Conference Papers

Geeet your used conference papers here!

I’ve done a bit of house-keeping today, and finally added my SNAGnext presentation from May to the list of conference papers, located over in that sidebar to the left (or above if you’re moblie-y inclined).  While I was there, I made Conference Papers into its own menu, so that you can now easily reach each of the three papers I’ve delivered to a few select audiences over the years. The new one I added today, and also (as of today) the 2013 paper from the JMGA conference in Brisbane, have in-line slides that go along with the text, which add something interesting to look at, especially useful if you get bored of all those words.

Below are links to each of them, starting from the most recent and working my way back. (And yes, I hope to work on sorting out the same deal for the symposium papers next 😉 )

1/ Holistic Thinking: Interconnectivity In Jewels And Practice, presented at the 2016 SNAGnext conference, in Asheville, North Carolina on the 19th of May, 2016.

2/ How to become an artist jeweller: a Seattle community case study, from the JMGA conference in Brisbane, first presented on the 14th of July in 2013 at the State Library of Queensland.

3/ This final one has been kicking around on the internet for a while – my presentation for the 2010 JMGA conference in Perth held at the Central Institute of Technology in April of that year, entitled:

Examining the connections between architecture and jewellery: Looking into the last 100 years to inform a vision of jewellery practice in the future.

 

remembering place

Melissa returns to return, to present the catalogue essay by Narelle Yabuka.

Today I thought I’d revisit the Return show that I curated earlier this year, via the catalogue essay written by Narelle Yabuka. Like all the artists in the show, Narelle is an ex-Perth resident, who currently lives and works in Singapore.

Remembering Place

I remember Perth. My favourite time of day in Perth was late afternoon, when the hard daytime sun transformed from a force of intimidation to an agent of soft, magical spaces. As it dipped toward the ocean it would cast shadows like carpets that carved out comfortable places in a previously vast and uncompromising backyard. I would enjoy dwelling in the shadows – gently and soft-bodied, without the narrowed eyes and physical tension that accompanied excursions into the afternoon heat. The wind would drop to orchestrate a symphony of sensory response; now I could hear the neighbours cooking dinner and practicing Beethoven bagatelles the piano, see a deeper shade of green on the lawn, feel gentle wafts of breeze on my arms, and perceive creatures in the garden beds that were previously bleached out of view. I’d stretch out, physically and mentally, in the shadows until they dissolved into night.

Are my memories truthful? Probably, my romancing about cool, calm ends to hot, hard days has taken on a rosier tinge than it might have given that the only form of heat relief in my current Singaporean high-rise home is mechanical. Yes, there was a little bit of invention in my garden memory. In my mind, the story incorporated many afternoons and the gardens of several Perth homes. Collectively, this group of disparate recollections informs my memory of dusk in Perth – an impression my mind visits regularly in the unrelenting tropical heat of my new concrete home.

Do my memories make me? Philosophers struggle to understand and explain the subjective and relative side of memory – the facet, distinct from habit or skill memories (such as how to drive a car), which emerges and recedes involuntarily and subconsciously. There is no doubt, however, that memory plays a key role in determining one’s personal identity. For creative practitioners who express a sense of themselves in their work, memory takes on another level of significance – as a contributor to the shaping of creative output.

Do I make my memories? It was confronting to read, while researching the philosophy of memory, that although autobiographical memory plays a part in the continuity of the self, memories of one’s personal past can actually alter based on changes in one’s self-conception. In their article “The Identity Function of Autobiographical Memory: Time is on Our Side” (Bluck, S. [ed] [2003], Memory, 11:2, 137–149), Anne E. Wilson and Michael Ross discussed how individuals can push away or pull forward memories for the purpose of self-enhancement in the present. Memories of past selves that are viewed as negative can be pushed into the distant past and disassociated from. Meanwhile, memories of positive selves can be kept current and influence one’s present sense of self. The purpose of such self-shaping of autobiographical memory, it would seem, is to promote wellbeing.

