Professional Documents
Culture Documents
issue #24
September 2015
editorial
1.
2.
The beads were a wonderful jewellery moment at the conference and I enjoyed the many inventive
ways attendees used their personal bead kits for adornment. The conference was fantastically
organised and well paced with engaging presentations. It was catered with good food provided and
the only down side being the hall was a bit chilly, not helped by it being the coldest weekend in
Sydney for 15 years. By day two everyone was dressed in down jackets and big scarves.
3.
4.
On Saturday night the conference party and pin swap took place at Danks Street, As always the
swapping of pins created much excitement and got people talking, the food was fabulous and I ate
far too much. I left thinking I might need to revert to a pre 1960s underwear philosophy. I arrived
back in Auckland just in time for the excitement of Wunderweek with lots of great popup shows. All
of which really inspired me to hit the bench May the jewelleryness continue.
Mary Curtis is an Auckland based jeweller and a Senior Lecturer at Manukau Institute of Technology
5.
RAW
jeweller and teacher Andrea Daly checks what was cooking during Wunderweek
The arrival of Wunderruma to the Auckland Art Gallery sparked that wonderful anticipatory feeling
of event. Those moments that, for us that are interested, promise the combination of thoughtful
professional engagement along with the hilarity involved in catching up with those we have not
seen for a while or in some cases just since last week. A party moment, a moment of the visual and
the cerebral, a momentary submergence of ourselves into what we find visually and intellectually
exciting.
The danger of any anticipation of course is that the promise is not fulfilled, that the expected
stimulation is only ho hum or engaging but seen before. We have the excitement of the moment but
no jewellery goody bag to take away with us, nothing that survives beyond the event. On the weekend
of the opening of Wunderrma and ongoing during its showing a number of events were/have been
organised. These events are a mixture of intent. Intent to supplement, extend and converse with
Wunderrma and also with the idea of jewellery now in New Zealand.
R.A.W was a curated exhibition by Jo Mears. Participants were asked to submit work that reacted to
the Wunderrma exhibition whether this was the actual work in the show or its curatorial signature.
Embedded in its title however where a number of other possible readings. The work in the show
was to be raw/energised. It did not need to be resolved but rather exploratory. Also it encapsulated
the New Zealand myth of the number 8 wire, use what is at hand with the corollary of creating a
raw response and a raw exhibition. Firstly I am caught by the title R.A.W. Is it a prophetic sign?
Does reactions after Wunderrma imply a central position for the Wunderrma exhibition within
the future landscape of New Zealand contemporary jewellery? Many felt that Bone Stone Shell
continued to loom over jewellery making for many years with makers engaging with these ideas
or trying to ignore them. Will Wunderrma loom over future generations of jewellery practioners?
Does R.A.W imply it is a seminal exhibition?
Embedded in the idea of R.A.W is the possibility for newness, an oblique way of looking at something,
an energy. And here is of course the trap in the exhibition. We all know from experience that the
transforming of the wonderful raw sketch into the finished object is fraught. We overwork or
underwork, we cleanup too much, we simply mis-read where to stop. The seductive marquette does
not always have a future as a finished work. What do we gain from a public viewing of the beginning
exploration? The second reading of raw, as an engagement with our culturally inherited talent for
original construction and material use developed from the make do imperative of our colonising
history, could cause the rise of a dubious eyebrow. To engage with this myth is truly demanding of
any maker. Only a few works in R.A.W abandoned the seduction of material for the dominance of an
idea. The exploration and celebration of materials and their possible combinations and treatments
was a visually dominant property of the works in the exhibition. This raw enjoyment of materiality
seems to coincide and have grown with our ability to experience specific European aesthetics and
works. It is not too great a leap to wonder if this material investigation has in fact emerged from our
number 8 wire approach or some other influence.
6.
Sharon Fitness
The exhibition seemed to welcome rather than scare. And of course the exhibition was not raw.
There was a definite visual but also meaning full richness emerging. The works may have been full
of energy and in some cases may never make the leap to successful finished object but curatorial
decisions controlled the excesses and laid an order over that which can easily descend into mayhem. There were no obvious cabinets or a regularity of plinths in use but the decisions of placement and hanging overlaid the show with a sense of familiarity. Displaying 32 different artists
works, who areall in some way experimenting, in a format that referenced, however loosely, familiar exhibition display practices I believe held the show together.RAW exhibition was a medley of
a number of artists. It was an exciting event to view. It was well structured and it sent me home
with a goody bag of ideas and approaches to unpack and consider in the light of my own practice.
It was a good party.
Becky Bliss
Raewyn Walsh
7.
Deborah Crowe
Vanessa Arthur
Kristin DAgostino
Mandy Flood
Lisa Furno
Nik Hanton
Zoe Brand
8.
