EXPO ‘Once More, With Love’ – studio2017, Waterloo, Sydney (AU) – 31 Juill.–18 Aout 2012

Once More, With Love

Many people are unaware of the darker side of jewellery production – the ethical issues, including the exploitation of workers, damage to the environment, resource depletion, as well as health issues for jewellers themselves. As makers of jewellery we acknowledge that our field interacts with complex notions of ‘want’ versus ‘need’. Hence we are aware of the importance of taking responsibility for how our individual practices may affect the needs and livelihoods of communities and environments globally.

 

Once More, With Love is a not-for-profit travelling jewellery exhibition raising concepts of sustainability, recycling and ethical production. The project involves over 30kg of unwanted jewellery items donated by the Australian public which have been reworked ‘with love’ for this exhibition by a diverse selection of twenty one contemporary jewellers all with a proven interest in ethical making and recycled materials.  The works created for Once More, With Love propose a potential new life cycle for materials, while creating space for reflecting on their origins. The project is an opportunity for people to experience what creative minds can do with recycled materials in an everyday studio context.

The Once More, With Love project was started in 2010 by Suse Scholem, a contemporary jeweller from Melbourne who is passionate about sustainability and the power of art and community engagement. Suse was inspired by the activities of the American group Ethical Metalsmiths, who have significantly increased ethical/sustainability awareness in the American jewellery industry.  The Once More, With Love project grew from the success of a Melbourne-based jewellery recycling project organised by Suse.  As interest in the project grew, a significant number of jewellers became involved, and internationally respected jewellery artist Simon Cottrell, took on the role of co-curator. Along the way, the project has attracted significant patrons such as Dr Kevin Murray, Vice President of the World Craft Council, Asia Region, and Katie Scott Director of Gallery Funaki, Melbourne.

After Sydney, the exhibition will be heading to Canberra in October 2012 and then to Melbourne in early 2013.

In addition to the touring exhibition, the Once More, With Love project will involve events in each host city incorporating community discussions; as well as an ongoing website www.oncemorewithlove.com with information about issues relevant to the ethical sustainable implications of jewellery resources. The entire project was conceived with the aim of bringing the entire breadth of the jewellery community together to enter a dialogue around sustainable/ethical practice.  The project will be culminating in a weekend seminar in Melbourne Autumn 2013 which is still in planning

 

The artists involved in Once More, With Love include:
Zoe Brand — Melissa Cameron — Sarah Carlson — Simon Cottrell — Anna Davern — Sian Edwards — Karin Findeis — Susan Frisch — Jill Hermans — Alison Jackson — Tassia Joannides — Julie Kiefel — Ali Limb — Vicki Mason — Regina Middleton — Sean O’Connell — Suse Scholem — Vicky Shukuroglou — Ute Roseler — Melinda Young — Mark Vaarwerk.

Melinda Young’s process (1,2,3) :

Melinda Young 1

Melinda Young 2 – ‘Grid neckpiece’ 925 Silver, Turquoise, Howlite, Acrylic Mirror, Epoxy, Silk Thread

Melinda Young 3 – ‘Scatter neckpiece’ Lapis Lazuli, Sodalie, Scrap Acrylic, 925 Silver, Silk Thread

Zoe Brand – ‘Between Sydney/Canberra’ used postal bag

Regina Middleton – ‘sylvia’s pin’ : electrical wire, shell, coral, freshwater pearls, cultured pearls, fake pearls, + other mystery bag materials, silver, steel pin

 

 

Studio 20/17
2 Danks St, Waterloo, Sydney

 

Gallery Bilk

12 Palmerston Lane, Manuka
Canberra

EXPO ‘Wearable cities’ – Gallery Funaki, Melbourne, Victoria (AU) – 31 Juill.-25 Aout 2012

Blanche Tilden Wearable cities

Blanche Tilden has exhibited nationally and internationally since 1990. Over this time she has developed a unique approach to materials, as well as a focus on repetition. A fascination with mechanical devices – fuelled by a desire to understand how things work – continually inspires her work. This understanding enables her to explore glass both as a material for jewellery making, and a universal metaphor.

She lives and works in Melbourne.

 

 

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

EXPO ‘The Year was 2006′ – Studio2017, Waterloo NSW (AU) – 19-30 Juin 2012

‘THE YEAR WAS 2006‘

An exhibition of 100 jewellery pieces made in 2006

2006. It was a common year that started on a Sunday. John Howard was PM and Pluto was no longer classified as a planet. It is often bandied about that art is a reflection of our society; intrigued, we set out to find what 2006 might have looked like in terms of contemporary jewellery. 100 jewellers from across the globe have been invited to present one piece of jewellery they made 6 years ago. Presented as a salon hang, this exhibition will showcase an incredibly diverse array of jewellery and will give an overall snapshot of what these jewellers were thinking, making and the materials they were using all those years ago in 2006.

