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 😉
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!
It’s another public holiday today in Perth, and after the uber long weekend I’ll still be on holiday (read: working on unrelated projects in the studio) until the 9th, coming back on the 12th of April.
Looking forward to seeing you – my beloved livestream devotee(s)- then 😉
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.
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.
If your answer to the above question is yes, come join me in my studio for the next six or so months. In this link (click on the Live Stream link – if it’s there, I’m in the studio) you can see live footage of me as I work on hand sawing a piece from a few 3m x 82cm sheets of custom orb steel.
So if you’re tired of all the usual options: a/ you have no need of boiled water b/ your grass is in hibernation c/ you can’t possibly bear witness to any more paint drying… come take a peek into my studio. And if you’re not in the mood now, don’t worry, this one will take some time (that’s kinda the point) so feel free to check in later.
In her practice Melissa Cameron has perfected the application of liquid enamel onto small objects. It’s a unique enamelling method, well suited to both flat and dimensional forms, with coating found objects like wire and tiny laser-cut parts being Melissa’s specialties.
In this workshop with the artist, learn her tips and tricks for using liquid enamel on steel and copper, from metal surface preparation to enamel mixing, application, and firing. Extend your decorative palette with textures and patterns using simple techniques, well suited for use on items of jewellery and small objects.
This masterclass is being held in conjunction with Melissa Cameron’s solo exhibition at Bilk Gallery opening on Friday the 13 September 2019, 6pm – 8pm.
Workshop details Time: 9.30 am – 5pm, Saturday and Sunday 14 – 15 September. Location: Workshop Bilk, 403 Captians Flat Road Carwoola Queanbeyan NSW Australia. Attendees will need to bring their own lunch. Coffee and tea will be provided. Materials: All materials and tools will be supplied. Cost: $450 per person for the two days. Maximum of six places available.
This year’s dynamic speaker line-up includes European jewelry artist Terhi Tolvanen, metalsmith/sculptor David H. Clemons, jeweler/enamelist Deborah Lozier, and repoussé master Douglas Pryor; plus Ideation: From the Belly to the Brain, a panel discussion featuring artists Melissa Cameron, Eva Funderburgh, and Gina Pankowski.
The Symposium will be in Seattle this year, rather than in Tacoma as originally planned. Due to unforeseen circumstances, we’ve had to make a last-minute change, so this year we will be at the Langston-Hughes Performing Arts Institute, with everything the Symposium has to offer: Silent Auction, Book Sale, and a fabulous line up of speakers and panelists, detailed above.
Date: Saturday, October 6, 2018 Location: Langston-Hughes Performing Arts Institute, Seattle, WA
It’s the day before I leave the USA permanently for Perth, Australia, so come say goodbye and join us at the after-party to end all after-parties!
3/ Uneasy Beauty
See my works Drone: Attempts to Kill… and RPG in this exhibition at The Fuller Craft Museum in MA, curated by Suzanne Ramljak the former editor of Metalsmith Magazine.
Uneasy Beauty: Discomfort in Contemporary Adornment will bring together 75 examples of contemporary jewelry and costume that demonstrate the immense power of adornment to impact us physically, emotionally, and intellectually. Showcasing wearable work in various media from regional and national artists, the exhibition will explore the outer limits of comfort through works that constrict body movement, irritate the skin, make extreme demands, or touch upon sensitive cultural nerves. Uneasy Beauty is part of the Mass Fashion collaborative, a consortium of eight cultural institutions that aim to explore and celebrate the many facets of the Bay State’s culture of fashion. This exhibition is curated by Suzanne Ramljak, an art historian, writer, curator, and former editor of Metalsmith magazine.
October 6, 2018 – April 21, 2019
Fuller Craft Museum
455 Oak Street
Brockton, MA 02301
It’s take one month of drawing, drilling, sawing and slicing to make a portrait of each of the 66 guns used in fatal incidents on January 1st, 2017. These gun outlines are made in metal, plastic, fabric and paper, from containers sourced from the 55 places in which these acts of violence occurred.
Now we are seeking 73 people to wear the outlines, small and large, while we take an image to help tell the story.
Please come and stand in for the people we lost to these guns on that day.
A huge thanks to everyone who has already signed up for the photo shoot on the 7/7/18. I’m back to tell those of you who haven’t that I need a lot more volunteers to help create a truly arresting image. I’ve made a poster (above, link) with all the details that I’d love for you to print and display in your shared studio, office or other place where cool people hang out! (FYI – I’ve already papered Equinox and Pratt Studios, and a big thanks to the others who have obliged me by posting it in their shared studios.)
