EXPO ‘POST’ – Fingers, Auckland Central (NZ) – 25 Juin-6 Juill. 2012

Rachel BELL : ‘POST’

« In 2011 I completed a Masters of Design. This current body of work is a continuing exploration of the palette and repertoire of materials developed during that period of study »

In ‘Post’ I am utilising materials that I associate with my rural background (including rabbit, knitting needles, linen, gorse and willow), considering notions of home and place while investigating further the combination of natural and traditionally precious materials in a jewellery format. »
Rachel Bell 2012

 

 

 

FINGERS
2 Kitchener St
Auckland, NZ 1010
tel [phone]
[e-mail]
More information: http://www.fingers.co.nz

EXPO ‘RENEE BEVAN New Work’ – The National, Christchurch (New Zealand) – 18 Mai-16 Juin 2012

NEW WORK: RENEE BEVAN
“Sometimes what we wear is not to do with its aesthetic or monetary, material value. Sometimes the meaning goes deeper.  »

« New Work : Renee Bevan«   is Bevan’s first significant solo exhibition and features both photography and jewellery objects.
It is accompanied by a 24 page catalogue, with essay by curator and writer Karl Chitham: “These new works operate undercover, a set of tools and cues ready to aid us in an exploration of the aspects of life that we often fail to notice. The unexpected love token, a set of eyes watching from behind a picture, the remnants of unspoken thoughts or the subverted reworking of a childhood game. These devices help to highlight or freeze-frame a moment in time. The new works suggest the wonder of discovery and an investigation of the minutiae of experiences we are surrounded by every day.”

« There is a pattern that slowly declares itself through the collective results of Bevan’s investigations. It is like a stream of consciousness that requires the odd splicing together of scenes in order to maintain a coherency for those outside of her head. It is a way of viewing the world that has a unique and sometimes childlike sense of uncomplicated poeticism. There is an honesty about these new works. They are simple gestures that respond to Bevan’s innermost sensibilities as opposed to societal or financial pressures:
“Sometimes what we wear is not to do with its aesthetic or monetary, material value – Sometimes the meaning goes deeper – I want to explore this in my work – make things that… have a deeper value” (Renee Bevan). »

RENEE BEVAN « Lighthearted »- silver, electroformed balloon, spraypaint

RENEE BEVAN « Hold That Thought » Brooch – gum, silver, spraypaint, stless steel wire

RENEE BEVAN « Colouring In » Necklace- brass, spraypaint, marker, cord

RENEE BEVAN « Parting Breath », 2012 -silver, electroformed balloon, spraypaint

RENEE BEVAN « Risking It All » Brooch – Instant Kiwi, silver, spraypaint, steel wire

RENEE BEVAN Stream of Thoughts; a whole years work – Photo: Caryline Boreham

THE NATIONAL

212 Madras St
Christchurch 8011 – New Zealand
[phone]
[e-mail] information: http://thenational.co.nz

EXPO ‘BON BONS’ – AVID Gallery, Wellington (New Zealand) – 14-28 Avril 2012

« Bon Bons » New Jewellery by Tatjana Panyoczki

« Besides being an accomplished jeweller, Tatjana Panyoczki is an avid candlemaker. Homemade candles are used by her and her family and given away as gifts. Panyoczki saves all of the dripped remnants of her tapers and asks others to do the same. As the globules of wax are returned she separates and stores them according to colour. When enough wax is collected, Panyoczki melts the recycled bits down and like an acient alchemist, mixes wax to form new orbs of new and wonderful hues. She dips the pompoms into the parrafin giving, as she describes, « the two components a new life and structure, which transforms the wax into a less fragile state and preserves the pompoms ». This slow creation, destruction, gleaning, sorting and reconstructing seems to be a very satisfying way to work and live. « -  Kristin D’Agostino

Tatjana Panyoczki « Fizzies » necklace -Waxed Pompoms, Stainless Steel, Stg Silver, 2012