Re-placing myself. It’s an interesting exercise to consider the continued impressions and influences of a place you have left – particularly given the profound influence that a place has on lived experience. It gets me wondering why my story of garden shadows so dominates my thinking. I don’t currently have a private garden – just a collection of potted plants in a common open-air corridor. Enjoying natural environments is a Perth experience that I mourn. But if I lived in a big old breezy tropical bungalow surrounded by shade-giving trees, palms, and vines, would I still long for Perth’s river, beaches, bush, and backyards? Would I contemplate Singapore’s environment and flora – in analytical thought and in creative projects (as I do) – if I weren’t mourning my connection with Perth’s nature?

Replacing my place. It seems that my memories of my former place influence the way I look at and respond to my current place. An enjoyment of natural environments would appear (at present, or still) to be an aspect of my personal identity – a contributor to my sense of wellbeing. If I hadn’t grown up in Perth, and what’s more, with keen gardeners as parents and thriving backyards, this may not be the case. My experience of Perth influenced my behaviour and habits, and perhaps directed my senses of perception towards flora. In Singapore, I seek the cooling experience of gardens, and find creative inspiration in the very different conditions of nature – its absence from the domestic context, and its forceful abundance in the civic context, where it is used almost like a tool (to foster an image for the city, or to influence human behaviour; garden beds between footpaths and roads disallow jaywalking, for example).  A similar legacy of thought and response may not be the case for everyone. Perhaps one can only say with certainty that the influence of one’s memories of place will depend on the person and context.

March 2010

Narelle Yabuka is a writer, editor and educator. Currently she works in publishing at the helm of a Singapore-based publishing house, with her work featuring in books and magazines across Australia and Singapore.

on the intertubes

Melissa Online! Now more Online!

Hiya! So, it’s been ages since I mentioned the conference in Perth, eh? Three whole posts have passed; it’s been over a week since the last one went up. In internet time that’s practically years between mentions. Did you enjoy the holiday?

Today my paper Examining the connections between architecture and jewellery from the JMGA conference was published in the Craft Australia online library. I put up links to the images I used in my delivery a while back, but at least half of them appear with it, in its online incarnation. Once again my thanks go to all the artists who gave me permission to use the images of their works, including the ones who were not published.

Also on the Craft Australia site, a review of the conference by Christel van der Laan. Christel is an amazing jeweller, and her new works, which were on display in the JMGA Members exhibition in Perth (see the final image on the RHS of her review), are incredible.

Examining links with architecture – image set

Melissa presents links that show links between jewellery and architecture. Got it? Yeah!

I promised at the end of my paper at the JMGA conference that I would have my image bibliography online. It’s taken me a couple of weeks (which is quite slow; I’m genuinely sorry about my tardiness) but they are as follows. If you weren’t at the conference, take a look at the people you haven’t heard of, I think all of these works are genuinely interesting, and not just in the context of the paper.

For reference, the paper was entitled ‘Examining connections between architecture and jewellery in the last 100 years: Using associations outside the profession to inform a vision of the future jeweller’

Image sources; listed in order of presentation.

Francios-Desire Froment-Meurice, Paris ca 1845/50
Brooch: Gold, Silver, Enamel, Pearl | “A female half figure with a dog on her lap in a Neo-Gothic alcove”
Fritz Falk, Schmuck Jewellery 1840-1940: Highlights Schmuckmuseum Pforzheim, Arnoldsche, 2004, (p 22)

Vicki Ambery-Smith
Guggenheim Brooch, 2004 | V & A Spiral, 2004 | Untitled Ring http://www.vickiamberysmith.co.uk/jewel.html

Martin Papcun
Object 2007, 85 x 90 x 45, Aluminium
http://www.papcun.net/
Object: Buildings 2007 Aluminium, gold plated 4,5 x 6 x 3 cm
http://www.klimt02.net/jewellers/index.php?item_id=680
(From the Czech Republic)

Erik Kuiper
Ravary Series: Taus II | Weltinnenraum Series  Formalhaut | Scutum I http://www.erikkuiper.com/ravary.html http://www.erikkuiper.com/weltinnenraum.html (from the Netherlands)