Alice Potter — Alice Whish — Alida Cappelletta — Amy Renshaw — Andrew Welch — Barbara Cotter — Bernadette Trainor — Beatriz Ruiz — Birgit Laken — Claire McArdle — Coconut Lu — Bridget Kennedy — Danielle Butters — Danielle Sweeney — Deborah Rudolph — Diane Beevers — Elfrun Lach — Elfi Spiewack — Emma Fielden — Erin Timony — Francine Haywood — Heidemarie Herb — Helen Mok — Ilse-Marie Erl — InSync Design — Jacomien Labuschagne — Jandy Pannell — Jane Millard — Jane Pollard — Jane Reynolds — Jasmine Matus — Jennifer Gehbauer — Jessica McMullen — Jessica Morrison — Jessica Page — Judy McCaig — Julie Usel — Julie Kiefel — Justine Austine — Karen Thompson — Karin Jakobsson — Karina Hunnerup — Karola Torkos — Kate Barton — Kath Inglis — Katrina Freene — Kelly McCallum — Kim Ebbeck — Linda Blair — Linda Van Niekerk — Lisa Furno — Luke-John Matthew Arnold — Madeleine Clark — Manuela Gandini — Mark Vaarwerk — Melanie Ihnen — Melinda Young — Melissa Cameron — Mervi Kurvinen — Michelle Kelly — Michelle Taylor — Minnette Michael — Mirca Maffi — Miriam Andraus Pappalardo — Nadine Smith — Naomi Schwartz — Paula Rodrigues — Phoebe Porter — Rachel Bell — Radka Passianova — Renee Damiani — Robi Szalay — Rudee Tancharoen — Sandy Marker — Shan Shan Mok — Sharon Fitness — Sharon Massey — Shauna Mayben – Shimara Carlow — Sian Edwards — Simon Cottrell — Sonya Scott — Stefanie Koelbel — Stephen Gallagher — Susan Frisch — Susanna Dwyer — Suzanne Esser — Szilvia Gyorgy — Tatjana Panyoczki — Teresa Faris — Vernon Bowden — Vicki Mason — Ximena Natanya Briceño — Zoe Brand

Susan Frisch – Flowering Gum Brooch 

Alice Potter – spotty necklace

Elfrun Lach – ‘Corallium Rubrum’ necklace – natural red coral branches

Shimara Carlow bangle

Birgit Laken -   Big Thumbnail, pendant hard fabric, 2006

 

Studio2017
6b/ 2 Danks St
Waterloo NSW 2017  (AUSTRALIA)
Ph/fax: [phone]
Open: Tues – Sat 11 – 6pm
Email – [e-mail]

EXPO ‘SEEP’ – Gallery Funaki, Melbourne, Victoria (AU) – 12 Juin-7 Juill. 2012

Lisa Walker‘s exhibition SEEP starts this coming Tuesday June 12th… prepare to be knocked sideways. Join us for the opening and a drink with Lisa on Tuesday night from 6-8pm at Gallery Funaki

« Lisa Walker’s jewellery is a cacophony of image, colour and media. It shows her endlessly roaming and curious intellect »

« The common misconception about Lisa Walker’s work is that anything goes, that it’s a material free-for-all. The truth is, Walker works in a very meticulous, thoughtful way and her compositions and materials are chosen with great care. She treads a fine line between wearable and unwearable. »

« Trying to understand Walker’s inclusive process and thinking, I experience both hope and exhaustion. SO much is possible, and so MUCH is possible! But what I find most important is Lisa’s exploration of the cultural function of jewelry, and a revitalization of it to be relevant to now. Walker’s jewelry is the extreme version of the most personal contemporary appurtenance. It is the physical manifestation of the mental and virtual baggage of living NOW. It is a stream of consciousness record of the whims and obsessions of an over-mediafied, production inundated, anxious global culture. If our collective subconscious brain could turn its pockets inside out, showing the world what we are really made of, it would look like Lisa’s work.«   Kerianne Quick, Amsterdam, 2011

Lisa Walker, Pendant, 2011

 

 

 

Gallery Funaki
4 Crossley Street
Melbourne, Victoria
Australia 3000
PO Box 24142
Melbourne, Victoria
Australia 3001
tel [phone]
[e-mail]
http://www.galleryfunaki.com.au

