Round 3

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Having the last round arrive in the post I was quite excited to find that it wasn’t one piece like I was expecting, but rather two separate pieces. One was completed in the first round from Kathryn and the other, a piece from round 2, was created as a separate piece.

This made me unsure about what to do. Should I keep them separate or bring them together. I liked what one of the Artists had done by adding the silk thread, though I would never of thought of it. To be honest, at first I was put off by it, but over time it grew on me. I was also really unsure of how it was placed on a silver chain and was it an afterthought?

I now had these pieces and needed to decide whether to make both wearable or leave as objects.

Over time I decided to keep the pieces separate but make both wearable. Keeping the neckpiece as it was; there was a simplicity to it that I didn’t want to spoil.

For the second piece I wanted to put the elements found in the necklace into it, creating a brooch.

By doing this I hoped to create a piece that includes the use of thread, and as a brooch I felt it was most appropriate to use in the form of a brooch mount, encircling or encasing the boxes.

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Being able to have my piece taken and changed enabled the thread to be added to it. It was simply this change within my work through the additions project that really grew on me, and has potentially caused a reaction within my own work.

Who knows what will be next in the pipeline.

The Final Version

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Photographs from Made London 2013

Photographs from October 2013

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Exhibiting as part of the Hothouse Alumni group ‘Twenty’dscn0416-1024x768

Miche Follano dscn0417-1024x768

Jill Shaddockdscn0405-1024x768

Sarah Pasleydscn0404-1024x768

Anne Laycockdscn0399-1024x768

Annabelle Lucilla Hastingsdscn0400-1024x768

  Rosie May Treasure Makerdscn0398-1024x768

Greig Aldermandscn04011-768x1024

Kirsty Pearsondscn0402

Fay Jenkinsondscn04121-768x1024

Thomas Appletondscn04141-768x1024

Lulu & Lucasdscn04151-768x1024

  Keith Varneydscn0428-768x1024

Agnes Jonesdscn0429-768x1024

Emma Calvertdscn04031-768x1024

Sophie Stampdscn04081-768x1024

Annabel Williamsdscn04091-768x1024

Jane Cairnsdscn04101-768x1024

  Suzanne Rogersdscn0396-1024x768

A question of Background

Quality of Photographs,

I have been playin around with the photographs I have been taking seeing the stark white as not allowing the three-deminsional nature of the jewellery pieces to show through, for many this was appropiate and the crude and impact of contrast between the background and pieces seem to reflect the pieces themselves and the drawings. however i wonder if this does actually show the piece as a individual off to its best.

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The problem with producing a photograph any white that the lightest shown above is the loss of element of the intrigue wire. For my chunkier metal pieces this is not an issue but for the thinness of the wire, does it play to have less of that stark contrast, allowing for subtle shadows to give depth to a piece.

A good piece of advice was to always photograph jewellery from a low angle on a white acrylic, with a light behind or underneath this.

Playing around with photoshop, seeing how that can affect the background.kirsty_pearson_blocks_2013-2kirsty_pearson_blocks_2013-22

 

If anyone has any tips or comment it would greatly be appreciated.

 

 

Studio Window

What i wanted to say when answering the brief for a Hothouse Peer networking session:

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Looking out the window

When looking out my studio window, most of what I see is a rather old run-down building two floors up, I am level with it’s angular roof, the same singular shape of tile repeated in a rather less than uniform nature. The wall is more consistent apart from that missing brick.

The sounds I want to hear and the sounds I don’t – Some days are a little different to others. One day I may only want silence (usually when I am writing). The unwanted steps of others or the key on a laptop often, still break these. These sounds always appear heightened or louder in my eerie silence I try to create to try to gain some calm. Yet silence can never be just that in an urban environment.

Other days, particularly when I am making, there is a need for music, whether it is the radio or a particular band (to sing along too). My hands are doing the thinking that leaves my head to enjoy it, concentration is second nature at this time. There is no need to create the space for it.

Whether it is silence I need or not, the choice is about understanding how I will or want to work on any given day, knowing for me that one days temperament is not always the same as the next.

 

Raw Landscape

Having a lot of scrap pieces of metal left over from the course of last year, it seemed such a waste not to see what could be done with them. I started to think about the plain sheet metal I was using to make the box forms and began wondering how it would affect the overall compositions if I were to create a sheet from all the offcuts I had gathered. I wanted to see how this could build and give texture to my simple box form.

This started a body of exploration that saw the link between many of the materials I have been using and wanted to use.

From the experiments I have been doing, it is interesting to look back and see how much one is affected by the environment. This is one piece I am starting to play around with,

Then later I noticed the similarities with a particular vent that I have walked past everytime I went to the studio. It was only after I had made the piece did I see the influences of the vent. Now consciously noticing the vent.