Donna Verveka
Necklace: Sofitto, Venezia – Sterling Silver, 18 carat gold, metallic cord, 2007 | Bracelet: Gothic Arcade – Sterling Silver, Aquamarine, 2007 | Ring: Colosseum – Sterling silver, 18 carat gold, 2004 http://www.donnavjewelry.com/

Ben Neubauer:
Spire ring, 18 karat palladium white gold | Isolated Hemispheres Necklace, 2001, sterling and 18 karat gold | Rectangular pin, sterling and 18 karat gold | Roman arch ring, 18 karat gold http://www.benneubauer.com/index.html

Vikki Kassioras
Concrete and Silver rings 2002. Photo: Terence Bogue. http://vikkikassioras.blogspot.com/2009/07/concrete-rings.html

Carlier Makigawa
Bangle: Silver and Monel, 2005 (Hybrid Series) | Ring, 925 silver, Monel, 2003 | Hybrid Series, pins and bangle. Monel, 925 silver, enamel, (coral) http://www.theage.com.au/news/reviews/carlier-makigawa/2005/09/12/1126377251725.html
http://www.turnergalleries.com.au/church_gallery/3exhibit_funaki.php
http://www.galleryfunaki.com.au/gf/artists/29/carlier-makigawa

Simon Cottrell
Brooch: Faceted tubes tagged lumber, Monel, stainless steel, 2006, 9 x 6 x 4 cm| Brooch: Silver blob faceted tubes, Monel, 925 silver, 2005, 7.5 x 6 x 4 cm | Object: Awkward, Monel, 2005, 15 x 15 x 13 cm
Klimt02: http://www.klimt02.net/jewellers/index.php?item_id=9051

Amanda Levete Architects
Corian Showroom from Milan. This won the Interiors and Fit-out prize at the World Architecture Festival in Barcelona, in 2009. Taken from article by Rose Etherington. http://www.dezeen.com/2009/11/11/corian-super-surfaces-showroom-by-amanda-levete-architects/

Fritz Maierhofer
(L-R top) Ring – Corian 2005 | Rings – Corian, Gold, 2003 | Brooch – Corian, Silver, Acrylic, Magnets 2005,
(L-R bottom) Brooch – Corian, Silver Magnets, 2005 | Brooch – Corian, Silver Magnets, 2006
From Klimt02: http://www.klimt02.net/jewellers/index.php?item_id=669

David Watkins
Pendant Neckpiece, Dyed Acrylic, Gold, 1974 (The only work to be executed from the programming experiment) From: ‘David Watkins: Artist in Jewellery’, Chadour-Sampson, B. Arnoldsche, Stuttgart, 2008, p9

David Watkins
Necklace: Flat Square 1977, Gold, acrylic, 220 x 220 x 100 mm | Bracelet: Wave 1986, Colorcore, Ø 150 mm Klimt02

David Watkins
Pin: Gardens of Arqua Petrarca 2004, stainless steel approx. 11.0 cm (Ø) http://nga.gov.au/Exhibition/Transformations/Detail.cfm?IRN=142986&BioArtistIRN=1729&MnuID=SRCH

Ted Noten
Pig bracelet (From the seriers; Coming Soon) Sintered nylon, 2008 | Haunted by 36 Women 2009 – Nylon necklace, gold and (titanium?) rings.
http://www.tednoten.com/

Giampaolo Babetto
Brooch: 750 white gold, acrylic, 2001 | Brooch Gold 750, pigment, 1992
http://www.babetto.com/
http://www.klimt02.net/workshops/index.php?item_id=6735

Helfried Kodré
Brooch: Untitled 2008, Silver, amazonite, 12 x 10.5 cm | Ring: Untitled 2008, Silver, turquoise, rhodonite 3.5 x 1.7 x 4 cm
http://www.klimt02.net/jewellers/index.php?item_id=7705

Peter Skubic
Untitled Brooch: Steel, pink lacquer, gold leaf, 2004 | Untitled Ring (no details)
Klimt02 + http://peterskubic.heim.at/jewellery4.html

Frank Gehry
Guggenheim Museum Bilbao, Spain, 1997
http://www.essential-architecture.com/STYLE/STY-M13.htm http://www.guggenheim-bilbao.es/secciones/multimedia/salvapantallas_fondos.php?idioma=en