Rohan
Wealleans
Paint
Necklace and Silver Scream
2009 For the way the spiral
of Rohans work touches on
adornment so often and so
well.
Maker
unknown:
Shell
Currency Band
AND
Owen Mapp Spirit Guardian
Bracelet 1978 (pictured)
For showing how some pieces
are timeless and speak to
each other across ages.
Special mention to the magnificent curatorial pairing (of a wall to themselves); the Sharon Fitness
How to Make a Snow Brooch 2013 neckpiece and the Louis John Steele Portrait of Mrs John Eaden
1905, Fabulous. .And boy did I love Peter Maddens mad painted flies, Flies Adjusted 2005
10.
Marie Erl
Rohan Wealleans
Irking finding (if he only would
have asked a jeweller to make it
for him! It would have made the
piece)
Cath Dearsley
toast, hay, spinach, parsley,
celery, apple, mint, and thyme
2013
Formally and conceptually
intriguing
11.
At only 10mm across it is possibly the smallest brooch in the contemporary jewellery lexicon. But
it packs quite a punch not only due its pure whiteness and familar W.F stamped on the back. Its
the reach that makes it ubiquitous. Look anywhere in the world and you will see it alight on lapels,
jumpers, and even beanies if you look to the man himself whom made it. It is instantly recognisable
and represents one example of jewellery embraced by men - no mean feat. And it is accessible;
a little piece of jewellery most of us can afford and thus become badge wearing members of the
Warwick Freeman club. There are many personal stories attached to this brooch - American jeweller
Arthur Hash calls it his good luck charm - but I have never known its origins. Would knowledge of
his intentions change how I saw the work? Or, like many others, has my own reading mutated its
life cycle? I asked Warwick Freeman about his tale of the white butterfly and here is what he said:
White Butterfly 1999 - painted silver
Since I first made it in 1999 the White Butterfly has had a number of different lives.
The first time I used it was in exhibitions at Jewelerswerk in Washington and Galerie Ra in
Amsterdam in 1999. This from the accompanying talk I gave around those exhibitions:
Free Gift
Free Gift is the title of my currentexhibition. Whenisnta gift free?
The subtitle of my talk is - the responsibilityof influence - the responsibility of influence and the possibility
oforiginality is the complete quotation - or rather its my paraphrasing ofsomeones statement - you
see I can no longerproperly attribute it - and evenwonder if my use of it still contains their original
meaning- or perhaps I have changed it so much that itis now a statement original to me- is it now
mine?
I may not always know the answer to that but Ido care enough to ask the question.
How can a gift not be free? - when you receiveit from a mail order company.
Just as in the mail-order catalogue with everypurchase from the exhibition the customer will receive this
butterflybrooch asa free gift
Then later that year in my exhibition Flutter at Bowen Galleries, Wellington the White Butterfly
has a different role. This statement from my exhibition catalogue:
Dangerously Cute
A White Butterfly reduced to tiny emblematic form.
In a book on New Zealand natural history the entry on the White Butterfly started with the words
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15.
house visit
Raewyn and Sharon visit the home of Masterworks Gallery director Christine Hedlund - one of the
collectors featured in number 2 of the 3 planned Wundercollector events at Anna Miles Gallery and
Masterworks (and to play with her 9 week old Golden Retriever).
Raewyn: Wowzers is this the collection in here?
Christine: Well yes, I havent actually unpacked
it from the Wunder-collectors evening. I have got
a draw unit upstairs but it seems to consistently
break out of there.
Raewyn: Thats a big issue isnt it; where do you
keep it all, what do you do with it?
Christine: Al has got various things over time but
sigh it is a problem.
Raewyn: You can forget what you have got too.
Christine: Thats a problem. I recently got some
of those plastic bags so at least I could see things.
If they are always wrapped in tissue you forget.
Its all very well having these units and things
but... they dont really hold much. Al has been
talking about getting those old plan drawers
but I find that things move around when you
are opening and shutting, things just dont sit
neatly, they move around. But if you are wearing
them everyday, it is nicer if you have got them
displayed...
Raewyn and Christine continue talking about
display methods while Sharon defends her shoes and
trouser bottoms from Lucrezia the most gorgeous
puppy who proves to be difficult to photograph.
Raewyn starts to unpack Christines collection onto
the table.
Raewyn: Whos this?
Christine: Trevor Byron. I discovered it and wore
it the other day. I had forgotten about it. My
record keeping did start up a while ago and it has fallen by the weighside a bit. It is not as good as
Jill Smiths whose is encyclopaedic. Did you see that at Philips talk?
16.
Sharon: Yeah, she has it all well documented in folders with photographs.
Christine: Im not sure what her collection is... is it an older collection?
