EXPO ‘Linda van Niekerk: 10 Years On’ – Brenda May Gallery, Sydney (AU) – 25 Fevr.- 22 Mars 2014

Linda van Niekerk : 10 Years On

Linda celebrates a decade of jewellery design and making with a solo exhibition at Brenda May Gallery.
‘My approach to design has evolved since my first exhibition at Brenda May Gallery in 2004, however my desire has always been to create bold sculptural jewellery that sits well on the body.’
The exhibition will review Linda’s work of the past 10 years plus new work that references earlier works.
‘I hope to demonstrate, irrespective of the ideas behind a collection, an elegant timelessness that transcends fad or fashion.’

Linda van Niekerk, Neckpiece: Carousel Leaf, 2008 – Sterling silver, anodized aluminium

Linda van Niekerk, ring – Silver Seagrass, 2011 - Waxed Tasmanian tidal stone, sterling silver, nylon
Image: Peter Whyte

Linda van Niekerk, Forest Shadow ring , 2009 – Tasmanian myrtle (wood turner, trevor semmons) with burn finish, sterling silver – Image: Peter Whyte

Linda van Niekerk, Neckpiece Fjord Adrift with Pearls, 2014 – Tasmanian wilderness driftwood, cultured pearls - Image: Peter Whyte

Linda van Niekerk – Neckpiece: Reflections with Ripples (long), 2014 – Sterling silver, nylon / Armbands: Energy, sterling silver, 2011 – Image: Peter Whyte

 

 e-book for the exhibition

 

 

 

Brenda May Gallery2 Danks Street
Waterloo NSW Australia 2017
T: 02 9318 1122
F: 02 9318 1007
[e-mail]
Open: Tue to Fri 11-6, Sat 10-6 (Closed Sun/Mon) -

 

EXPO ‘Embodied’ – Fortyfivedownstairs, Melbourne (AU) – 28 Janv.- 8 Fevr. 2014

Embodied  – at  fortyfivedownstairs, Melbourne

embodied features diverse work by four contemporary jewellers from Australia, New Zealand and America. Tassia Joannides, Suse Scholem, Rachel Timmins and Selina Woulfe break conventions of wearability, each incorporating performance; photography; ephemeral and interactive work as well as object making in their practices.
embodied brings these artists together for the first time to engage audiences in unique dialogues on the body.

Curated by Suse Scholem

(Selina Woulfe – Piece: Experiential Jewellery II, 2008  – Sterling silver, surgical steel suspension hook)

 

 

 

Artists: Tassia Joannides — Rachel Timmins — Suse Scholem – Selina Woulfe

Tassia Joannides – Body Piece: Sticker Series – shoulder, 2013 – Photographic image of hand cut stickers on the body 42 x 29,7 cm

Selina Woulfe – Photograph: Delmira/For all these mouths that make my bed bloom, 2013 -
Film – 2mins 9 secs -  Director/Performer: Selina Woulfe – Performer: Andrew McCormack – Camera: Leah Goffe Robertson

Selina Woulfe – Body Piece: Graftification Ritual II (Self-Application), 2013

Rachel Timmins – Piece: Growth One, 2010 – Foam, epoxy, resin, craft glitter  17 x 10 x 10″ Photo : Joseph Hyde

 

fortyfivedownstairs
45 flinders lane
Melbourne 3000
Australia
tel [phone]
fax [phone]
fortyfivedownstairs.com
[e-mail]

embodiedmelbourne.weebly.com
mail: [e-mail]

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]

EXPO ‘ Jewels for a new world’ – Studio 20/17 – 10–24 dec. 2013

Jewels for a new world – Studio 20/17

Jewellery can transcend its physical reality and be a signifier of memory, or represent markers of the highlights of our lives. Jewellery encompasses our desires, the life cycles of loss and renewal or it can be a talisman, protecting us and bringing good fortune. With the horizon of 2014 in our sights, invited artists have created a body of work for our end of year exhibition ‘Jewels for a new world’, where they celebrate the past year, anticipate the new year and reflect on what contemporary jewellery means to them.

