Today’s Q + A

For your delectation and delight, I present the live stream feed from today, conveniently queued up to the start of our q + a chat! We chatted, we answered questions, we got off topic (prompted by a comment, though) and I ranted, just a little.

As you would guess there’s 1 hr 24 mins of me grinding and making before this point, and after we’re done – there’s about an hour of talking – we get back to same, gradually finishing this piece. In that one hour we’re talking about the process, the reasons why we’re streaming at all, the changes to the studio between streams and how we plan to get this work out of this place and into the gallery, making this a good addition to the original Q + A we did in February (also below, so you can fully appreciate our changing hair styles.)

As you can note even in the screen grabs you see now, the major differences are 1/ the size of the work on the left hand size of the room, and 2/ the fact that today we were masked while talking. It’s not ideal, so I am sorry about that, but we were on schedule to have masks off indoors on when I planned this chat. Owing to a new COVID-19 case, that region-wide directive changed late Saturday afternoon. We got off ok, really, the football had to be played without a live audience so we were just foloowing the same rules, and are obviously just as popular 😉

Thanks for checking in, or at least enjoying the screen grabs, and I’ll be back in touch soon when I finish this piece. Very soon!

xx m

Live stream q + a soon!

Juukan Tears – wip, 2021

Today! 3 May 10:30 am Perth time or in your zone at:
Auckland – 2:30 pm
New York – 10:30 pm*
Sydney -12:30 pm
Calgary – 8:30 pm*
Los Angeles – 7:30 pm*
/ / /
I’ll be chatting about my work in a live q+a on my YouTube channel*at this live link*
It will remain available to re-stream indefinitely.
Email your queries now, or pop them in the live-chat window as we go.

*Sunday 2nd May

getting close…

me about to fix the camera with documentary film-maker Mir Ng in the background

Have you been checking in to the livestream? I know I have a dedicated fan or two (thank you for watching, sorry about all the noise..!) who look in, so I wanted to let y’all know that we’re getting close to the end. There’s about a week left of regular manufacturing before we switch to fine-tuning, then peeling off the back decals and some photography.

That will all take place in the studio (under your watchful gaze) as I have nowhere else big enough to take the full piece! And yes, Susannah and I have discussed hanging it off the balcony as a test, but ruled it out as we’re worried about the window below.

But for the real tension, stay tuned for the episode where we have to get the complete 4m x 1.3 m hanging out of the building. That’s when the balcony, plastic tarp and ropes come in! Then we have to motor it over to the John Curtin Gallery; that’s going to be quite an event!

We’re still a little way off moving it – I’m yet to source an enclosed truck – as my deadline is August. Don’t worry, I’ll be sure to give you a heads up 😉

.. and we’re back

for a couple of days at least..!

Susannah and I will be streaming live from the studio today and tomorrow before we take another quick break this Wednesday to Friday. We will be back to our regular scheduled programming next week; Monday- Friday, 9am – 5pm (or thereabouts) Perth time, with the usual lunch hiatus.

If you get in early enough this morning you’ll se me hit 3,500 linked teardrops (only 1,600 more to go!) You might also get to see Susannah and I share what we got up to on our 4-day hiatus – in my case some very non-canonical jewellery remodeling as part of a commission, and restocking some bracelets. Always good to have a bracelet or two on hand (see what I did there!?!)

Which reminds me! I finally got my copy of the new Nicolas Estrada-edited jewellery look-book New Bracelets. (The Nile link – currently cheapest available in Australia, check shipping tho.) As usual he’s done a great job, and I have a couple of works in there, including some of those pinhole riveted bracelets that I have just restocked, which I do in a plain steel finish (as per the book) as well as a sandblasted texture finish that is heat coloured to a deep purple brown. Check it out on Instagram – I’ll pop up a pic of the latest batch today.

If you’re after the other style in there – the multilayered bracelet joined with my signature tensioned steel cable – you should head over to Tereza Seabra gallery in Lisbon, she currently has the finest collection of them in all the lands!

Livestream up!

Hey hey viewers.

Apologies for the stream being down this morning; there were some technology changes over the weekend which have altered the setup. They have been addressed now so we’re live again here.