EXPO ‘UNEXPECTED PLEASURES’ – NGV International, Melbourne (AU) – 20 Avril-26 Aout 2012

UNEXPECTED PLEASURES

The Art and Design of Contemporary Jewellery

A Design Museum, London touring exhibition
at NGV (National Gallery of Victoria)

Unexpected Pleasures looks at what we mean by jewellery from a number of different perspectives.  Taking as its starting point the radical experiments of the Contemporary Jewellery Movement that challenged a conventional understanding of the language of personal adornment, and looking instead at the essential meanings of jewellery, the exhibition brings together important work from around the world, and looks at it from the point of view of the wearer as well as the maker. Contemporary  Jewellery in this sense is at the intersection of art and design.

Curated by Dr. Susan Cohn for the Design Museum, London with exhibition design by Ab Rogers Design and graphics by Barnbrook.

« UNEXPECTED Pleasures, an exhibition of the world’s ugliest, loveliest, most intriguing contemporary jewellery, opened at the National Gallery of Victoria International yesterday.
 »Everything here is designed to be worn, » said guest curator and jewellery designer Susan Cohn.
Visitors took that as a challenge, moving through 180 dimly lit curiosities by the world’s most radical designers, trying to imagine what it would be like to wear a necklace of glass and ceramic dildos. Or a tubular  »veil » collar like a pearly plastic version of Ned Kelly’s helmet. Or a cluster of rusted bolts and nails on a silver  »Screw Ring ».
 »After procreation and survival, our next instinct as humans is adornment, » Cohn said when asked,  »Why? »
 »Adornment is about attracting a mate, which in turn, is about procreation and survival. »
Some humans, however, obviously require more complex, intellectual adornments than others.  »Yes, some wearers will want something that speaks that way for them, » Cohn said. Among the exhibits was a vast choice of such expression, from the minimalist exquisitry of a grey sunray-pleated yoke, to a clump of small pale  »tumours », photographed bursting through a model’s frock. The latter was in a category of radical ideas.
NGV director Gerard Vaughan said the exhibition offered  »a fresh view of the many meanings associated with jewellery ».
The visiting director of London’s Design Museum, Deyan Sudjic, said it was the result of a  »long, drawn-out, cerebral process », and that is precisely how it felt.
Unexpected Pleasures: The Art and Design of Contemporary Jewellery, is a Design Museum, London, exhibition funded by the Joan and Peter Clemenger Trust.
It is free and runs until August 26, when it will travel to London. (Daily Life.com.au)

Art and design come together through its exploration of the radical experiments of contemporary jewelers who have pushed the boundaries. Navigate your way through the labyrinth of themes; Worn Out (celebrating the experience of wearing jewellery), Linking Links (looks at the way in which narratives are expressed through sub-themes and creative systems) and A Fine Line (offers insight into the origins of contemporary jewellery today) in an exhibition that is not to be missed.

Camilla Prasch – MEGA 2009 – red dyed snap fasteners, nylon thread, silicone discs – Photo: Dorte Krogh

Sally Marsland (AU) – Flat colour, brooches (2002) – epoxy resin mixed with powdered pigment - Photo: Jeremy Dillon

Doug Bucci, USA, Trans-Hematopoietic neckpiece (2010).

Susie Ganch, USA, Yellow dust, brooch (2010)

David Bielander, Scampi, armband/bracelet, 2007

Karl Fritsch Screw ring 2010 silver, nails, screws

 

Karl Fritsch, New Zealand, Steinhaufen, ring 2004

Hyewon Kim -  Torn 1 (2011) – resin, twigs Photo: Myoungwook Huh

Tiffany Parbs – Extension (2008) – hand woven hair, digital print – photo Terence Bogue

Caroline Broadhead, England, Veil, necklace (1983).

Susanne Klemm, « Frozen » necklace, plastic

Blanche TILDEN – Speed, neckpiece  2000  borosilicate glass, titanium, anodised aluminium

Paul Derrez  Pleated Collar  1982  Plastic, steel 

Felieke van der Leest – necklace

Rose necklace by Gijs Bakker: Colour photograph in laminated plastic (1983) 

Dorothea Prühl Habicht (Hawk), 2006 necklace, elm wood – H 40 cm

Noon Passama, Brooch, 2010

 

First on show at the National Gallery of Victoria, Melbourne, 20 April – 26 August 2012, this exhibition will also tour to the Design Museum in London, 5 Dec 2012 – 3 Mar 2013. Melbourne based designer and maker Dr. Susan Cohn (interview with The Age) has curated this exhibition for the Design Museum and is also co-author of the substantial catalogue documenting this event as well contributing to the discussion about contemporary design and making.