 

Lina Peterson

Participating artists : Karin Findeis — Vicki Mason — Anna Davern — Claire Townsend — Natalia Milosz-Piekarska — Lisa Furno — Lina Peterson — Michelle Taylor — Bridget Kennedy

Vicki  Mason – Speckled spiky brooch

Bridget Kennedy

 

Studio 20/17

6b/ 2 Danks St
Waterloo NSW 2017
Ph/fax: [phone]

EXPO ‘Twice loved’ – Studio 20/17, Waterloo (Australia) – 19 Nov.– 7 Dec. 2013

‘Twice loved’ – Julie Blyfield

‘Twice loved’ is a new collection of work by award winning contemporary jeweller, Julie Blyfield, based on interpretations of the historical patterns inscribed on discarded nineteenth-century ceramic shards and early twentieth-century kimono garments.

Remnant (Left) & Relic Brooches Oxidised sterling silver, enamel paint wax 2013 largest 80x95x4mm / 67x90x7mm, photo by Grant Hancock

« Twice loved is a new collection of jewellery pieces based on interpretations of the historical patterns inscribed on discarded nineteenth-century ceramic shards and early twentieth-century kimono garments, which I photographed at the History Museum in Tokyo on a recent trip to Japan. Having merged, reworked and translated elements from the Japanese fabrics and the textures and patterns of the ceramic shards, the resulting rich layers of pattern were incorporated into precious items of jewellery. With sterling silver as my preferred choice of material, I use the traditional technique of metal chasing, which is a method of hand texturing the metal surface. Colour has been added, not only to provide contrast, but also a link to the original fabrics and ceramic fragments.

For years I have accumulated old pottery shards retrieved from diggings around the township of Silverton, north of Broken Hill in New South Wales; an area which from the mid to late 1800s was rich in silver mines. Decorated with remnants of landscape scenes, botanical motifs and scrolls of repetitive patterns, the random shards of old English ceramic plates and cups are representative of the everyday ware and domestic life of colonial Australia. The Japanese kimono designs similarly reflect the rich layering of history through the depiction of floral motifs as dynamic figurative and stylised patterns.

As a contemporary jeweller I intend my work to be worn, loved and used and consider this aspect an important step in the design process. I hope that my pieces are valued as they pass from the hand of the creator to the owner, adding new layers of meaning and interpretation.”  - Julie Blyfield

Julie Blyfield -  Necklace: Relic, 2013 – Oxidised sterling silver, enamel paint, wax – Photo Grant Hancock

Julie Blyfield -  Neckpiece: Relic, 2013 – Sterling silver, cord - Photo by Grant Hancock

 

Studio 20/17
Unit 6B, 2 Danks St
NSW 2017 – Waterloo
Australia
Telephone: [phone]
Fax: [phone]

EXPO ‘ECCOCI’ – Blue Chair Café, Victoria (Australia) – 22 Nov-1st Dec 2013

ECCOCI (« Here we are !! ») :   An exhibition featuring students from Alchimia Contemporary Jewellery School in Florence, Italy.  12 Jewellers, from 9 different countries, showing a distinct range of jewellery all available for sale. Opening night – Friday 22nd November 7pm

12 Jewellers, from 9 different countries :   Amani Bou Dargham — Carla Movia — Daria Borovkova — Elena Gil — Federica Sala — Francesco Coda — Kyla Murrihy (Curator) — Lilian Mattuschka — Lucy Clark — María Ignacia Walker — Melissa Arias — Sana Khalil

  Amani Bou Dargham – wood rings

Amani Bou Dargham

Lilian Mattuschka anelli 2013

Federica Sala  Frogs. Ring. 2012. Plastic Balloon, Lattex, Silver, Emerald.

 

Federica Sala

Elena Gil, 2013  Flamboyant, Brooch. Sterling silver, plexiglass, steel and resin-dipped cotton buds.

Maria Ignacia Walker

 

 

 

 

Blue ChairCafe
611 Nepean Hwy, Carrum,
Victoria, Australia 3197 (just outside of Melbourne !)

