Melissa gets Noisy with Part B, and with Turbo. It’s all in the name of good, LOUD fun 😉

There are some great images up at the Part B blog about the recent opening to the wonderfully titled Noisy show, curated by Part B chief Christine Scott-Young. I really wish I could have been there – or could get there now, cos my fingers are itching to press the ‘Everything… all at once’ button.

Melissa Cameron, Line/Planes II, 2013. Stainless steel, 925 silver. Image © Melissa Cameron
Melissa Cameron, Line/Planes II, 2013. Stainless steel, 925 silver. Image © Melissa Cameron

Distinctive noises have been on my radar since I made my piece for the Noisy exhibition. Normally it’s not something I consider in my work, but this time around I was obviously obliged to try and ramp up the volume of a piece. Noting the increase in timed photo-sharing apps of late (there’s a craze for it amongst a few of my Seattle metalhead friends – you know who you are!), I went old-skool a day or so ago and sound-bombed Turbo with this little beauty.

Having recently received a Type A pen for my birthday, (thanks to Arthur Hash’s blog for the heads up) the noise is actually what this little beauty makes when it opens. It has such close tolerance you can really get a loud pop from the seal when you pull the pen out fast.

Simple things…

Elizabeth Turrell @ RMIT

My good friend Elizabeth Turrell is going to teach an enamelling course at RMIT University in July, entitled Enamel Surfaces – Add and Subtract. Having done a three-day version of this workshop I can honestly say that it changed my career. Elizabeth is an excellent… I was going to say teacher, and while that is true, she is possibly, and more importantly, an even better facilitator. When I look at the output of those three days I am still quite amazed that the samples that slipped from my hands during that workshop were actually authored by me.

Elizabeth Turrell, detail from The Writing on the Wall, 2012. Photograph used with permission of Elizabeth Turrell
Elizabeth Turrell, detail from The Writing on the Wall, 2012. Photograph by and used with permission of Elizabeth Turrell

For some great images of her work check out her posts on the Heat Exchange blog. The course runs from the 17th – 21st July 2013.

Deadlines May 2013

Deadlines May 2013. Get ’em while they’re hot!

***** Now with even more new additions ***** (as at June 1st! 24th of May, Australian time. 23rd May US time.)

Upcoming opportunities to exhibit, learn, earn or perhaps even teach, from all over the world, including the internetz.  ** New additions

Undated Opportunities

** Studio 20/17 seeks guest curators. Zoe Brand was a one-woman boon for Sydney art jewellery, but she’s now in Canberra, so Australia, get onto it, there’s some BIG shoe to fill!

Patina Gallery seeks Master International Artists. Make ‘Soul-Stirring’ works? Wanna be one of 3 artists added to their stable? No deadline, but post went up Jan 23rd, so perhaps sooner rather than later?

Tributaries: Call for entries. The Metal Museum, in Memphis, has an ongoing call for exhibitions from emerging and mid-career artists. First deadline Feb 2013, for upcoming shows, and they keep applications on file for 2 years.

The Imperial Centre for the Arts + Sciences in North Carolina have a permanent exhibition call out, with shows booked 2-3 years in advance.

Lord Coconut in Melbourne has outdone himself by publishing this listing of opportunities for artists in his gallery. As ever, this is to exhibit jewellery for men. Thanks to Karen at Melbourne Jeweller for the heads up.

Opportunities with deadlines

** Maine College of Art – Artist in Residence in Metalsmithing and Jewelry. Application reviews begin May 20, 2013.

** Brooching exhibition – concurrent show with Art Verona, Italy. Deadline for expressions of interest, June 1st 2013.

** Signature Work, online exhibition on Crafthaus. Open to members and non-members. Deadline June 1st, 2013.

** New book on enameling in the making! CALL for Artists! Deadline June 10th.

Cheongju International Craft Biennale. South Korean competition and exhibition. This year’s theme: Something old, something new. Prize money amounts, and amount of awards being made have changed since 2011, with more money for less artists being the general trend (this info is available under the 첨부파일 (2) link which appears just below the ‘Attach Entry Form’ link, which is all on the landing page from my link above). June 13, 2013

Making Jewelry Magic with the Orion Pulse Arc Welders: OK, so it’s just a class at the Southern Highland Craft Center in Asheville, NC, but I really want to go. I’ve been stopping into Orion’s page a lot of late (Tony Price – whoever that is – still keeps on trying to engage me with chat each time I open the window…) so when I saw this I was already primed to go. Anyway, it’s only $110, and on June 22nd and 23rd 2013.

Craft and Design Enquiry have a call for papers for their OPEN section, for Issue 6, 2014. Deadline for submission June 30 2013.

AJF Emerging Artist Award. The 2013 edition of this competition closes midnight on June 30th.

