Category Archives: Uncategorized

Round 1

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February

Having this test piece allowed for a great opportunity to be allowed to play around with the form, particularly in relation to the organic and fluid nature of it and towards my own style of work.DSCN1819-1024x768

 

The first step was deciding how much to add/detract/completely change the piece. This was like trying to step into a really cold swimming pool – hesitant at first but then I just needed to jump straight in.

In the end, I wanted to see how the piece from Jen would be like, if you took the repetitive curves seen in the 2D pendant and continue that into a more three dimensional form, weaving between a piece of my work.DSCN1803-1024x768

 

Allowing the curves of the piece to surround the rigidity of the square boxes.

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Additions Project

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I have just taken part in an exciting project called ‘Additions’ organised by the lovely Jenny Laidlow. I am in one of many groups, each group comprises of different Jewellers that send one piece, a test piece, to the next jeweller in their group. This piece is given to that jeweller so that they can add, deconstruct, and completely change it. They will add their style to the pieces as they go, while another jeweller does the same to theirs, and so on.

I am one in a group of three, so each piece will have two others alter it, who are not the original creator. Each jeweller has one month on the piece before it gets moved on to the next. This will happen till the original test piece you send comes back to you, in whatever format that may be. You can then choose to keep this piece as it is or change it again until it is to your liking.

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The aim of this is to give new life and inspire ideas to a piece, which really ends up as a collaboration piece with other artists.

 

Being part of this is an exciting opportunity, to have others designer’s ideas input into a piece of my work will be a real insight. The piece I have sent is one of those pieces that has been made and remade and still doesn’t work. I have been staring at it in the studio and as soon as this project came up it was clear that it was the piece to send.

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Test Piece in different composition before being sent

 

SENSEability

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I am very happy to announce I will be exhibiting, alongside some other fantastic artist, in Munich, in March as part of SENSEability curated by Drew Markou and Rachel Darbourne, here is a sneak peek of some of the work, hopefully we will see you there.KirstyPearsonImage.5_72

 

To check out the full listing and any other information check out……

https://www.facebook.com/SENSEability2015?ref=br_tfConfrontation6-72dpi-624x415

 

It will run from Thursday 12th March at 10am with a breakfast private view. Closing on Sunday 15th at 6pm, at Studio Gabi Green, Munich, as part of Schmuck 2015.

New year…well 4 months in

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…well 4 months in

The progression of work.

It has been a hive of activity over the last year, what with my wedding, studio, hothouse and work. Every moment I have been able to sit down and write a blog post, my mind has not had anything relevant to say or perhaps, too much to say.DSC_1092-1024x680

 

After having played around with work over the last few months I have noticed an interesting progression from my MA collection to more random and smaller series, testing out old ideas and possibilities along with new ones.

However, it is only when I take a step back that I feel you are able to progress, especially if you are seemingly at an end with a piece of work, more often there is another step. My MA collection was both fun and challenging for me, but it was never the be all and end all, I see clearly now that it was only the first step on my journey within jewellery. In the sense it pushed my conceptual thinking to the limit, challenging my idea and aesthetics in my work. From that I have been able to see where my strength and weakness lye as well as what worked and what did not.

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My latest work, which has been exhibited over this last year can be seen bridge between my MA collection and myself. Exploring how I am motivated to produce work whether through design or making. Breaking pieces down and seeing the different elements.

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This work is the building up of a single form, allowing ‘the little’ to create the large.

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I am finding that I am becoming, or perhaps always was particularly interested and drawn to the process of designing and the different aspects of it within art jewellery as a whole.

 

 

Photographs from Made London 2013

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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

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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

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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.