EXPO ‘Nature Nurture’ – COTA Gallery, Sydney (AU) – 5-28 sept. 2013

Nature Nurture - COTA Gallery – 5-28 sept 2013 – Linda van Niekerk

In September 2013, Linda van Niekerk will bring her exhibition Nature Nurture to COTA gallery. Linda has long been fascinated by the influence of inherited traits and genes (nature) and it’s relationship with upbringing and environment (nurture).
For this exhibition Linda will present four series of works, all influenced by nature and nurture in different ways.
The ‘Clouds’ series is inspired by the vast skies of Linda’s natural environment in the south of Tasmania. The work reflects both the shapes of clouds as well as their constantly shifting and evolving forms (thus allowing the pieces to be worn in a variety of different ways).
The ’Adrift’ series acknowledges place in another way. These works present simple pieces of Tasmanian wilderness driftwood and invite the wearer to appreciate the natural beauty of a precious resource.
A third series is motivated by the desire to wear the pearls left to Linda by her mother in her own special way. As it was Linda’s mother from whom she inherited a love of design and jewellery, Linda was reluctant to re-imagine the pearls to the degree where they were no longer distinguishable from the original strand. The ‘Pearl’ series borrows from both the ‘Cloud’ and ‘Adrift’ series to incorporate the most beautiful blending of nature and nurture – cultured pearls.
And finally, the ‘Sea Sponge’ series. This series of arm pieces was inspired by the form and pliability of sea sponges.

Linda van Niekerk, « Forest Shadow Adrift », Tasmanian wilderness driftwood with burn, sterling silver, rubber. Image by Peter Whyte Linda van Niekerk

Linda van Niekerk

Linda van Niekerk  Neckpiece: Nature, Nurture 2013  Tasmanian Wilderness Driftwood, Cultured Pearls  Image : Peter Whyte

 

 

COTA gallery  (previously Metalab Gallery)
10b fiztroy place, Surry hills,
Sydney 2010
[phone]
[e-mail]

EXPO ‘Almost Invisible’ – Gallery Funaki (AU) – 23 Juill.-17 Aout 2013

Gallery Funaki : Henriette Schuster , ‘Almost Invisible’

In her first solo exhibition at Gallery Funaki, Munich based artist Henriette Schuster presents a collection of jewellery that uses precious metals in simple, almost naïve ways to explore basic aesthetic relationships between two similar forms. In addition, we will be showing a series of Schuster’s drawings that both draw from and feed into her jewellery practice.

Sometimes the most affecting gestures are very small and very quiet. Schuster creates jewellery and drawings that shy away from bold declarations and instead, wait quietly for close attention. Working with silver and thread, Henriette’s jewellery is arrestingly simple and direct: small elements, often in pairs, sit in delicate balance with one another, a subtle dance of interdependence and connection. Familiar household objects like teacups, thimbles and brushes take on unexpected symbolism and tenderness as they hang, paired and companionate, on boldly coloured elastic. Tubes of silver are bent in simple and graphic forms, creating drawings on the body. And Schuster’s drawings, which will be shown for the first time in Australia, are studies in understatement and lightness. Schuster’s vision is unobtrusive but always quietly compelling.

Henriette Schuster -  ‘Plug’ / blackened silver, elastic

Henriette Schuster – Pendant / blackened silver, elastic

Henriette Schuster – necklace /   silver, elastic

 

Gallery FUNAKI
4 Crossley Street
Melbourne, Victoria
Australia 3000
PO Box 24142
Melbourne, Victoria
Australia 3001
[e-mail]
[phone]

EXPO ‘Seams | Seems’ – MADA gallery, Melbourne (Australia) – 17 Juill.-20 Aout 2013

« Seams | Seems » 17 July – 20 August 2013  Exhibition and symposium curated by Marian Hosking (MADA – Monash University Art Design & Architecture) and Robin Quigley (Rhode Island School of Design).
Seams: bringing together, fitting, joining and overlapping.
Seems: to appear to have a particular quality.

