Interlace Adornment Now Available at Platform Gallery

Earlier this year I had the pleasure of being contacted by a brand new gallery in the Blue Mountains, New South Wales. Founded by partners in crime, Kelly and JL, Platform Gallery offers beautifully crafted wares from Australian makers to a region which has previously been overrun by more traditional art forms such as painting. With a background in writing and a passion for the handmade, the pair have formed a deep understanding of both the maker and consumer. Given this enthusiasm and understanding, when they asked me to join the highly curated group of contemporary jewellers they support, I naturally jumped at the opportunity.

Platform Gallery on their very first opening night. Photograph courtesy of Georgia Blackie.

Platform Gallery on their very first opening night. Photograph courtesy of Georgia Blackie.

Gallery owners Kelly and JL. Photograph courtesy of Ona Janzen.

Gallery owners Kelly and JL. Photograph courtesy of Ona Janzen.

Nestled in the heart of Katoomba, the gallery now includes a display of my Interlace Adornment which looks great together with their art deco styled branding and clean aesthetic. As well as stocking a number of local and interstate makers, the space will be hosting a number of regular exhibitions and has also begun a series of exciting new residencies.

Interlace Adornment goodies are available in store and online through Platform Gallery. Photograph courtesy of  Perth Product Photography .

Interlace Adornment goodies are available in store and online through Platform Gallery. Photograph courtesy of Perth Product Photography.

A beautiful display of my work. Thanks guys! Photograph courtesy of Platform Gallery.

A beautiful display of my work. Thanks guys! Photograph courtesy of Platform Gallery.

Platform gallery is a space which is truly invested in their creatives and definitely worth a visit if you are visiting the Blue Mountains.

The Ritual of Tea - JamFactory

If you plan to be in Adelaide anytime before the 4th of June, I highly recommend paying JamFactory a visit. They are currently holding a diverse group of exhibitions: Resolved: Journeys in Australian Design, which delves into the design process behind the works of twelve contemporary designers, NC4 Kick out the Jams which features the boundary pushing jewellery of the eleven artists from the renowned contemporary jewellery studio, Northcity4, and The Ritual of Tea, a show about…. well… the ritual of tea! 


I was really looking forward to seeing all of the shows, however, was most impressed by the exhibition I had heard the least about; The Ritual of Tea. Displayed in the front gallery, Collect, the exhibition featured works by artists Susan Frost, Studiokyss, Sylvia Nevistic, Ulrica Trulsson, Bruce Nuske, Sophia Nuske, Alison Jackson, Ghostwares and Yoko Ozawa

Sylvia Nevistic's stunningly handmade teaspoons. I love how she has carried intricate detail from the bowl of each spoon right up to the handle. Photograph courtesy of Anna Fenech.

What impressed me most about this particular show was each artist’s unique ability to perfectly balance outstanding craftsmanship with functionality and beautiful aesthetics. It was apparent that each artist had deeply considered the act of tea making and drinking while the curator had shown just as much consideration for the placement of the works. The display was simple, elegant and the show is definitely worth a visit.

Yoko Ozawa has used a subtle combination of matte and gloss glazes in her collection of black and white stoneware. These are some of my favorite pieces out of the whole show and my photographs do not do them justice.

I had the pleasure of meeting Alison Jackson when she had an exhibition at Gray Street Workshop last year. I have always been a fan of her playful use of traditional silversmithing techniques and love how she has combined silver with white acrylic in her teapot.

Exquisitely handmade Hendecagon Tea Canisters by Kenny Yong-soo Son from StudioKyss. Kenny has constructed these canisters with machine-like precision.

Ulrica Trulsson's porcellaneous stoneware canisters are perfectly balanced and look great as a collection. Ulrica is a talented craftsperson who is highly skilled at creating beautifully proportioned forms.

NC4 Kick out the Jams and Resolved: Journeys in Australian Design close on the 9th of July, 2017, however, if you want to catch all three shows, make sure you visit before the 4th of June 2017 as The Ritual of Tea has an earlier closing date

Plastic Soup Sculptures in the Making

Exhibiting at Gray Street Workshop has definitely been a highlight of my year so far and after receiving some wonderful feedback and selling a few pieces, the show wrapped up last week. In celebration, we had an artist get together to see where the show might go next and it looks like we might take it on tour, adding new pieces to the collection, which is really exciting.

Making works for exhibition is one of my favourite pastimes as there are fewer limitations on time and money compared to production work. This means I can go nuts on detail! It is also a much more creative way of working and I feel more freedom to address concepts that I care about such as the environment.

For Solastalgia, I really wanted to use the opportunity to develop my work further. I have been making wearable Plastic Soup pieces for some time now to explore and engage people with the issue of excess plastics circulating our oceans. The response has been really positive, however, I have observed people struggling with the tiny scale of the work. Given their intimate location on the body, some people have been too shy to approach the pieces whilst others miss them altogether. In response to this, I wanted to experiment by removing the pieces from the body and increasing their size to see whether larger sculptural works would be more successful in engaging my audience.

