  W:18.5cmStephen Bottomley  Drape Bangle  2007  oxidised silver and acrylic  W:18.5cm

 

 

 

The Scottish Gallery
16 Dundas Street
EH3 6HZ – Edinburgh
United Kingdom
Telephone: (+ 44) 0131 558 1200
website: www.scottish-gallery.co.uk
mail: mail@scottish-gallery.co.uk

10/07/2012

EXPO ‘Badges & Buttons Waistcoats & Vest’ – Velvet da Vinci Gallery, San Francisco (USA) – 11 Juill.-26 Aout 2012

Badges & Buttons Waistcoats & Vest

Most of us have at one time or another worn a badge or button. It might have been a Peace Symbol, a Girl Scout pin or badge from your favorite sports team. These are pins with a purpose. They express your political views, belonging to a particular group or just saying « this is who I am ». Badges can indicate some feat of service, a special accomplishment or a symbol of authority, such as a policeman’s badge. Badges & Buttons Waistcoats & Vests is an exhibition exploring the notion of this modest form of jewelry. Curators Elizabeth Turrell (UK) & Robert Ebendorf (USA) have asked 26 artists, mostly from the United Kingdom and the US, to come up with their own kind of button with a message. The artist badges are displayed on vests or waistcoats – vintage, altered or custom-made clothing puts the jewelry on an imagined wearer.

  Velvet da Vinci - badges ....

 Participating artists:

Dail Behennah — Michael Brennand-Wood — Stephen BottomleyKen BovaMelissa CameronJim Cotter — Susan Cross — Robert Ebendorf — Beate Gegenwart — Caroline Gore — Jane Harrison — Gretchen Goss — Arthur Hash — Thomas Hill — Timothy Information Limited — Basil Kardasis — Felix Lindner — Megan McGaffigan — Trish O’Hara — Matthew Partington — Maria Phillips — Marissa Saneholtz — Marlene True — Elizabeth TurrellJessica Turrell

Elizabeth Turrell Elizabeth Turrell

Elizabeth Turrell Waistcoat & badges Elizabeth Turrell Waistcoat & badges

Elizabeth Turrell Badges Elizabeth Turrell Badgs

Melissa Cameron "Ban Stop Save Fight Solve" BadgeMelissa Cameron "Ban Stop Save Fight Solve" Badge

 Melissa Cameron « Ban Stop Save Fight Solve » Badge

Robert Ebendorf/Elizabeth Turrell Colaboration Badges Robert Ebendorf/Elizabeth Turrell Colaboration Badges

Arthur Hash - Tool Badges Arthur Hash Tool Badges

Jane Harrison "Bassett" Badge Jane Harrison « Bassett » Badge

Fuck C********m Badge  Artist: Timothy Information Limited Timothy Information Limited  Fuck C********m Badges

Jessica Turrell A Rash of RedJessica Turrell A Rash of Red

Megan McGaffigan Medal of Tamerlan BadgeMegan McGaffigan Medal of Tamerlan Badge

Beate Gegenwart Waistcoat Beate Gegenwart Waistcoat & brooches

Vest with Badges - Gretchen Goss Gretchen Goss Vest with Badges

Stephen Bottomley "Scent D'Or" Badges Stephen Bottomley « Scent D’Or » Badges


Velvet da Vinci Gallery
2015 Polk Street (between Pacific and Broadway)
San Francisco CA 94109
415.441.0109
Gallery Hours:
Tuesday-Saturday 11-6
Sunday 11-4

04/04/2012

EXPO ‘Die Renaissance des Emaillierens’ – Galerie Handwerk, Munich (DE) – 9 mars-14 avril 2012

Sonderöffnung Die Renaissance des Emaillierens – Internationaler Schmuck und Gerät, — Galerie Handwerk

Das Emaillieren gehört zu den klassischen Gold- und Silberschmiedetechniken. Das seit über 3500 Jahren bekannte Verfahren stellt eine der ältesten und haltbarsten Methoden dar, Farbe auf Metall aufzubringen und den betreffenden Gegenstand, Schmuck oder Gerät, damit besonders zu akzentuieren.

In der zeitgenössischen Gold- und Silberschmiedeszene hat das Emaillieren in den 1970er und 1980er Jahren eher ein Schattendasein geführt. Seit einigen Jahren erlebt die Technik eine Renaissance. Die Galerie Handwerk in München nimmt dieses Phänomen zum Anlass einer Ausstellung, zu der 41 Gestalter aus 15 Ländern eingeladen wurden. Gezeigt werden Schmuck und Gerät.