Opening Address 19 July, 6pm Professor Edward Byrne AO, Vice Chancellor & President, Monash University

Upcoming exhibition  “Seams | Seems” which is a collaborative alumni exhibition by Rhode Island School of Design (RISD) and Monash University in Australia. This exhibition will represent a diverse selection of jewelry and objects to emphasize and broaden the discourse around where the boundaries lie for jewelry in 2013. The exhibition will be open from this Wed, the 17th of July until the 20th Aug, 2013 at the MADA Gallery, Melbourne in Australia. The opening event will be held on the 19th of July at 6pm.

Right now, our faculties, Robin Quigley and Tracy Steepy are officially in Australia representing the work of the RISD Jewelry and Metalsmithing Alumni and Faculty. They have begun the installation of the exhibition. Thank you so much, Robin and Tracy !! I will update you when I receive more photos from the exhibition.

Here are the participating Artists from RISD: Yoshie Enda — Kate Furman — Yong Joo Kim — Hye Yeon Park — Lauren Tickle — Mariah Tuttle — Mallory Weston — Robin Quigley — Tracy Steepy.

From MADA  : Melissa Cameron — Vito Bila — Lousje Skala — Laura Deakin — Jill Hermans — Biatta Kelly — Christine Scott-Young — Penelope Pollard — Maureen Faye Chauhan — Meredith Turnbull.

Kate Furman   « Reconciled » – brooch -     (2012 MFA in Jewelry + Metalsmithing at Rhode Island School of Design)

 Yong Joo Kim : Brooch, Requisite Variety S2-EV8, Velcro hook and loop fasteners and Sterling Silver, 6” x 8” x 4”, 2013

Lauren Tickle, $12.50 Brooch, US Currency, Silver, Latex, and Monofilament, 2011

Yoshie Enda –  Presence : Arms – silicone

Hye Yeon Park -  “Grasping at Clouds”

Tracy Steepy – steepy plyportraits -  2012 – resin, wood, steel

Laura Deakin brooch

Meredith Turnbull – Red-and-Green-painted-brooch

Maureen Faye-Chauhan, Octahedral brooch (2011)

MADA Gallery is located at the Caulfield campus of Monash University
MADA Gallery
Building G, Ground Floor
900 Dandenong Rd
Caulfield East Victoria 3145

t+61 3 9903 2882

[e-mail]

EXPO ‘Vicki Mason: Vignettes from a suburban front yard’ – Gallery One, Melbourne (AU) – 20 Juin-27 Juill. 2013

Vicki Mason: Vignettes from a suburban front yard

Vicki Mason’s new exhibition, Vignettes from a suburban front yard, uses suburban landscape and plants to trace the history, status and social aspirations of a Melbourne suburb, that are then writ large in contemporary jewellery.
Vignettes from a suburban front yard documents and explores ordinary Australian suburban front yards and the plants that inhabit them. Mason observes the plants used in her own neighbourhood to inform us how we deal with nature in an urban milieu. In reading the plants that populate the front gardens of south east Melbourne, Mason tells us not only who we are now but who we were, reflecting the constant cycle of fashion as it relates to plants and garden styles.
Suburban front gardens engage with the public space of the outside world as well as the houses they front, and we all enjoy (or not) others’ front gardens/plants on a street. The plants we choose to grow reflect values that are sometimes traditional and conformist while at other times totally idiosyncratic. Her work, ‘The cheerful pomegranate’ for example, documents her interaction with a local who wrapped plastic flowers around the bare leafless stems of her pomegranate plant one winter – to cheer the garden up.
Mason’s overarching interest is in our ongoing desire for the suburban ideal of the rural idyll. This ideal comes about as the result of thinking about space availability derived from an earlier period in Australia’s history, and Mason suggests this needs critical appraisal. Reviewing the role that suburban gardens play in a city which continues to sprawl is perhaps timely and necessary.

Big Tree, Welcome Mat Lawn (triangular) and Standard Roses (red and pink)

Vicki Mason - Brooch: Standard Rose (red) 2013  Powder coated brass, cotton  Photo: Andrew Barcham

 

Gallery One
31 Flinders Lane
VIC 3000 – Melbourne
Australia
Telephone: [phone]

website: www.craft.org.au

mail: [e-mail]