Tatjana Panyoczki – Necklace « Liquorice All Sorts » – Waxed Pompoms, Stainless Steel, Stg Silver, 2012

Tatjana Panyoczki « Gobstoppers »necklace – Waxed Pompoms, Stainless Steel, Stg Silver, 2012

Tatjana Panyoczki is one of AVID’s foremost innovative jewellers.
Born in Zurich and trained in Lausanne and Geneva, she first worked in film and theatre special effects in the UK and Europe, and her obvious interest in drama is evident in her jewellery.
She and her husband (painter Peter Panyoczki) moved to New Zealand in 1993, and Tatjana studied 3D Design at Auckland Unitec, majoring in jewellery.
Tatjana’s jewellery is widely sought after in New Zealand, Australia and in Europe.

 

AVID Gallery

http://www.avidgallery.com

48 Victoria Street,

Wellington, New Zealand

Ph: [phone]
Fax: [phone]

EXPO ‘Cluster’ – The Dowse, Lower Hutt (New Zealand) – 11 Fevr.-13 Mai 2012

Cluster presents work by ten contemporary New Zealand jewellers collected by The Dowse over the last ten years.

Lisa Walker, Karl Fritsch, Kirsten Haydon, Joanna Campbell, Jacqui Chan, Anna Wallis, Lynn Kelly, Jason Hall, Ann Visser Cox and Pauline Bern use a diverse range of materials as they challenge traditional notions of body adornment. The exhibition showcases the evolution of contemporary jewellery practice during that past decade and presents a wide range of object making. Unbounded by the traditions of jewellery and its conventional association with precious materials, wearability and the relationship to the body, these artists forge new directions in their work.

Karl Fritsch, Ring, 2011. Collection of The Dowse Art Museum

  Lisa Walker – wool toy necklace

 

 

 

 

The Dowse Art Museum
45 Laings Road
5040 – Lower Hutt
New Zealand
Telephone: [phone] F 04 569 5877
website: www.dowse.org.nz
mail: [e-mail]

JEMposium – Wellington, New Zealand – 10-13 Fevr. 2012

JEMposium : Jewellery or What

International Jewellery Symposium: 10 – 13 February 2012

JEMposium brings together contemporary jewellers, collectors, curators, critics, and jewellery enthusiasts from New Zealand and abroad to discuss and celebrate the art of jewellery.

Keynote speakers : Ted Noten (NL); Manon van Kouswijk (NL/AUS); Karl Fritsch (FRG/NZ); Fabrizio Tridenti (IT); Liesbeth den Besten (NL)

Why JEMposium ?

Contemporary jewellery in New Zealand has a history of hosting significant international experts to run workshops and give presentations at conferences. Such occasions generate a ripple of inspiration that enriches the local jewellery community, extending to the makers and stimulating their practice.
JEMposium builds on this tradition, with a calibre of artists and experts that marks the event as the most far-reaching yet.The symposium is a unique opportunity for international authorities on jewellery to acquire exposure to New Zealand practices, and for local practitioners to gain insights into global trends and movements.

What’s happening? Day-by-day overview:

Friday 10 Feb, afternoon into evening: Events kick off with a Premiere Opening, where the internationally renowned keynote speakers will deliver illustrated presentations of key aspects of their practice. This introductory session gives a unique snapshot of the international contemporary jewellery scene and the context for the coming days is defined by the presentations: engaging not only the jewellery world but appealing to a broader visual arts audience. Guest tickets are available, or you can register to attend only this event.

Saturday 11 & Sunday 12 Feb: Two full days of themed presentations, panel-led discussions and PechaKucha 20×20 presentations, chaired by the keynote speakers and other guest experts.