Seit den 1990er Jahren spielt Email im Avantgardeschmuck zunehmend eine größere Rolle. Dabei wird mit den unterschiedlichsten Verfahren, Zellenschmelz, Grubenschmelz, Fensteremail, gearbeitet und oftmals auch experimentiert. Viele Goldschmiede haben ihre ganz eigene, persönliche Herangehensweise gefunden. Auffallend ist, dass das Verfahren sehr unkonventionell gehandhabt wird und ganz offensichtlich nicht nur die dem Email klassisch zugeschriebenen Effekte – Farbe, Transparenz, Leuchtkraft – gesucht werden.

Der Aspekt, durch Email Farbe auf das Metall aufzubringen, ist nicht mehr entscheidend, längst sind Lack und Farbe gebräuchlich. Nicht, dass die farblichen und malerischen Möglichkeiten des Emaillierens ihre Wichtigkeit verloren hätten, doch scheint heute die Auseinandersetzung mit der Oberfläche und das Spiel mit ihren reizvollen haptischen Qualitäten der gemeinsame Nenner zu sein.

Email kann transparent, glatt, in kräftigen Farben leuchtend sein und sich durch eine makellose, perfekte Oberfläche auszeichnen. Häufig wird aber auch eine matte oder körnige Oberfläche wie bei Pigmentpulver gesucht, oder die Oberflächen sind aufgebrochen und wirken wie korrodiert.

Beim Gerät hat sich die Verwendung von Email in den letzten 20 Jahren grundlegend geändert. Eine sinnliche Oberflächengestaltung, die ihre Ästhetik häufig in schlichten Formen und monochromen Farben sucht, hat das Figürliche und Ornamentale verdrängt.

Die Ausstellung in der Galerie Handwerk versucht, die unterschiedlichsten Positionen zeitgenössischer Schmuckkünstler zum Thema Email vorzustellen und dabei auf die Aktualität dieser alten Goldschmiedetechnik hinzuweisen. Sie wird wenige Tage vor Beginn der Internationalen Schmuckschau eröffnet und ist ein Teil der umfangreichen Schmuckpräsentationen während der Internationalen Handwerksmesse München.

Artists on the show:

Jamie Bennett, USA| Adrean Bloomard, IT | Stephen Bottomley, GB | Helen Carnac, GB | Bettina Dittlmann, DE | Gemma Drapper, ES | Beate Eismann, DE | Ulo Florack, DE | Christiane Förster, DE | Carolina Gimeno, CL | Christine Graf, DE | Kirsten Haydon, AUS | Hiroki Iwata, JP | Karin Johansson, SE | Ike Jünger, DE | Kaori Juzu, JP | Astrid Keller, DE | Young-I Kim, KR | Nikolaus Kirchner, DE | Jutta Klingebiel, DE | Beate Klockmann, DE | Esther Knobel, IL | Daniel Kruger, ZA | Gualan Liang, CN | Stefano Marchetti, IT | Katharina Moch, DE | Nazan Pak, TR | Francesco Pavan, IT | Ramón Puig Cuyàs, ES | Jacqueline Ryan, IT | Phillip Sajet, NL | Isabell Schaupp, DE | Barbara Seidenath, USA | Vera Siemund, DE | Silke Trekel, DE | Elizabeth Turrell, GB | Jessica Turrell, GB | Graziano Visintin, IT | Agnes von Rimscha, DE | Silvia Walz, ES | Annamaria Zanella, IT .

EXPO 'Die Renaissance des Emaillierens' - Galerie Handwerk, Munich (DE) - 9 mars-14 avril 2012 dans Adrean BLOOMARD (IT) renaissance
Francesco Pavan
14c0830454824f6cd3da0390603886f1size2 dans Allemagne (DE)
Francesco Pavan
Bettina Dittlmann, DeutschlandBettina Dittlmann
 dans Annamaria ZANELLA (IT)Bettina Dittlmann
 dans Barbara SEIDENATH (DE)Elizabeth Turrell
NECKLACE;+plastic,+enamel,+cz,+pvc+cord dans Beate EISMANN (DE)
Silvia Walz, SpanienRamon Puig Cuyàs, Spanien
Silvia Walz                —                   Ramon Puig Cuyàs
3ca4c5bdf02814872a37d90801aafc65size2 dans Bettina DITTLMANN (DE)
Christine Graf
6fb5a9a26a8ad7818cb07f68a52923b8 dans Carolina GIMENO (Chili)
Stephen Bottomley – Deep blue brooch – 2012 – Oxidised silver, enamel, and gold
Annamaria Zanella, ITEsther Knobel, Israel
Annamaria Zanella                —                  Esther Knobel
9657766b2d7773b20b3c39fc3282bfddsize2 dans Christine GRAF (DE)
Beate Klockmann
Christine Graf, DENazan Pak, TR
Christine Graf            —                 Nazan Pak