Sharon: Yeah, she started in the early days of Fingers. She still buys things, but most of what we saw
in the talk was from the 80s/90s. In our view it might look like an older collection, slightly dated I
dont know..
Christine: Do you not sometimes feel though that any collection is a snapshot. You do keep
collecting but I guess that is whats so good about jewellery it doesnt have to be a snapshot
because it doesnt take up a lot of space, you can keep on it is not limited, not finite.
Raewyn: Do you think jewellery dates?
Christine: In some ways it does, and your tastes change too. I think in some ways... its not fashion
but... things change within contemporary jewellery. I just wonder if... well I have just sort of
gravitated back towards metal. I am not quite sure why.
Raewyn: Well maybe if you look at something like Gillian and Vanessa, they are doing interesting
things with metal.
Raewyn: I really liked the Garth collection because it wasnt just a top picks collection. He had
things he just loved.
Raewyn: Have you ever got rid of anything you have bought?
Christine: I have never disliked anything. I have bought things to give to the girls but I have never
gotten rid of anything.
Sharon: Dont do a wee there! Lucrezia politely makes a puddle just off the side of the assigned piece
of newspaper.
17.
benchview
Vanessa Arthur send us the view from her bench in the Hawkes Bay
My workshop set up is an on going process. Organising & reorganising, as I discover which works
best with my making process. The space is a sliver of a room, wedged between two rooms, in
our new 101 year old house in the sunny Hawkes Bay. I share the workshop with my Boarder
Collie Maanu and street smart tabby Murray. Theyre pretty good workmates, but terrible at making
coffee. Recently Ive been trying to implement a more streamlined system, starting with a physical
spring clean. Ripping out the blue carpet nightmare that made me grumpy (and my chair glide less
easily)passing on materials that no longer spark my interest and organising a physical method to
the madness, with the intention of it translating into a more effective making system. Workspace
streamlining has also been a topic of discussion with my Handshake mentor, David Neale.
Workshop tip:
Order is peace.
The flow of energy through a system acts to organise that system.
Im not talking about Feng Shui, by energy I mean your effective activity.
I think ones workshop is part of ones oeuvre. -David
Next on the list, find a spot for the dog, so he doesnt get an accidental mandrel to the noggin...and
buff out the fish and chip shop pink walls to provide a more fitting backdrop to my work.
The jewellers work(shop) is never done.
20.
radiant pavilion
Almost 20 kiwis descended on Melbourne to exhibit and frequent the 60 or so shows around town. 13 of
them took part in 3 of the shows: Park where you want, Carousel, and Occupy Crossley Street.
Occupation: Artist
Sarah Read, Kelly McDonald, Nadine Smith, Caroline Thomas, Peter Deckers, Viv Atkinson, Amelia
Pascoe, Becky Bliss
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22.
radiant melbourne
Vivian Atkinson and Caroline Thomas tell us about their Radiant Pavilion highlights.
Vivian Atkinson
It is actually quite hard work to be on a Jewellery High for 6 days but that was certainly the
experience of Radiant Pavilion. Now the process of thinking back and re-examining the experience
at leisure is underway and perhaps the experience that surprised me the most was the Seminar day.
With the initial encounter with Tara Brady quietly and efficiently operating as the hat (in this
instance coat) check girl, appropriating the garments as we listened to the proceedings and sewed
her care labels into them. Talks about projects, collections/collectors, curating and just how to
be a jeweller provided varied and sometimes provocative topics many ripe for more prolonged
discussion.
The dual presentation by Judith Torzillo and Victoria Cleland from Sydney about their recent
JMGA exhibition Young Collectors has certainly caused many to think again about how they
regard the jewellery that they own and yes there was a few (well me anyway) who admitted with
embarrassment to not treating the treasures that I am privileged to own with the respect or taking
the time to record details of where and when, maker and materials the pieces came into my care.
Another task to put on my list. How about you?
23.
Caroline Thomas
1.Insights Talks Friday 4th September 2015 Ordinarily six hours of lectures, on any topic under the
sun, would fill me with horror and a creeping sense of my life slipping away. So it was a pleasant
surprise when the time passed quickly and meaningfully as ten sets of speakers spoke succinctly,
articulately, humorously and thought-provokingly on a number of topics relating to contemporary
jewellery. Particular highlights for me were the Young Collectors and Katie Scotts love letter to
Bernhard Schobingers Rings of Saturn.
2.The last exhibition I saw at RadPav was Claire McArdles Oaxaca Experiencia and it was beautiful.
The space was beautiful, the execution/installation was beautiful and the work was beautiful. I
bought a small tin piece for $20 and felt humbled that someone could produce this show, whilst coengineering Radiant Pavilion and holding down a job. Superwoman much?
