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.
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.
My latest work will be exhibiting this summer as part of ‘White Horse in a Green Meadow’ at Putti Gallery, Riga, Latvia.
If you are in the neighborhood check it out, exhibiting amongst some other great artist.
Opens 22nd June.
Continuing on from work shown as part of the SENSEability exhibition which is exhibiting in Vienna this summer. This work explore the relationship of the soft elements or cushions that are used to protect, seeing how a piece works with these as my main focus in a composition.
My work is usually designed by allowing a conversation between concept, material and abstract expression, which usually comes in the form of drawings. So whichever I start with, the creative process comes from going back and forth between them all.
To be given a piece from another jewellers through the Addition Project is an interesting way of starting. The pieces that are given are not in your style and ability, and can be at very different levels of finish, ranging from a complete test piece to a test sample. Each piece may use ideas and materials you have never thought of using in a way that seems almost alien. And now it is in your hands and you have a decision to make about the next step you’re going to take. Whether it is a mixing their and my style or continuing down their almost alien path and create something new, or to include both, making a hybrid creation.
With the piece of work in the first round I manipulated and incorporated some of my own stainless steel elements creating something quite different from the original. The second round took me away from my own style of work, and challenged me to look at how to manipulate it without incorporating my own work, it was a piece that seemed like it didn’t want to have any wire box frames added.
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.
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.
Allowing the curves of the piece to surround the rigidity of the square boxes.
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.
To check out the full listing and any other information check out……
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.
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.
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.
This work is the building up of a single form, allowing ‘the little’ to create the large.
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.
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.
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.
If anyone has any tips or comment it would greatly be appreciated.
What i wanted to say when answering the brief for a Hothouse Peer networking session:
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.