Adrean Bloomard, ItalienJacqueline Ryan, Italien

Adrean Bloomard            —         Jacqueline Ryanf516d717553db4ef78e7562e4e89de03size2 dans Daniel KRUGER (DE)Vera Siemund

fbc0f2f162d6a0c7fd4cfac99fff9d40size2 dans Elizabeth TURRELL (UK)Jamie Bennett
9b6231cb9d2f96f6accd8c6faa15fb0esize2 dans email / enamel
Silke Trekel

Downloads : Broschüre zur Ausstellung « Die Renaissance des Emaillierens » ( PDF 3926 kB)

Galerie Handwerk
Max-Joseph-Straße 4
Eingang Ecke Ottostraße
80333 München
Tel. 089 595584
angela.boeck@hwk-muenchen.de
hwk-muenchen.de/galerie

05/10/2011

EXPO ‘Surface and Substance’ – Electrum Gallery, London (UK) – 7 Oct.-5 Nov. 2011

 Surface and Substance

International contemporary enamel jewellery  – Curated by Jessica Turrell

 

http://www.electrumgallery.co.uk/wp-content/uploads/ELECTRUM_surface_and_substance_banner.jpg


Part I: 7th October to 5th November 2011 at Electrum

Over the last few years there has been a significant revival of interest in enamel with a number of contemporary jewellers developing new ways of working with enamel that enable them to create exciting and innovative work.

This exhibition showcases the work of thirty jewellers of international standing who, through a varied set of practices, take enamel well beyond its traditional boundaries.

The title, Surface and Substance, has been chosen to emphasize that while this is clearly an exhibition that focuses on the use of vitreous enamel – the surface – of equal importance is the ‘substance’ that underpins the work on display; the thinking and the research, which along with the obvious material knowledge and skill, is evident in the striking and individual pieces on show.

Artists on show at Electrum:
Ralph BakkerCarola BauerPatrizia BonatiStephen BottomleyKathleen BrowneLydia FeastKarin JohanssonJutta KlingebielAnn LittleNazan PakJacqueline RyanMarjorie SimonSilke TrekelJessica Turrell

 

http://www.alternatives.it/gallery/designer/Bauer/1.jpg
Carola Bauer necklace – Silver, enamel, gold- 2009

[bauer2.jpg]
Carola Bauer necklace – Silver, enamel

http://www.alternatives.it/zoom/Guerra/02_GP205183_G.jpg
Patrizia BONATI - earring/brooch – 2003 – gold, white enamel

http://www.alternatives.it/gallery/designer/Bonati/2.jpg
Patrizia BONATI - Brooch – Gold 18 Kt, white enamel

http://www.acj.org.uk/images/comprofiler/126_4a9ad22021f78.jpg
Stephen Bottomley – neckpiece ‘Yellow Drape’, Drape series 2007 – Steel, enamel 480 x 384 mm – photo. John K McGregor

Leila Arzaghi
Lydia Feast- ‘Chaos’ series – Vitreous enamel and white metal brooch

http://www.galleryloupe.com/Artist/MarjorieSimon/Gallery_Loupe_6.jpg
Marjorie Simon  (Gallery Loupe)

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc1/5331_117873723729_606448729_2456858_2013288_n.jpg
Nazan Pak - Foam brooches

http://www.fingers.co.nz/exhibitors/images/trekel_2_600.jpg
Silke Trekel -  ‘Branching Out’  Brooch,  2010 -  chased iron, enamelled  (from ‘Spatial Structures’ exhibition)