 

 

VIDEO

 

NGV International
180 St Kilda Road
Melbourne (AU)
Contemporary Exhibitions
Level G

EXPO « Cosmic Artefacts » – Pieces of Eight Gallery, Melbourne (AU) – 6 Mars-7 Avr. 2012

Cosmic Artefacts

An exhibition by Alexi Freeman and Tessa Blazey
March 6 – April 7, 2012
Pieces of Eight Gallery

Pieces of Eight Gallery presents fashion designer Alexi Freeman and represented jeweller Tessa Blazey, collaborating on a major window installation that includes finished works and relics from their Autumn Winter 2012 ROCK STAR and Spring Summer 2012/2013 collaborations.

The installation features their AW12 Interstellar Gown, an elaborate metal gown featuring thousands of tiny gold rings embellished into a geometric formation – fit for a sci-fi goddess to traverse the celestial sphere.

A marriage between artisanal workmanship and technology, their latest collaboration for SS12/13 is meticulously constructed from intricately cut acrylic in vivid fluoro orange. This dress has also inspired a suite of jewellery pieces that will be installed concurrently at editionx.com.au from March 6.

Alexi Freeman & Tessa Blazey  – Body piece:  Relic – Acrylic

Alexi Freeman & Tessa Blazey  – Necklace: Intricate Relic – Acrylic – Relic SS12/13 Edition of 10

Alexi Freeman & Tessa Blazey  – Relic Chain Earrings

Pieces of Eight Gallery
28 Russell Place
VIC 3000 – Melbourne
Australia
Telephone: [phone]

website: www.piecesofeight.com.au
mail: [e-mail]

EXPO ‘Bend, stitch, carve’ – JamFactory, Adelaide (AU) – 1er Dec. 2011-14 Janv. 2012

BEND, STITCH, CARVE   

Kath Inglis, Tassia Joannides, Erin Keys

1 December-14 January – Collectors Space

JamFactory Metal Design Studio alumni Kath Inglis, Tassia Joannides, and Erin Keys exhibit together for the first time in « Bend, Stitch, Carve ». Showcasing their varying approaches to contemporary practice, this exhibtion highlights both material and process.

Erin Keys saw pierced mild steel& automotive paint cuffs 2010

Graduating in Jewellery and Object Design from Enmore Design Centre (SIT), Erin Keys established her practice at her studio in the Blue Mountains exhibiting nationally and working as a production assistant for Sydney based contemporary jewellers. In 2006 Erin left Australia to travel to Eastern Europe and lived in Bosnia Herzegovina until joining the Metal Design Studio JamFactory in 2008. She has exhibited nationally and most recently was selected to exhibit at Talente, International Trade Fair Munich and Preziosa Young in Florence Italy and Galeria Sztuki, Poland.
Drawing from ideas that are based in mark making, the cursive style of calligraphy Keys uses explores concepts of communication and language. The calligraphic pen strokes that begin on paper, transform into graphic metal objects, and in reclaiming ownership of the body, can be best understood as the repurposing of an idea into space. Using traditional jewellery making techniques her work captures a gestural energy that is suggestive of street ‘tags’. Abstracted from their origin these calligraphic forms become aesthetic artefacts of Keys’ urban landscape.

Tassia Joannides  “panel stitch bangle” using hand cut panels of bicycle inner tubes.

Tassia Joannides received her Bachelor of Fine Art with Honours from Monash University in Melbourne before moving to Adelaide to work in the Metal Studio at JamFactory Contemporary Craft and Design. After four years living and working interstate Tassia returned to Melbourne to continue her practice. She regularly exhibits her jewellery and sculptures both nationally and overseas, recently travelling with her work to exhibitions in Japan, Germany and the USA.
Tassia sees her practice as an investigation of form and how it can interact sensitively with the body, sometimes even as an extension of it. Typically she works with flexible materials which aid this special interaction and inspire her to push the boundaries of three dimensional soft structures.

Kath Inglis jewelled bangle

 Raised in Darwin, Kath Inglis moved to Adelaide to study contemporary jewellery. After graduating from the South Australian School of Art in 2000, Inglis continued to develop her practice by working from a number of studios, including the renowned Gray Street Workshop and, as a Design Associate, at JamFactory Metal Design Studio.
In 2005, Inglis partnered with Naomi Schwartz, to establish soda and rhyme│jewellery design studio. A combination workshop, retail and gallery space, soda and rhyme features exhibitions of small scale objects and contemporary jewellery.
Inglis’ signature works are wearable pieces constructed from coloured and hand carved PVC. Inspired and intuitive patterns are cut into the surface of the plastic, transforming this seemingly ordinary material into something precious.
Inglis’ practice is multi-faceted and includes frequent exhibitions in national and international galleries, large scale collaborative public art projects and lecturing in jewellery at the University of South Australia.