AND in exciting news – I’ve managed to secure the services of local film-director Miri Stone, who thankfully has a lot more experience at this than me! She’s going to keep us all on task and motivated, and help us make the best image possible.
As far as volunteers go, I have just over a quarter of the sign-ups that I’m seeking. If you’ve been meaning to sign up please do so here, I’d really appreciate it, and if you’re going to be out of town you can do me a huge favor by forwarding on this email to someone who has yet to receive it.
And to those of you curious about progress on the artwork – my deadline for receiving containers was last week, and I’m currently at 49 pieces totally completed for the shoot, with 4 more awaiting cleanup on bench this morning. The last of the containers are still coming in too, so I’m on schedule to finish by the end of this week. Phew 😉
Photo shoot details at-a-glance:
– Meet at the parking lot under the Fremont Bridge (not near the Troll – the one that opens 😉 )
– 8am-9am sign in
– 9am-12pm all 73 people in 73 different gun-shaped pendants stand together for the shoot (if we finish early we all go home early!)
– You wear something comfortable with dark top-half and no logos, I loan you a pendant to wear for the morning
– Drinks and snacks provided
This is going to be a fun and once in a lifetime experience, so please come join us!
As I promised last week, I’m back in the US from Australia, where I was celebrating my 40th birthday with my family!
And now I’m here, I have a favor to ask:
Regular readers of this blog will be familiar with my series of posts, entitled: Monday – Gun Day, where I have been cataloguing the weapons used in each of the fatal shootings in the US on January 1st, 2017. (There’s more intel as to why in this post.) Thanks to the incredible resources of the Gun Violence Archive I’m almost through the research phase – in which I made drawings of all the guns used in fatal incidents on that day – and I’m ready to start making.
I was going to used objects – containers specifically – that I had to hand, but now that doesn’t feel right. I have objects from all over the place – I’ve picked them up in my travels throughout North America, Australia, Asia and Europe. And that is the problem. The rate of gun violence, as we are now almost constantly being reminded, is unique to each country. So using objects from other places in a project referencing gun violence in the USA doesn’t ring true.
So I suddenly find myself in need of containers from a specific list of places. Fifty-four places, in fact. And if you have a friend or relative in the area, please feel free to pass this along.
This is where you come in. If you happen to live in one of the places listed:
Send me a container to become a permanent part of this artwork, and I will send you a limited edition jewellery piece in return.
I sense your next question: “Container, what kind of container?”
Practically anything accepted – well washed food tins, plastic milk containers or even a yogurt tub, I don’t mind. Upcycle or re-gift me, please! I love a thrift store find, or new things from grocery stores or markets – I seek and find all over. Wood too! I just need to be able to cut or saw-pierce a motif into it, so not too thick, but most materials accepted. (Preferably not stainless steel – the best way to check that tiny, cute but essentially useless colander you have is with a magnet. I love magnetic steels – I’ll cut them for days – but if it doesn’t stick it’s probably regular stainless.)
I’m looking for a single container (though multiples needed in a few places) from each of the places listed below. Or, if you own a souvenir item from one of these places, that you are willing to part with, I would gladly accept it. (And yes, I do consider ashtrays, coasters and trays containers, too. See image at top for a portion of my current stash.)
1/ Get in touch – email@example.com
Please be in contact before you send something, to make sure I have not yet received anything from your place. I only need one container from most of this list, and so I’ll work on a first-come, first served basis.
If you happen to have an item in mind, please email me a photo of the container I can used for planning. I will also add your object as ‘pending’ on my list for others to see.
2/ Send the item (to arrive by June 20th, 2018)
2212 Queen Anne Ave. N. #412
Seattle WA 98109
Naturally, include the place name of the object in the packaging, as well as a name/address + email contact to ensure you get your jewel
3/ Jewels shipped in August
stay tuned to the blog for developments of this very special limited series.
*** List of places still remaining – June 20th update*** (and updated printable list ofPlaces June 8 – this includes all the maybe’s – if you are in a place that I have only a maybe commitment, please get in touch!):
City Or County
Yes, it’s like a Kickstarter but instead of cash, it’s local objects being turned into jewels. A barter-kickstarter, if you will. Please pass this along, and lets come together and make some art!