[Jacqueline+Ryan+28+.jpg]
Jacqueline Ryan 18kt gold and vitreous enamel brooch

http://www.taboostudio.com/images/k_browne04-03.jpg
Kathleen Browne- Double Trouble, brooch, 2002 -  fine and Sterling silver, vitreous enamel, plexiglas

http://static.velvetdavinci.com/images/jessturrellbroochweb.jpg
Jessica Turrell – Brooch (THE ENAMEL SHOW -Velvet da Vinci Gallery)

 

 

Part II: 14th October to 12th November at Contemporary Applied Arts
Artists on show at CAA, 14 October – 12 November 2011:
Jamie Bennett, Stacey Bentley, Jessica Calderwood, Adrean Bloomard, Helen Carnac, Bettina Dittlmann, Susie Ganch, Christine Graf, Carolina Gimeno, Ike Junger, Kaori Juzu, Esther Knoble, Liana Pattihis, Isabell Schaupp, Vera Siemund, Elizabeth Turrell, Jessica Turrell, Annamaria Zanella

 

 

Electrum Gallery
21 South Molton Street
London
W1K 5QZ
Tel: +44 (0) 20 7629 6325sales@electrumgallery.co.uk

 

25/01/2011

Innovation in ENAMEL jewelry – Research project by Jessica Turrell

The Innovation in Enamel Jewellery database is one of the outcomes of the Arts and Humanities Research Council (AHRC)  funded three-year fellowship Innovation in Vitreous Enamel Surfaces for Jewellery.

As part of the research project extensive research was undertaken to identify a group of internationally prominent contemporary jewellers whose practice demonstrates an open and innovative approach to the use of enamel. When complete the database will feature images and supporting information on the work of approximately 30 artists. The aim of the database is to highlight the potential of enamel as an expressive and contemporary medium as well as serving as an important research tool.

The database, which is fully searchable, focuses exclusively on enamel jewellery and complements the existing archive ICVEA (International Contemporary Vitreous Enamel Archive) that is also hosted by the University of the West of England and which includes a broad range of contemporary enamel work.

Currently the database features the work of the following artists:
Carola Bauer – Germany
Jamie Bennett – USA
Stacey Bentley – UK
Patrizia Bonati – Italy
Stephen Bottomley – UK
Jessica Calderwood – USA
Lydia Feast – UK
Mirjam Hiller – Germany
Ike Junger – Germany
Kaori Juzu – Denmark
Ann Little – UK
Lianna Pattihis – UK
Jacqueline Ryan – Italy
Isabell Schaupp – Germany
Vera Siemund – The Netherlands
Marjorie Simon – USA
Elizabeth Turrell – UK
Jessica Turrell – UK
Annamaria Zanella – Italy
The following artist will be added in early autumn 2010:
Jennaca Davies – USA
Carolina Gimeno – Spain
Christine Graf – Germany
Sangeun Kim – UK
Natalia Pinchuck – USA
Barbara Seidenath – USA

Electroformed and enamelled pendants
 Jessica Turrell

 

 

 Innovation in Vitreous Enamel Surfaces in Jewellery

(UWE – University of the West England – Bristol – AHRC (Arts and Humanities Research Council) Vitreous Enamel Research Project)

Awarding body: Arts and Humanities Research Council
Awarded to: Jessica Turrell
Project duration: 1.09.2007 – 31.08.2010

introduction:
The research project is based on the premise that there is huge and largely unexplored potential for innovation within the field of enamelled jewellery. By taking both a practice-led and theoretical approach the aim of the project has been to identify factors that might hinder innovation and present a series of alternative approaches that encourage a more experimental and open-minded approach to enamel.

Research Context
The practical aspects of the research project were underpinned by theoretical and contextual research into the place of enamel in contemporary jewellery practice. This included a wide-ranging visual and literature survey. Web-based research combined with a series of visits to individual practitioners in the USA and Europe as well as to significant exhibitions and collections in Europe, the UK and USA, provided a broad overview of current enamel jewellery practice. This contextual research led to the identification of a number of contemporary jewellers for whom enamel forms a significant part of their practice. A methodology was developed by which the output of these jewellers was analyzed and then allocated to one of three distinct categories. These were as follows:

Skilled (fine) – broadly work that concentrates on traditional enamelling techniques to create work for a mainstream or commercial market.

New – where the work itself engages with contemporary ideas but where enamel is used simply to add a paint-like layer of colour to the surface of the piece using only basic techniques.