JamFactory Contemporary Craft & Design
Collectors Space
19 Morphett Street Adelaide SA 5000
www.jamfactory.com.au

Coup de ROUGE avec Susan FRISCH

 

Since graduating in 2007, Susan FRISCH has been making limited production as well as one off exhibition pieces for a growing number of galleries and retail outlets Australia wide. Living and working amidst native bushland, it is little wonder that its influences are reflected in her work. Working predominantly with metal and glass her pieces explore its forms, textures and colours. She has exhibited both locally and nationally

 

Susan FRISCH- Flowering Gum necklace 2010 – sterling silver and red soda lime glass

 

Susan FRISCH- red pod necklace (detail)

Susan FRISCH- Flower Gum brooch 2010

 

Susan FRISCH- Flowering Gum Earrings – sterling silver and soda lime glass.

Susan FRISCH- Flowering Gum Earrings 2009 – Sterling Silver and glass.

These earrings are part of a larger body of work that was inspired by the beauty and diversity of the Australian landscape.

Susan FRISCH- Red pod brooch- 2009

Susan FRISCH- leaf brooch

Susan FRISCH-silver pod brooch

Susan FRISCH- Twigs pendant – 2008 – Sterling silver and silk cord

Susan FRISCH-seed pods pendant & brooch

Susan FRISCH- brooch & earrings

 

Decouverte : Leslie MATTHEWS – jewelry for ‘emotional & physical sensations’

Jeweller Leslie Matthews latest pieces display a distinctive use of silver that is polarised between glowing white or oxidised black through varying treatments to the metal.
Leslie Matthews is Studio Head of Jewellery and Metal at the South Australian School of Art. Leslie has been a practicing contemporary jeweller and object maker for over 20 years and has exhibited consistently, locally, nationally and internationally. The themes connected to her work include cultural dislocation and familial history, as well as an interconnecting overlay of personal narrative/story telling through memory.

Leslie Matthews is a partner of the Gray Street Workshop. She creates work that relates to the body as a vessel for ‘emotional and physical sensations’. She has exhibited extensively in Australia and overseas with recent exhibitions across the United States, Britain, the Netherlands and Japan. In 2004 Matthews was awarded the Florence Joyner Bequest from the University of South Australia and has previously been given an Award of Merit by the Royal Institute of Architects SA.

Leslie Matthews « Than oars divide the ocean, too silver for a seam  » – 2009 neckpieces

Leslie Matthews, Shadows hold their breath, 2006-08. Photo: Grant Hancock

Leslie Matthews, Shadows hold their breath, 2006 – sterling silver

Leslie Matthews, My Splendors, are Menagerie, 2006 -sterling silver blackened, silk cord - Photo: Grant Hancock

Leslie Matthews, Clasped, 2008 – sterling silver, sterling silver blackened, silk cord - Photo: Grant Hancock

Leslie Matthews  Gathering Shadows , 2008 – brooches & neckpieces - sterling silver, sterling silver blackened,shell, bone

COUP de COEUR : Renee UGAZIO

Renee Ugazio

Buff serie

Renee Ugazio- « Buff » serie

2009-2011 – Spin serie

« At the core of this work is the relationship between body and object, the process of wearing and the lifespan of the object.  In the case of Spin, the appropriation of elements of the polishing wheel introduces another layer, that of informed knowledge and the role that plays in understanding an art object.  To fully understand these works one has to understand the origin of the object and how it is used by the craftsperson.
When one uses a polishing wheel it spins and wears away at the surface of the object and in wearing away it takes with it the surface of that object.  By using the wheel in jewellery the wheel functions in the same way, only the wearer is both object and wearer.  On the inside the wheel wears against the wearer, on the outside it bears witness to the environment impressing itself on the artefact.  The wearing and the change in the artefact through this is a process of creation in itself. Thus wearer becomes object, wearer and artist.
 The organic life cycle of the object is entirely dependant on the degree of wear.  This reinforces the dialogue between object and wearer, juxtaposing the unrelenting constance of human life and the entirely dependant life cycle of the artifact. »

Renee Ugazio-« Spin » serie  bracelets

Renee Ugazio- spin-yellow-chocker