Four Architect Designed Jewels: Commissioned by Cleto Munari
Peter Eisenman – Ring: gold, black onyx , lapis lazuli, turquoise (p23)
Richard Meier – Ring: gold, black onyx, sapphires, white onyx (p55)
Robert Venturi– Collar: gold, white onyx, black onyx, lapis lazuli, turquoise, red agate, green agate (p109)
Arato Isozaki – Ring: gold, lapis lazuli, red onyx, turquoise (p42)
Barbara Radice, (Gioilli di Architetti) Jewellery by Architects, Electa 1987

Josef Hoffman
Three brooches with sketch
Silver, partly gilt, semi-precious and precious stones, coral,
Weiner Werkstatte Jewelry, Staggs et al, Hatje Cantz, 2008

Frank Gehry
Torque Necklace, Sterling Silver | Fish Necklace, Sterling Silver, Rubber Cord | Torque Bangle, Sterling Silver | 7-Fish necklace in sterling silver, onyx, nephrite green jade, acacia wood, and pernambuco wood
http://au.tiffany.com/Shopping/Category.aspx?cid=288188&mcat=148206 http://blog.miragestudio7.com/2006/06/frank-gehry-jewelry-design-collection-for-tiffany-co/

Zaha Hadid and Patrik Schumacher with Swarovski
Catwalk piece, 2008
(Hadid and Schumacher have collaborated also on lighting design) http://nancyjimenezdesign.blogspot.com/2009/07/swarovski-zaha-hadid.html

Zaha Hadid Architects
Renderings of the proposed Regium Waterfront Development, Reggio, Calabria, Italy. Announced in 2009
http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=11047

Zaha Hadid Architects
Burnham Pavillion Chicago, 2009. Image copyright Michelle Lilvin.
http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=12136
http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.showprojectbigimages&img=5&pro_id=12136

Mitsue Slattery
Leaf Brooch, Fine Silver. Image: Matthew Brown
http://www.shopmoose.com.au/artists/mitsue-slattery

Wendy Ramshaw
Garden Gate: Fellows Garden,  St John’s College, Oxford, 1993. Mild steel and gold leaf
Images: Bob Cramp http://www.ramshaw-watkins.com/wr/ac.htm
Columbus Screen – Canary Wharf, London. Mild steel, acrylic, stainless steel, glass, industrial paint, aluminium and gold leaf. 1999/2000. 15m x 2m x 6.5cm. Images: Jim Ebdon – http://www.flickr.com/photos/chalkstream/2577431625/

Wendy Ramshaw
Brooch: Metro 1, 18 carat gold, 2008? Photography: Graham Pym http://www.klimt02.net/exhibitions/index.php?item_id=11074
Pipe Dreams: Set of 7 rings | Sterling Silver, blue and purple enamel. Nickel Alloy Stand http://www.mobilia-gallery.com/artists/wramshaw/index.html

MakerBot Industries
Cupcake CNC
http://store.makerbot.com/catalog/product/gallery/image/86/id/47/

return blog + patty cakes

Melissa apologises for not being quicker on inputting photos, and makes up for it with cake!

Yesterday I broke a rule of the internet. Don’t point people in the direction of a site that it still under construction. For those of you good folks who visited the Return blog yesterday and saw one little picture of the gallery when you were expecting shots of artists works, I am sorry. Today (should you care to venture forth once again…) you will find ten whole glorious colour images of our works!

Next week the Return show closes. In honour of the end of our 3 week run (and to keep me occupied in the morning before I arrive) there will be a morning tea on Thursday the 29th from 11am, for which I will bake patty-cakes! (We’ll not be calling them cup-cakes, even if my grandmother was born in Canada and did insist on baking them and labeling them so…) Here’s a sample of one I prepared earlier!

You might have to bring your cup of tea/coffee with you however… Did I mention free cake?