Innovative – where the two practices overlap and the artist is able to demonstrate both a k

A selected group of individuals, identified through this process as falling into the Innovative category, were then invited to submit images and supporting written material to the new Innovation in Vitreous Enamel Surfaces in Jewellery database that operates alongside (and is complimentary to) the existing International Contemporary Vitreous Enamel Archive (ICVEA) currently held by the Enamel Research Unit at the University of the West of England, Bristol.

Link to Innovation in Enamel Jewellery database

The contextual and theoretical aspects of the project are examined in depth in an article for Craft Research entitled Surface and Substance – a call for the fusion of skill and ideas in contemporary enamel jewellery.
The article is available online at the following site: craft research journal online

Discussion Forum
A variety of approaches have been taken in order to stimulate debate and comment regarding the place of enamel in contemporary jewellery practice. The first of these was a discussion forum entitled ‘Innovation in Enamel’ which has involved a number of internationally prominent enamel artists all of whom demonstrate a non-traditional approach to their enamel practice. The central aim of this forum has been to highlight the potential of enamel as an innovative medium and to stimulate debate about the aesthetic, conceptual and practical considerations that govern the use of enamel in contemporary jewellery practice. The forum has operated as a members’ only project, meaning that the site can only be accessed by registered members and they alone are able to view the content and submit comment. The rational for this was to encourage those involved to freely discuss their ideas without the constraints of operating within a public arena.

Selected extracts and a summary of the discussions threads can be accessed here.

In addition to the forum site, Jessica has initiated a discussion strand -‘Surface and substance: the place of enamel in contemporary jewellery practice’, which appears on the International Art Jewellery Online Community, Klimt02 – www.klimt02.net/blogs

These two discussion strands have informed the written and theoretical aspects of the research and the production of a number of case studies.
Case Studies
The case studies feature artists who were chosen as representative of a broad and diverse range of approaches to enamel :

Innovation in ENAMEL jewelry - Research project by Jessica Turrell dans Annamaria ZANELLA (IT) bottomley_large
Stephen Bottomley, Yellow Drape Neckpiece, Laser-cut steel and enamel -(Photo: John K. McGregor)

pattihis_large dans Barbara SEIDENATH (DE)
Liana Pattihis, Coral Red Snake Chain Brooch 2009

isabell_schaupp dans Carola BAUER (DE)
Isabell Schaupp, Brooch, Enamel, copper, silver, 2009

christine_graf dans Carolina GIMENO (Chili)
Christine Graf, 2010

In order to 

promote innovative enamel jewellery to the widest possible audience Jessica is currently curating a significant international exhibition that will feature a group of jewellers identified for their innovative use of enamel. The show will begin its tour at Contemporary Applied Arts in London in late 2011, and will then travel to a number of venues across the UK including to the Ruthin Craft Centre in Wales.


Practical and Technical Research

The focus of the practical element of the research has been an investigation into the use of innovative and experimental enamelling techniques in the production of contemporary jewellery. Methods and approaches more usually associated with large-scale and panel enamelling and industrial processes have been adapted for use in wearable pieces. This investigation is supported by the development of a range of techniques that allow for the creation of three-dimensional forms that can be successfully enamelled.
The practical and technical aspects of the research fall into two main categories, these are the production of three-dimensional forms capable of being enamelled in the round and the development of enamelling techniques suitable for application to these three-dimensional forms.

Three-dimensional form trials

Initial research involved investigations into the use of three-dimensional forms created using traditional forming, construction and joining methods. The most commonly used joining technique is the use of high melting-point (or hard) silver solders. The received wisdom is that it is not possible to enamel directly over a soldered joint as the solder will discolour the overlying enamel and can in some cases cause it to come away from the soldered joint. In order to test this theory, extensive investigations were undertaken into the use of a group of silver alloy solders, which were tested for their stability and the effect that they had on the subsequent layer of fired enamel.

Although some solders gave better results than others they all visibly interfered with the enamel they were directly in contact with in some way.

As an alternative to the use of solders, fusion and laser welding were investigated. Both these methods use high levels of accurately directed heat to achieve a fused joint that does not require any additional solder. Although, to differing degrees, both of these techniques created a satisfactory join over which enamel could successfully be applied without too many problems the equipment required was not easily accessible, required outside assistance and was expensive to trial. For these reasons this avenue of research was not pursued.
It seemed that a seam free object should prove the ideal form over which to apply the enamel. There are a number of small-scale silver and copper-smithing techniques that can be employed to raise a seam-free hollow form from a flat sheet of meta,l but such methods are technically demanding and particularly difficult on a small scale. Thus this avenue of research was also rejected. Instead, the technique of electroforming seemed to offer a versatile and accessible method for the creation of 3D forms, and it became clear that a detailed investigation of the technique would prove to be the most productive strand of research.

