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 😉
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:
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.
Team Connexions will be at the JMGA-WA meeting in Perth tomorrow night as the feature speakers for the group’s October meeting. If you’re about you can come chat it up with us as we wander through our process of organising-funding-making-filming the Connexions exhibition, which is currently on show in Paris.*
For those of you unable to get there, picture seeing your little exhibition being awarded close to 30K in funding to send your whole beautiful artist cohort to an opening literally across the globe. Then add one pandemic…
*our run has been extended at Galerie Asemblages, 66 rue Legendre, 75017 Paris, France until October 31st.
After a hiccup and a delayed start, we opened our window display in Paris overnight on October the 13th. So you can finally see the (admittedly abbreviated) Connexionsin the real! We’re at Galerie Assemblages as a part of the Parcours Bijoux jewellery festival:
66 rue Legendre, 75017 Paris, France
Exhibition dates are being extended so we can keep our 3 week engagement, so likely closing around November 7th.
Hours: We’re a window display open 24 hours a day, 7 days a week. The original COVID-19 friendly way to see a show! And because we’re clustered in a window there’s a few works we couldn’t fit (ok, more like 3/4 of the show) so please peruse those works at your leisure on our website.
Today we’re celebrating the launch of the Connexions exhibition website! While you’re there be sure to check out the short films of each exhibiting artist by our mate Brendan Hutchens of Vam Media, with filming assistance from Kantesha Takai of Lola Digital for Emily on Horn Island.
Connexions showcases new contemporary jewellery works by Australian artists Emily Beckley, Fatemeh Boroujeni, Melissa Cameron, Blandine Hallé, Eden Lennox and Sultana Shamshi.
And don’t forget this Saturday is our artists’ talk; click on the link that says Link to Zoom Meeting on this page. It’s on at 11am– Sat October 10th, Paris time, or at:
2 a.m.: Seattle 10:00 a.m.: UK 11 a.m.: Paris 1:30 p.m.: Iran 2:30 p.m.: India 5 p.m.: Perth 7 p.m.: Horn Island 8 p.m.: Sydney 10 p.m.: New Zealand
Hope to see y’all there!
We are proud to be supported by The Department of Local Government, Sport and Cultural Industries in Western Australia and the Australia Council for the Arts.