** Play for Display. Open call out for jewellery to be displayed and ‘played’ – worn by gallery visitors. In conjunction with Göteborg International Biennial for Contemporary Art, it will go on show at gallery Four. Deadline June 30th 2013.

** Lewton-Brain Foldform Competition 2013. Competition with a $25 entry fee, judged by the man himself – with others. Deadline: Midnight U.S. ET on Monday July 1, 2013.

** Enjoia’t 2013. Prize for Contemporary Jewellery Making. First deadline July 12th 1013.

Participation and Exchange – 2013 Jewellers and Metalsmiths Group of Australia conference in Brisbane, Australia. Conference dates: 12-14 July 2013, with early-bird registrations open now!

** Enamel Surfaces – Add and Subtract. Workshop with enamel artist Elizabeth Turrell @ RMIT University in Melbourne. (more) Dates 17th of July – 21st July 2013.

** Leap Awards for emerging craft artists, courtesy of the Society for Contemporary Craft, Pittsburgh. Deadline October 1, 2013.

Snag y’all

I’m off to Snag in Toronto tonight. I booked a red eye – much against Cameron company policy (yes, that is just me, but it sounds more professional, yo), in the days after my last trip to Australia when the thought of more connecting flights was still too traumatic to contemplate. But now I get in at 7am-ish, and that’s possibly just as bad an idea… Still, it was the only direct flight from Seattle.

Enough trivialities! I am busy making, as well as doing a pewter spoon course (see below). I bought some pewter dishes to work with recently (not really intending to, but you can hardly buy pewter by accident, you know what I’m saying?) and this course happened to be running at Danaca Design (a local jewellery workshop that offers night classes) so for the last two Monday nights I’ve been learning the dark arts of pewter-smithing. The Chubby Bubby spoon is my (as yet unfinished) first attempt.

Melissa Cameron. Chubby Bubby Spoon. 2013. Image by Melissa Cameron
Melissa Cameron. Chubby Bubby Spoon. 2013. Image by Melissa Cameron



Melissa went home to Perth, and then home to Melbourne, and now is back at home in Seattle. Confused? So is she…

View of Perth from the South Perth foreshore. Next time we meet, get me to tell you the one about seeing Sir Bob Geldof only minutes before this picture was taken...
View of Perth from the South Perth foreshore. Next time we meet, get me to tell you the one about seeing Sir Bob Geldof only minutes before this picture was taken…

Yes, as mentioned, I went from Pittsburgh to Perth in about 6 days, via Seattle (and a few other stopovers of course,) and once I was there I had more work to do!

On Tuesday the 19th of March I gave a lecture on my work at Contemporary Metal in Osborne Park. I completely forgot to take any photographs while I was there, but I spoke to about thirty people on the night and had my work on display in their gallery space for a few days afterwards also.

As I mentioned previously the space has not long been open, though from what I can tell it’s off to a flying start. It is a really lovely, welcoming studio, with lots of room, basic benches and tools around the place as well as a dedicated hammering room, a couple of rather large looking kilns and a dedicated chemicals room.  They have now got their website up, and the list of scheduled classes is already pretty long. It includes basic and more challenging courses for beginner right through to experienced makers, and to my eye they are all very reasonably priced.

I also bumped into one of the artists I featured in last year’s Coming Up From The South exhibition on Crafthaus, Sarah Munday. She is recently back from a long trip to the UK and has begun working again, using the studios at Contemporary Metal as her base. She too has recently set up a new website for her work, much of which seems to involve a shiny new toaster oven… Artist jewellers and their tools; there’s a research topic going begging…

Turbo and I had a quick stop through Melbourne too, where I got to check out the the 2012 Cicely & Colin Rigg Contemporary Design Award at the Ian Potter Centre (otherwise known as the NGV Australia), and as luck would have it I also got to see a painting by my favourite WA artist, Howard Taylor. It was being exhibited as a part of the current exhibit The Joseph Brown Collection – staged in the gallery next-door to the design award. I also made it to Craft for the Signature Style jewellery show as well as a bunch of venues around town for some comedy, thanks to the festival. Comedy Festival time is my favourite time of year in Melbourne, so I was very happy with my handful of days.

And now? Seattle. Til next week. The SNAG conference is in Canada this year, don’t-you-know?

Gilty – Claire McArdle strikes gold

Melissa misses out on seeing Gilty in Melbourne. Lucky Claire McArdle has made a video to share the event. Read on…!

I dunno.  What reason is there to create more jewellery in a world that has already produced this? It’s wonderful, playful, hubris-destroying genius. Congratulations to Claire for the masterful execution.

For more, check out Claire’s blog (especially for the two essays by Zoe Brand), and Melbourne Jeweller’s take on seeing the exhibition on the day before it closed.