To this end bespoke electroforming equipment was researched, designed, and built, and a series of tests undertaken. Research and trials were carried out to establish the most suitable materials and methods of production of base forms upon which metal might be deposited during the electroforming process.

Discussions took place with colleagues from the 3D Research Laboratory within the CFPR into the possibilities of creating mandrels using rapid prototyping techniques, and the indicative trials that were carried out to ascertain the suitability of the RP process to create electroforming mandrels and the potential for the medium with which the object is printed both to withstand the process and be easily removed as a core prior to enamelling. As a direction for further research these initial trials hold a lot of promise.
This collaborative strand of research was documented in a poster presentation given during the IMPACT 7 conference in 2009.

In order for the electroforming process to occur it is necessary that the surface of the object to be electroformed is able to conduct an electrical current. As a number of non-conductive materials had been identified as appropriate to this research it was therefore necessary to undertake a further series of trails to establish the most suitable electro-conductive coatings for the purposes of the project.

The final experiments in the production of the underlying electroforms was to trial all the variable of the electroforming process itself to establish the best method for the creation of a smooth and stable form of an appropriate surface and structure that would withstand the application of enamel.

Enamelling trials
In order to develop methods for the application of enamel to the three-dimensional forms resulting from the first strand of investigation, a comprehensive series of tests for the application and adhesion of jewellery and industrial enamel to two and 3D surfaces was undertaken. Stilting and firing methods for 3D objects enamelled in the round were also investigated. Methodology for the recording of technical tests has been developed and trialed and a standardized format has been developed, informed by these trials, which has been used to record the results of all tests undertaken.

Practical Outcomes
On completion of the practical trials a group of jewellery pieces were created using the methods established as most appropriate in the realization of a defined personal aesthetic. These pieces were exhibited at Contemporary Applied Art in London during June and July 2010.

finished2 dans Christine GRAF (DE)
Jessica Turrell- Electroformed and enamelled pendants

fiinished1 dans Elizabeth TURRELL (UK)
Jessica Turrell- Electroformed and enamelled pendants

 

Dissemination
The practical and theoretical outcomes of the project were disseminated by a number of methods throughout the period of the research.

symposium:
A symposium was held at the Bower Ashton Campus, University of the West of England in July 2010:
Read a review of the symposium here – http://www.iom3.org/news/enamoured-enamel

SUMMARY:
Addressing an audience composed of professional makers, academics, researchers and students the symposium examined the place of enamel within contemporary jewellery practice, celebrating its potential as an exciting and innovative material. At a time when increasing numbers of contemporary jewellers are rediscovering enamel this event offered a timely opportunity for the sharing of information and ideas plus a chance to network and take part in debate.

 

Conclusion
The ultimate aim of the project has been to demonstrate the potential of enamel as an exciting and innovative material and to thus affect a change in the commonly held perception that enamel is a medium not readily associated with contemporary jewellery practice. It is anticipated that the dissemination of the outcomes of the research project Innovation in Vitreous Enamel Surface for Jewellery will go some way towards the creation of an environment where the innovative potential of the material is more widely recognized, both by the jewellery community and within art education, thus allowing a more ambitious and rigorous enamel practice to flourish.

 

Visit the CAA exhibition page at http://www.caa.org.uk/exhibitions/archive

JessicaTurrell dans email / enamel
Jessica Turrell

« The intimate scale of jewellery is a central factor in my practice. I strive to create work that has a tactile delicacy and that rewards the wearers close attention with an intricate and detailed surface. Over recent years I have developed an experimental approach to enamel by which I seek to create work that moves away from traditional jewellery enamel practice in order to achieve a more ambiguous and expressive surface quality. » (Jessica Turrell)

Exhibitions 2010 – Showcasing a New Collection of Enamel Jewellery 18 June – 17 July 2010, London

All images from The Enamel Experience at Velvet da Vinci Gallery,

 

Elizabeth Turrell – cross Badges (exhibition « The Enamel Experience », Velvet da Vinci Gallery, 2008)

 

Image de prévisualisation YouTube

 

Image de prévisualisation YouTube