Melissa is in a show in Melbourne. Well, her earrings are. She herself will be in Munich, or Bristol, depending on the day…
Part B have a show opening this week in Melbourne, at Mailbox 141 in the city. One earring from a pair of my Sieve series is included alongside works from a group of other ‘Particles’ during the first two weeks of this show’s four week run. At the end of the second week there will be a changing of the guard, and a second set of works will be installed. So to see my piece, you’ll have to get in quick!
Jewellers on show during the first period are:
Melissa Cameron Jacqui Chan Ali Alexander Christine Scott-Young Justin Siow Karen Thompson Helen Dilkes Jana Roman Stephen Robb Femi Coppi Regina Middleton Justine Austen Susan Frisch Claire Mcardle Pam Chan Jill Hermans Sarah Blundell Jin Ah Jo Dianne Beevers
And during the second:
Karyn Nankivell Misako Sakai Mary Hackett Inari Kiuru Coconut Lu Jessica Morrison Kathryn Wardill Annie Broadway Joanna Harris Macneil Suse Scholem Lynn Jacob Michelle Kelly Lindy McSwan Tassia Joannides Eva Gaitatzis Gillian Hillman Rebecca Hannah Puneet Jodhka Lucinda Knight
The exhibition is open Monday to Saturday from the 1st of March, with the first opening this Thursday the 3rd from 5:30pm. Get along!
I am currently in Berlin, and will post about the jewellery galleries here that I’ve visited soon, but I’m going back in time to last weekend where we spent a glorious sunny day wandering around the city, and into CastelloSforesco. We headed there after seeing a sign in the underground about una mostra (a show) on the architectural drawings of Michelangelo Buonarotti. I couldn’t resist that, so we headed off to check it out.
Turns out that the permanent exhibition of the architecture and artifacts of the castle is also pretty amazing. They have managed to unearth some of the original frescoes, including some that are reputed to be by the hand of a relatively unknown bloke, Leonardo.
I really loved the exhibition design, possibly even more so because it was not what I am used to in the display of historical artifacts. The placement was affecting – both in terms of their position in the layout of the room as well as the proportions and style of the plinths, and their manufacture. Natural light was used well, and pieces such as busts were mounted so you could see all around them, and look them in the eye.
The armour (which I thought I’d already seen enough of in Venice at the Doge’s Palace) was also carefully considered. In the lean of the spears you could almost feel their heft. The armour, held aloft as if its owner had just slipped out of it, was positioned right next to a cluster of spears, which gave you a better idea of the size of person who would have been hauling one of these monsters about.
Overall, the use of such thick timber in the installation added its gravitas to that of the works on display. It was as if the weight of history within the walls of the castle was literal, and necessitated both modern skill and brawn to carry it with any sort of conviction.
And yes, Michelangelo’s drawings were pretty impressive too. By then end of that show I got a feeling, from the many abandoned and unfinished projects they had on display, that his full potential in this arena was never materialised. It felt a little like the curators were trying very hard to make his architectural legacy more than it actually is. I guess they could be forgiven this, given he was such a multi-talented bloke. Though that impression could also be down to some interesting and flowery translations of the curatorial texts that lined the walls. In the end I gave up reading and let the drawings do the talking. Probably how it should be.
News in from Melbourne and Slippery Rock, PA yesterday. I’m in two upcoming juried exhibitions: the Toyota Community Spirit Gallery Emerging Artist Exhibition with three works, and with one in Recontextualizing the Found Object, being held at Martha Gault Art Gallery in Slippery Rock University.
I had entered recycled object works in both shows (What, really? When the show has a title like ‘Recontextualizing the found object’? I know you’re shocked…) so they will be winging their way around the country, and the globe.
Both start next month, so my little mail fairy back in Melbourne is going to have a busy time! Thanks mail fairy 🙂
So, we’re rocking through the Doges Palace museum here in Venice, and the Hieronymus Bosch’s have all been shipped down the … canal, to their own show. Left in the room is another artist’s depiction of hell, which is also very Hiery (if I may be so bold as to call him that) and a Quentin Metsys (1465-1530) called The Mocking of Christ (Il Cristo Diriso), which is an oil painting on wooden board.
What stands out in this painting, is, wait for it… The jewellery. It is exquisitely rendered, and so very un-Roman. They wouldn’t have made pieces like this, and couldn’t have made pieces like this. But, wow, they’re good. Well, the picture is good. I sometimes think it would be nice to produce lovely renderings of jewellery, and if I ever decide that I’m actually going to do it, I’m going to spend more time looking up this Mestys bloke.
In other news, within the Peggy Guggenheim collection, the couple of pieces of Alexander Calder’s works that are on show are very impressive. There’s an image in the gallery of her with some of his earrings on too. Wonder where they are?
Melissa is doing a residency in the UK in March. Check back to see what she gets up to!
Sorry about the abrupt silence on the blog, I’ve been running around like the proverbial chook…
Suffice today I’m off tonight, via a small detour in Perth, and will hit Venice next Tuesday. I will be posting again once I hit the UK in March, to keep everyone up to speed with what I’m up to while ‘in residence’, at the Centre for Fine Print Research in Bristol.
Melissa is lost for words, but with this many images, who needs ’em anyway?
or, what goes in must come out.
Grit. Goes in. When spent, gets vacuumed out again, ends up as dust in white bag. (Like the warning says, be sure to wear appropriate dust protection.)
In the middle section – you know, between in and out – it gets used to BLAST!
Once grit is in, is falls to the bottom and waits to be cycled up into the nozzle. To get to the nozzle, needs compressed air (as in yesterday’s post). To have vacuum on, and see what I’m doing, needs power.
Melissa lets us in to the crazy world that is her sandblast cabinet…
I’ve decided to do a series of “getting to know you” posts about some of my equipment. The idea came from some ruminations I’ve had of late, chiefly how I might leave instructions for another person to use my studio when I go away. I figured that photos documenting some of the less self-explanatory procedures might be interesting, and indeed useful for others should they ever have the need to work with similar equipment.
So, he goes episode 1. My sandblaster: can we get some air in here? Talking compressor volume…
It’s attached to a Peerless P14 air compressor (below), which has a 55L holding tank and shoots out 275 litrrs of air (clear air delivery) a minute at 100 PSI. That’s barely enough for my greedy sandblaster, but we generally manage ok. (Aside from the couple times that I’ve overheated it and it has shut off til it cooled down properly.)
Good compressor maintentance is all explained on a sticker on the unit. Check oil daily, run direct from a power point – not off a board, don’t restrict air flow etc. I also drain the tank of air daily from the bottom of the unit, to get all the dirty/rusty water out of the bottom of the tank.
You can change the pressure of air coming out using a knob on the machine, which is attached to a meter so you can see what the pressure is. There is a second gauge to see what the pressure is in the tank. I look at that one pretty frequently to see if the motor is about to start up again, since it’s a little deafening to be standing next to, which I constantly am when I’m using it. (Ideally the tank would be somewhere else, outside and far away from me being the most preferable location.) Using this unit I always wear ear protection. Even just to empty the tank. That hissing noise is pretty annoying!
Owing to the fact that the compressor cycles continuously when I have the sandblaster going, I also give it frequent breaks, so it can catch up with me. This stops the machine from getting angry (read; overheating) and in the long run, me from getting angry at the machine.
Coming soon: True grit! otherwise known as What goes in, must come out…