Monday 13 Feb: Jewellery practitioners can apply to attend this Masterclass day, where they bring current work and rotate in small groups through feedback sessions with each of the visiting artists. Numbers are limited; see the Registration page for details.

http://www.jemposium.co.nz/
[e-mail]

 

JEMposium
Whitireia NZ Performance Centre
25 Vivian St
6011 – Wellington
New Zealand
Telephone: [phone]

Decouverte : Mia STRAKA

Mia Straka graduated from UNITEC design school in Auckland in 2001, with a Bachelor of 3d design – Jewellery taught by acclaimed jeweller Pauline Bern.
She then lived and worked making jewellery in London for two years, before moving to Zug, Switzerland, to develop her own work. She worked towards exhibition jewellery in the atelier of Swiss jewellery Brigitte Moser, and while in Switzerland took part in exhibitions and displayed work in galleries in Biel, Switzerland and London.
Since returning home to New Zealand in 2005, Mia has been setting up her workshop and jewellery practice. Her workspace is in a shared workshop in central Auckland. 

Most pieces from Mia Straka are structures with twisted metal. Lines take on another sense and acquire rhythm. She took part in « Group Show 2009« , a group exhibition at Fingers. Quoil and Fingers: catalogue of the exhibition « Radiate » (« Mar de color rosa« )

« I love the process of translating ideas in design and then constructing them. Ideas and forms grow during the making process and often the piece evolves into something different from its original design.
The past few years I have been focussing on ways of working with metals, joining elements to create jewellery to express ideas and broadening media to include considering non-precious materials. I hope that the owners of my jewellery feel the spirit and integrity that is my intention« Mia Straka

Mia Straka - Cross Necklace – oxidised sterling silver, embroidery thread – 2009

Mia Straka - Weave Brooch  – sterling silver, red cord – 2009

Mia Straka - Glow Necklace- sterling silver, red cord – 2009

Mia Straka - ‘Chenier’ Neckpiece on red silk chain – PVC, silk cord, nylon thread- From 2011 exhibition ‘Model/Jewellery’

Mia Straka Superstructures – Three Baskets, Necklace, oxidised silver

Mia Straka Superstructures – Time Traveller, Necklace, oxidised silver, 24ct gold leaf

 

HOST a BROOCH – an Urban jewellery project by Jacqui CHAN – Christchurch (NZ) – 26 Aout-1er Oct. 2011

 HOST a BROOCH – an Urban jewellery project by Jacqui CHAN

HOST A BROOCH takes jewellery to the streets of Christchurch, inviting the public to (re)connect with the city through an urban jewellery adventure.

HOST A BROOCH is the concept of Jacqui Chan, and is presented by Christchurch contemporary jewellery gallery, The National.

HOST a BROOCH is a jewellery exhibition with a twist. The project transforms urban debris into wearable artworks and explores how these work in the world. The public are invited to ‘host’ a brooch on an excursion through the city to see how it activates connections with their surroundings. 
The Host A Brooch ‘depot’ is located in a converted shipping container. Operating like a bike-sharing system, the public are invited to ‘host a brooch’ on an urban adventure. Just as a bicycle transforms our experience of a city – producing new sensory experiences, routes and encounters – jewellery also alters how we encounter a city.
Walking around the city, the body becomes the vehicle for a mobile intervention. The brooches claim a prominent position on the body, demanding attention and provoking conversation. As remnants of the city, they also draw attention to overlooked aspects of one’s surroundings, evoking material histories and connecting us with the material ecology of the city. 
Taking part, the goal is to wander the streets aimlessly. See where the brooch takes you. See what happens  - like a Situationist psycho-geography. On your adventures, take photos showing how the brooch connects you to your surroundings. 
Over the six weekends, each brooch is worn by multiple people, resulting in a myriad of different experiences. Wearers are asked to document their experiences with photos and notes. These accumulate in the exhibition, becoming a cartography of these jewellery-led adventures.
Host A Brooch is one of many projects that are currently exploring ways of reinvigorating Christchurch city through the arts. Although architectural and infrastructural change will take time, the arts can respond more immediately to reinject life into the city.
A catalogue will be produced to document the project.
Contact us ([e-mail]) to request a copy.