…return

Melissa finally puts up images of works from the Return show. *applause*!

finally! some images of the actual works from the …return show. I haven’t meant to keep you all in suspense, but it’s been fairly busy here in the gallery, so photography of artists’ work has been sporadic. This is just a taster of my works, so for the many pieces by other artists,  (all of them gorgeous, of course!) point your browser at the Return blog.

round the grounds

Melissa shares her recent scrapes with the fourth estate.

a quick wrap up of what was found on the intertubes and beyond promoting the Return show

The West Australian had us in their weekend magazine 7 Days last weekend, with image, and yesterday in the Arts Review section (a very minor mention for us, but a glowing review of other shows). We also made in into the Sunday Times STM magazine (similar to 7 Days from The West) and there’s been a spot on Scoop Online for a few weeks now.

We also made it into the Echo community newspaper (I’m yet to see this to be honest, but I’ve been told by several people it’s out there) which covers the hills where I grew up. A writer called just to check that I was the correct Melissa Cameron – I’m not entirely sure how they knew where I lived, but they did.

All this (not including any paid gallery listings organised by Gallery Central) from putting out a single press release, two weeks before the show opened. Seems well worth the effort.

enamel workshop

Melissa Cameron meets Elizabeth Turrell.

Images of samples created during the Elizabeth Turrell workshop, conducted at Manifesto Glass in West Perth, April 13, 14 and 15, 2010.

Top image – enamel samples day 1 and 2. Bottom image – final day

During the workshop we were learned to use Tompsons Wet Process enamel, with the main difference in application between this and regular jewellery enamel is that you can paint it directly onto the metal surface, much like a clay slip. In fact, the mainly white above was half clay, half dissolved enamel solution. This once fired becomes a very matte surface, on which you can draw with graphite pencil, as I did in that piece, after which I fired over it a thin layer of transparent enamel, and then fired a transparent layer, painted over the star/flower shape, with the glass granules embedded into it. These were applied while the enamel was still wet.

Elizabeth had on display many different sands and oxides, which were laid directly onto a layer of pre-fired enamel  and re-fired. Not all would stick, (especially if you piled it on) but a thin layer would be attached to the metal after re-firing.  As you can tell I had the most fun with the black, red, white and transparent enamels, with the use of glass grit for texture. This I brought with me, as it’s the media I use in my sandblaster.

She also showed us stamping and transfers, the former using the liquid of the stamp-pad as a glue to hold a thin layer of sprinkled jewellery enamel or oxide (or sandblast media) to be quickly fired afterward. A felt tip pen can be used to the same effect (that’s how I got lines of white and clear grit onto the bottom right sample.) The transfers (top left sample on bottom image; dots on the LHS) were applied pretty much in the same way as a fake tattoo, but the burning out process of the plastic transfer medium was a little more complicated. You can’t afford to let it burn out too quick, as going up in smoke would shift the carefully-placed image.

It was an incredible workshop; each artist involved produced amazing and different works. Everyone was so happy to be there and keen to be experimenting; all the while testing the process, and their skills. Being involved with someone who is such a master of her medium – in the actual mechanics of the material as well as its historical and present-day applications in both the jewelelry and industrial worlds, was truly inspirational. To be honest I’m not impressed with my works, as I feel now that I should have pushed myself harder. Yet having said that, I know that what I did I will actually use in my own studio, so from that perspective my samples are all very successful. And it got me to draw in my work, which is something that I only ever do in a very mediated fashion. It’s nice to see some hand drawings, though it may not happen again for a while.

As I left yesterday I realised that I was actually sad that it was over.

curtains

Melissa recounting the fun and shenanigans at the last day of the JMGA conference in Perth.

Today was the final day of the JMGA conference in Perth. It was a bit of a mixed bag, and I missed parts with gallery commitments and the odd coughing fit. I did stick around between breaks more, which meant that I got to know a few more people. And got more feedback on my paper, all of which was extremely lovely.

Surprise stand-out of the day for me was Dr Ric Spencer and his paper Interpersonal Politics (a subversive sunset). I don’t think I would be able to do justice to his work to try and explain the arc he took, but when I spoke with him at morning tea he admitted that before he spoke he was unsure as to if our crowd would follow him on his journey. He was pleased to find that we all did, and going by the questions and chat afterward, everyone enjoyed the ride.