The increase in scale I wanted to achieve meant that silver was no longer a viable material as is too soft and tricky to work with at that size. I needed to find a metal which would stay rigid and was also able to be coloured black to give the pieces that seaweedy feel. I began experimenting with mild steel which can be blackened with white vinegar, a product which is good for the environment and can be reused as a cleaning product. It sounded like a win-win to me! Working with steel was an enjoyable challenge and a welcomed variation from my regular work with precious materials.

Experimenting.... My first attempt at welding mild steel.  

To construct the sculptures, I began cutting various lengths of steel and finished each end to a blunt point which gave them a geometric feel.

Many sticks to cut = very dirty hands.

I then welded steel sticks together in pairs, intersecting them with other pairs to let the pieces take shape. I added more and more sticks until the shapes were completed then began working on steel boxes which were to contain the plastic fragments. I decided to make them using a range of different shaped and sized steel tubes and discovered a real difference in the quality of welded steel tube compared to the usual silver products I have grown accustomed to. I cut each tube to size and spent days grinding down the messy seams to give them the finer finish I required.

A whole bunch of steel tube slices fresh off the Brobo. They are really sharp and messy looking.

So many hours work to clean these guys up, but the end product was definitely worth it.

So many hours work to clean these guys up, but the end product was definitely worth it.

I then hand cut the acrylic ‘windows’ and gently filed them down to fit perfectly within the tubes.

Each piece of acrylic is covered in tape to protect the surface and numbered so that I know which box they fit into. The acrylic has to fit the inside of the boxes perfectly so that they stay in place without glue.

Many sleepless nights and an injured shoulder later, the tubes were welded in place and finally, construction was complete.

All done! Yay!

When making jewellery and sculpture, finish is as important as construction. A beautifully constructed piece can be completely ruined if it is not finished well. I wanted to avoid this by giving my sculptures an even sandblasted finish which was then blackened and waxed.

A beautifully sandblasted surface. After this stage I make sure that the sculptures are handled with cotton gloves to avoid contamination before I blacken them.

Dipping the sculptures into boiling hot vinegar. Though I thought I measured enough before I began, unfortunately this one didn't quite fit and luckily I had some spare vinegar to top it up!

With only a day to spare I prepared a variety of plastic fragments I had collected earlier, and set them in place. Phew!

My favorite part of the process is choosing the plastic fragments to go inside each box. These plastic jewels were collected at West Beach and Aldinga Beach in South Australia.

The final piece all blackened and set with plastic jewels.

The response to the sculptural pieces was encouraging and my audience were much more inclined to approach the works to have a good look around at the colourful plastic treasure they contained. Even more interesting was their response to the related jewellery I wore after seeing the sculptures. They could see the relationship between the two and It really helped to open up a dialogue about the ‘Plastic Soup’ phenomenon which was my ultimate goal.

I wore one of my brooches to the opening night of Solastalgia and it lead to some great conversations about climate change. My audience seemed to have much more of an appreciation for the tiny brooch once they had seen the sculptures.

My First International Show

Ahh, 2016; a year that was meant to be filled with making product, releasing a bridal range and approaching a few more galleries around Australia to stock my work. As is usually the case, life had other plans and I had the honour of being invited to exhibit with a group of established South Australian Jewellers at a fantastic new space, San W Gallery, which has recently opened their doors in Pudong, China. How could I say no?

San W Gallery is an absolutely stunning space with a fully equipped teaching studio, specialising in jewellery, glass and ceramics. Their passionate founder, Yiwei Wu, has worked closely with South Australian craft and design association, Guild House, to ensure that the space is a world-class facility. 1

San W Gallery in Pudong, China. Image courtesy of San W Gallery.

The exhibition, Nature, featured eleven contemporary jewellers, Julie Blyfield, Catherine Buddle, Jess Dare, Christian Hall, Kath Inglis, Sue Lorraine, Leslie Matthews, Alice Potter, Regine Schwarzer, Lauren Simeoni and myself. Each artist was invited based on their creativity, innovativeness and craftsmanship and the work showed great variety in technique and style. 2

A new Plastic Soup Brooch I made for the show at San W Gallery

The gallery had some beautiful images taken of my exhibition pieces worn by a model. Image courtesy of San W Gallery.

I am also excited to report that after the success of the show, the gallery have asked to display a collection of my work in their retail space and soon to be launched online store. While I am supplying them with some of my original Interlace styles, I will also be releasing some new asymmetrical earrings. I think I will definitely be keeping a pair of these for myself!

Thanks to Yiwei, the San W Gallery and Guildhouse for a fantastic show!

My new Asymmetrical Interlace Earrings for San W Gallery

 

(1 http://guildhouse.org.au/projects/san-w-gallerystudio, accessed 04.04.2017)

(2 http://guildhouse.org.au/projects/nature-san-w-studio-jewellery-exhibition-pudong-shanghai-28-may, accessed 04.04.17)