LOVE this idea !!

 

THE NATIONAL – contemporary jewellery Gallery
Area 17, The Red Zone, Christchurch, New Zealand 8142
64 021 0430533
http://www.thenational.co.nz
www.thenationalnz.blogspot.com

 

 

 

EXPO ‘Karl Fritsch: Scenes from the Munich Diamond Disaster’ – Hirschfeld Gallery, Wellington (NZ) – 26Nov. 2010-16 janv. 2011

 Karl Fritsch: Scenes from the Munich Diamond Disaster

An installation by German jeweller Karl Fritsch, where we encounter the exquisite rings in the midst of a ‘scene’ created by the artist. Fritsch is widely known for his brilliantly irreverent handling of precious materials; here his craftsmanship is evident both in the minute detail of the jewellery, and in the curious spatial arrangement of the exhibition and its furniture. This is not how you expect to see precious objects displayed; it’s like meeting jewellery afterhours, off-duty.
Karl likes to treat his jewellery like plasticine. His pieces remain unfinished until they are worn. He endeavours to expand the idea of what jewellery might be, throwing off kilter conventional ideas about value, wearablity, and what is beautiful. Breaking most of the rules of goldsmithing—marrying precious with cheap, making new pieces from discarded jewellery, gluing uncut gemstones together, and fusing kitchen appliances with exquisite rings—Fritsch’s work declares war on the commonplace.
This exhibition shows an extraordinary artist at work on both micro and macroscopic levels: in the minute rings, and with the room at large. These are gems that refuse to be just beautiful; they jostle with real life and what it means to be precious, to be worn and to be loved. They create a scene, and revel in it.

The spectacularly titled exhibition Scenes from the Munich Diamond Disaster (26 November 2010–16 January 2011) will present hundreds of Fritsch’s hand-crafted rings, selected from across a fifteen year period of the artist’s practice.
These rings are constructed from a startling array of precious metals and gemstones—gold, rubies, sapphires, silver, diamonds and emeralds—which are precariously piled on top of one another, pressed into roughly formed settings, pierced, unpolished, oxidised, or inserted into the eyes of small skulls.
Fritsch has written, “At some point I would like to use gold in the same way as plasticine”. This intention is evident in Scenes from the Munich Diamond Disaster, which demonstrates Fritsch’s irreverent use of costly materials. In his work jewels are often stabbed through the centre by a nail, or a piece of gold is paired with common iron or stone.
As inventive as the works themselves is the ‘scene’ that Fritsch has created within the Hirschfeld Gallery. His rings are presented in colourful plasticine moulds inside sleek display cases. The vitrines themselves are propped on raw timber chocks, suggesting the appearance of a construction site or a gallery space during installation. Unlike the austere surfaces on which jewellery is usually displayed, here Fritsch’s rings are deliberately staged in a provisional, apparently haphazard environment.
Karl Fritsch (b.1963 in Sonthofen, Germany) studied at the Goldsmiths’ College in Pforzheim and at the Academy of Fine Arts in Munich. He was the recipient of the Herbert Hoffman Prize from the International Craftsmen Trade Fair in Munich and the Most Promising Award for Applied Art from the City of Munich. Fritsch’s work is included in several important European museums such as the Stedelijk Museum in Amsterdam and the Museum für Kunst und Gewerbe (Museum of Art and Crafts) in Hamburg. He now lives in Island Bay, Wellington and is represented by Hamish McKay Gallery.

 

 

Hirschfeld Gallery
101 wakefield st
- Wellington
New Zealand
Tel: [phone]
website: citygallery.org.nz
mail: [e-mail]

EXPO ‘TOUCH. PAUSE. ENGAGE.’ – Gaffa Gallery, Sydey (AU) – 21 Oct.- Nov. 2010

TOUCH. PAUSE. ENGAGE.

