New year…well 4 months in

…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

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.