3.David Clarkes lecture was a masterclass in engaging your audience and sustaining their interest
for an hour while you essentially talk about yourself and your work.
24.
interview
Kristin DAgostino spoke to Lucy Boermans about the dance performance during Wunderweek
1. For wunderweek you put together a lovely dance piece called 2021. Can you talk about
how you came to that idea?
The idea grew from a combination of sources: AJFs recently published book, Shows and Tales and two
articles inside its fascinating pages: Touching Stories by Jorunn Veiteberg and Exhibition in Motion:
Objects Performed by Gabriel Craig. Then an invitation from Kristin to take part in Wunderweek
and a seed was sown. In an increasingly digital age where retail experiences are increasingly webbased, you could argue the real is disappearing in favour of the imagined. Performance 2120 was
about redressing the balance.
Fascinated by the connections (both conscious and subconscious) that wearers establish with any
given (or bought) item, in essence - the personal connections we place upon them, I began exploring
dance as a medium to contemplate these somewhat complex questions. Looking at weeks rather
than months to realize the plan, I decided to use a personal collection of lasercut works created
in response to The British arts and crafts movement of the 1920s, with a particular interest in
architectural works by Scottish artist Rennie Macintosh.
Another reason for exploring performance as a form of display is through years of experimenting
with jewellery display out of personal necessity! Its always been an interesting, but often frustrating,
challenge. I was keen to explore the what if An AUT friend and tutor then connected me with
their dance department, an audition was set then 2 weeks and many emails later 4 talented students:
Jasmine Donald, Brittany Kohler, Anu Limbu and Jaz Yahel and an open brief was set:
The simple symbolism of a circle.
It implies an idea of movement, and symbolizes the cycle of time, the perpetual motion of
everything that moves
Circles were protective emblems to the Celtic mind. In Celtic mythology circles were often drawn
as protective boundaries. Circles were also Celtic symbols of the cosmos - noting in symbol the
intangible procession of time...and so the makings of performance 2120 began. The title being a
juxtaposition of numbers: 21st century works in response to 1920s design.
2. Once you decided to use dancers, can you tell us a bit about the experience of choregraphing
a piece of dance around your jewellery?
Initially, due to coinciding end of year exams, tracking down dancers keen to participate in the
project was a challenge. (Thanks go to Kim Bergh at AUT for his persistence and advice leading up
to the start of rehearsals). Tense times! On reflection, due to past experience on collaborative tv
projects (BBC Scotland) I had a somewhat tighter production schedule in mind. From the start you
could see this approach was never going to work - we all had busy lives with preset commitments flexibility and cooperation were the key.
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At SNAP Aucklands waterfront Wynyard stop participants were invited to insert themselves
into a souvenir-style photo by standing in front of the bus shelter pane, which had a royal jewels
theme drawn on it. Make Your Own Jewellery Kits were handed out at Britomart for MAKE; these
kits could be taken home (or to work) to complete. It was all about food at Vulcan Lane (aka EAT),
where edible jewellery from a delectable array of delicious delights were used to make,wear and later
eat.At FORM (on K Road),participants were invited to get creative along with the CLINK jewellers to
form jewellery out of paper materials. The last stop, DRAW, found makers experimenting with chalk
as a jewellery medium and jewellery trace.
Jewellery tags showed the projects logo alongside a QR code, allowing the participating public
to scan and post their bejewelled selfies to CLINKs facebook page.The Dunedin jewellers who
travelled to Auckland were Rose Heenan, Millie Leckie, Antonia Boyle, Amanda Konyn, Natallia
Trayan, Alison Wallace and Michael Lamb. Catherine Randall, Kylie Sinkovich, Karolina van Ruiten,
Robert Fear and Sarah Beaumont attended from Auckland.
https://www.facebook.com/clinkproject
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32.
Upcoming
Fundraising Trade Me auction featuring jewellery from
Handshake 1 and Handshake 2 mentees.
Details to follow.
33.
small talk
Jewellery exhibitions, events, and workshops
Auckland
Auckland
Masterworks Gallery
September 28 - October 24
THINKspace - Moniek Schrijer
November 4 - November 25
Rachel Bell
November 30 - December 23
Chain Show
Objectspace
September 12 - October 21
The Vault: Vintage Paua Shell Jewellery from
the 1930s to the 1970s
Fingers
November 15
Annual Group Show
Pah Homestead
December 14 Handshake2 Group Show
Christchurch
Wellington
The National
September 29 - 17 October
Matthew McIntyre Wilson
recent works
October 20 - November 14
Warwick Freeman
Sydney
Gray Street Workshop
October 1 - November 1
Outbursts of Unhinged Imagination
works by 9 Auckland Jewellers
curated by Lisa Furno
outbursts of unhinged imagination curated
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