Contemporary Jewellery from New Zealand

 

Touch, Pause, Engage is an introductory snapshot of contemporary NZ jewellery for the Australian community. This innovative jewellery showcase is designed to reset the trans-Tasman rivalry between our rugby-loving brothers and sisters.
Opening night, October 21st will also mark the release of an accompanying publication.
Touch, Pause, Engage, invites a diverse team of fifteen NZ jewellers to submit inventive and inspired works. Although many of the makers’ practices focus on different issues and are expressed in diverse forms, the side is fit and game ready. The roster is comprised of talented individuals with different skills and strengths who make a target of pushing the experimental aspects of their jewellery practice. The captains look forward to an exciting match. Who wants it?

First fifteen:
Rachel Bell, Renee Bevan, Nadene Carr, Jacqui Chan, Kristin d’Agostino, Cath Dearsley, Gillian Deery, Ilse-Marie Erl, Sharon Fitness, Kristin Toller, Tatjana Panyoczki, Sunni Gibson, Lynsay Raine , Raewyn Walsh & Selina Woulfe

Rachel Bell- Body – « Recognising the need to acknowle the body as a site for these works. »

Kristin d’Agostino – jewellery on the brink of a relationship (photo by Jessica Hill)

Cath Dearsley felt brooch

Raewyn Walsh

Sharon Fitness – silicone brooch

Lynsay Raine – Opticaliant Brooch – Brass, polymer clay, found lense 

Tatjana Panyoczki - « jam session » from the series sincere – neck piece 2010, wax, pom poms, stg

Jacqui Chan- Lolly tin brooch, 2007

Selina Woulfe- Experiential Jewellery lll

Sunni Elizabeth Gibson- corsage – back view – 2010, Resin, Stg silver, synthetic leaves

 

Renee Bevan – Large puffy rose brooch worn by Bill Riley

 

* Kristin d’Agostino blog
* « Broach of the month club » : another Kristin d’Agostino blog !
* « Broach of the month club 2010″
* Rachel Bell blog

About NEW-ZEALAND JEWELRY : visit « FINGERS » web site/gallery !

Gaffa Gallery
281 Clarence Street,
Sydney, NSW 2000,
([phone]

COUP de … ROUGE pour Kate Barton !

« I am inspired by structures, building plans, diagrams, underground pipes and wires, sparkling gems, Morse code, semiotics, secrets and machines.
Working from home in Waitakere City I use low tech methods to build up geometric structures that remain aesthetically fragile; the haphazard placement of prism shapes along a chain, flickering holographic boxes, and sliver constructions with a hundred slightly different angles glinting.  » (Kate Barton, New Zealand)

3D Plan for ‘Oh, It’s Just a Pattern’ – Colour pencil on graph paper, wire, 2006

New Structure Brooch – Oxidised stg, 9ct Y gold, wood, paint, 2009

About the New Structure Brooch Series : « The painted wooden forms made from model making matchsticks play at construction and take their inspiration from some of the largest structures in our self made environments. Made from simple modular parts using low tech methods the oxidised silver wire references building plans pulled into 3D. These miniature structures lay their foundations in warm winter coats claiming the body as a new landscape.« 

New Structure Brooch – oxidised stg, 9ct Y gold, wood, glue, paint, 2009

‘Something Else’ – Morse encoded necklace, wood, paint, glass beads, electrical wire, paper, nylon monofilament, 2006

‘Oh, It’s Just a Pattern’ Morse encoded neckpiece – glass beads, monofiliament, stg, 2006

« Morse code has  been given a tangible three dimensional form. ‘Oh, It’s Just a Pattern’ is the literal translation of what has been encoded into the patterned structure of this neck piece. The reading of its self-referential name creates a conversational game that dissects the material nature of language. -2006 Unitec 4th Year Bachelor of Design  »

Stick Stack Brooch back – wood, glue, paint, stg, 2006

… and front – Stick Stack Brooch – wood, glue, paint, stg, 2006

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