Thank you for your patience 😉

humble apologies

to anyone who got sent to Twitch instead of YouTube by clicking on my link yesterday, I’m really sorry. I don’t know where the twitch link came from – I had that URL in a draft of one of my posts for a tiny moment, 6 weeks ago! I did make the mistake of copying an pasting from a previous post, but it was the published version that links to YouTube! Be aware folks, the internet NEVER forgets…

On the upside, we had a great q+a with a bunch of email questions and live questions from Instagram thanks to my dm’s, and you can go back in time to catch it all here:

And we will be live again on Monday, right here: https://www.youtube.com/c/MelissaCameron-artist

Live now!

We’re taking to ourselves in the studio: https://youtu.be/Zzsu3Q2_bks

Published
Categorized as Jewellery

tomorrow!

Come chat with me on YouTube for an hour!

pretty much what you can expect, but with more talking to camera

Live now: https://youtu.be/Zzsu3Q2_bks

Details: go to my YouTube channel where you can click on the live-stream and in the chat window type in a question for us to answer. Yes, us! Susannah Kings-Lynne will be there too.

11am at GMT +8, (though the feed will be running from about 9am as usual) which is maybe not your time, but hopefully your time is listed here:

7 p.m.: Seattle **Thurs 18th
10 p.m.: Philadelphia **Thurs 18th
3 a.m.: UK **Fri 19th
4 a.m.: Italy
8:30 a.m.: India
11 a.m.: Perth/China/Singapore
1 p.m.: Brisbane
2 p.m.: Melbourne/Sydney
4 p.m.: New Zealand

Look forward to answering your questions 🙂

Juukan Tears

wip, February 2021

In May of 2020 mining company Rio Tinto destroyed the Juukan Shelters, containing sacred caves that had been in use by the traditional custodians of that part of (what we now call) Western Australia, the Puutu Kunti Kurrama and Pinikura (PKKP) peoples, for over 46,000 years. The Shelters were in the remote Pilbara region of WA, and were located within the Brockman 4 mine, one among Rio Tinto’s 16 iron ore mines in the region. The PKKP had registered their objections to the extension of the mine into the area of the Juukan Shelters for several years, but owing to an outdated WA Government permit system that allows for no objections once a mining permit is issued, and an unequal and paternalistic mining rights negotiation process that effectively gags First Nation recipients of mining money, their cries went unheeded.

Since then the blast has received significant public outcry and media attention in Australia and been subject to a government inquiry, not least because recent archaeological excavations had found ancient human hair, proving continual human use of the shelters for 46,000 years.

Western Australia is home to Rio Tinto Iron Ore, and its capital, Perth, the city where I live, boasts the Rio Tinto office tower (also known as Central Park) as its tallest building. In a relatively small and topographically flat city it is visible from many kilometers away, including from my house – and my studio space – in North Perth.

My response to the shameful destruction of sacred sites and continued silencing of our First Nations people, (not to mention the over representation of environmental abusers like Rio Tinto in the skyline of Perth), is this work, with the working title Juukan Tears. It is a piece in two sections, the largest a wall hanging approximately 4m (13′) tall by 1.3m (4.3′) wide, the second section being a group 46 chains that are each approximately 1.8m long. It is made out of recycled custom orb, a common fencing and building material made from galvinised steel, which was previously the siding and roofing material of my back shed. (Image at this post.)

The first and larger part of the work contains a rendering of the Rio Tinto headquarters in Perth, with line-work “drawn” in different amalgamations of teardrop shapes. The second piece makes use of the 4,600 teardrop shapes, representing 10% of the 46,000 years of history lost when the Juukan Shelters were destroyed last May, to make chains of tears. Groups of 100 teardrops are joined to make 46 chains that will be hung next to the drawing, which combined makes approximately 80m (260′) of chain.

The drawing, or wall hanging, is itself also cut into 382 rectangular forms, to represent all of the holes drilled into the Juukan Shelters on the Brockman 4 mine site before the “Puutu Kunti Kurrama and Pinikura Traditional Owners were made aware of the planned blast on May 15.” Within the background, using length and order of these 382 pieces, is depicted a message in a modified version of Morse Code. When decoded it reads: “46,000 year old Juukan shelters destroyed for…iron ore”

As mentioned previously, this work will debut at the John Curtin Gallery at Curtin University for the Indian Ocean Triennial Australia – IOTA21 – in September 2021.

I am grateful to the Department of Local Government, Sport and Cultural Industries in Western Australia for their financial support of this project, and to the IOTA and John Curtin Gallery curatorial teams for their support of this work and my greater practice.