Imagine

The irrepressible Boris Bally has been gathering a sizable cohort together around a shared passion – the erasure of guns in this country (the United States), under the exhibition The Innovative Merger (of) Art (and) Guns (to) Inspire New Expressions (of) [or I.M.A.G.I.N.E.] PEACE NOW!!

Clunky title aside, it’s a really interesting project. Months ago he sent out disarmed firearms to metal artists all over the world, who got to work on transforming their ‘pieces’ into new works. You might have already seen the process of other artists, including Dauvit Alexander’s inspired work on Crafthaus, or perhaps the many pages of images of finished pieces up on Facebook.

Well, the next step, before the actual launch of the exhibition (those of you undecided about going to East Carolina University’s annual symposium might just have found one more reason to hitch up the trailer and head over there in January) is to create the catalogue, and for that one, we need your help.

Boris has just launched a Kickstarter campaign to raise funds for a catalogue that will be worthy of the hundreds, nay, thousands, of artist hours that have already gone into the exhibition so far. We have a big sum in mind, but to make the kind of change that an exhibition like this has the potential of doing, the only option is to go big, or go home.

So please think about donating to this campaign, so we, as a metals community, can add our voices to those already speaking out against the violence that seems to be continuing unabated in this country, and around the world.

xx m

Tomorrow night!

“San Título”, courtesy of Cristina Celis and Sin Título
“San Título”, courtesy of Cristina Celis and Sin Título

Two things..

Sin Título is opening their new studios in Mexico City tomorrow night, and with it they open an exhibition of jewellery for their patron saint, San Título. (Head back in time and read what happened when I met with them last year, and the event that kicked off this collaboration.) During last year Part B teamed up with Sin Título to work on a project together. We have created jewels for the saint, photographed them in Melbourne (and Seattle…) and these will now be displayed on the walls of Sin Título’s new digs in their first studio exhibiton. If you’re in Mexico, please check it out!

Jueves 30 de abril – 7pm
“Sin Título” Estudio de Joyería
Dr. Mora 9, 2o piso interior 22
Centro, Cuauhtémoc
México, D.F.

– A quick reminder that I’m giving an artist lecture tomorrow night at Bainbridge Island Museum of Art.

“Join artist-jeweler Melissa Cameron as she presents her work through images and words in the BIMA Auditorium. This event is a special Meet the Artist presentation in conjunction with her 2014 Artist Fellowship through Artist Trust. Thu, Apr. 30, 2015 6:30pm — 8:30pm”

Doors open at 6:30pm | Reception with light food and beverage | Admission is free of charge with advance reservation.

Bainbridge Island Museum of Art
550 Winslow Way E.
Bainbridge Island, WA 98110

And yes, discard my last few days of complaints via social media; I have found my voice and I will be able to speak tomorrow. See you there!

Deadline Extension

Hey! There’s still time to get on board this one as Sienna Gallery have very kindly given emerging artists and writers an extension to Saturday the 7th of Feb. Hup hup!

The Emerging Artist Platform Award + The Emerging Writer Platform Award from Sienna Gallery. Submission start October 1st, entries due Jan 31st, 2015. Feb 7th. Ignore the dates on the website, it was posted on their Twitter feed and the CaFE site.

Good luck!

Aaaand we’re back

Melissa Cameron Point Line Plane Pendant XII, 2012. Stainless steel, vitreous enamel, 925 silver. Photo © Melissa Cameron.

The keen observer to this blog will any have noted my rather laissez faire attitude posting over the last couple of weeks. Turbo and I were back at “home” in Perth and Melbourne (Perth for family and wedding business, Melbourne for, well, Melbourne!) for a couple of weeks. There was jewellery involved – mostly for the bride, which did also include a little something blue that I completely forgot to photograph. While minimal so as not to interfere, the sterling bracelet did sport a number of stainless quatrefoils – enamelled blue of course.

While in Aus, and just before, I was able to replenish stocks of my works in Bilk gallery in Canberra as well as in artisan (m)art in Brisbane. For Artisan it has been a loooong time between drinks, which is completely my fault, but I hope those of you in Queensland can forgive me. These are all pieces from the new La Geometrie series (such as the piece above, currently at (m)art), which were first exhibited in Sydney at Studio 20/17 at the beginning of the year. Of course they still have a great range of works too in this and the previous The Sieve series. Speaking of The Sieve, Sterling at Gaffa, also in Sydney has a few silk-and-steel/titanium limited edition pieces also from this collection.

As for Melbourne, I’m sorry to announce that I am no longer stocked at e.g.etal gallery, but I hope to find a new space there soon. In the mean time I am taking commissions directly, of which the first is a very exciting opportunity I have been given for a ring and bracelet. More on that project very soon!

Arrgh!

I’m running late on ye olde blog post this week, sorry y’all. I don’t like when people use the b*** word, but there’s been shenanigans afoot at the Aussie Embassy to Queen Anne and South Lake Union, which has taken up much time, as well as … dare I say it… precipitated some downtime. (Or as we prefer to say here, we were out of the office on official escort duties.) These were of course all tied to comings and goings at the Embassy.

Work has progressed, mostly unseen, and mostly tied to the reams of deadlines coming up at the end September. I’m getting into my Ferrous application with works I finished in time for my afternoon tea a little while ago, and had to post some earrings to Bilk for an upcoming show in their Canberra Gallery (see image below), of course not to be confused with this, their show at Incinerator Gallery in Melbourne. And then there is new work for this year’s futile entry into Schmuck.

While I’m here, another big congrats to Kaoru Rogers and Amy Zubick (who coincidentally happen to be exhibitors in my online show Coming up from the south) on their recent success at the NCJA awards. The Coming up from the south exhibition runs for another 10 days, and has itself garnered some great and some unusual feedback, which I mentioned earlier and which I still encourage you all to read, especially if you’re a fan of Claire McArdle’s awesome Public Displays of Attention series.

Finally, the big show I’ve been working on opens in less than 2 months!! It’s my first US solo outing (admittedly with 2 other soloists – so it’s more of a one third of a trio show really) and I’ve got one more work, and a bunch of wallpaper, to make. Arrgh!

Melissa Cameron Point earring II, 2012. Stainless steel, vitreous enamel, 925 silver posts. © MC

The countdown is on

Happy New Year everybody!

Right now, (in fact, I began last week) I’m making work for a bunch of shows that are set to open in the first four months of this year.

I’m in the Transformation 8 exhibition – which I’ve referred to as the Elizabeth R Raphael Founders Prize before (since last year’s competition resulted in what they’re exhibiting in the show) which opens shortly. That’s been on the cards for a while now so that work is completed and arrived in the US early last month, in preparation for imminent display.

Hosted by, and located at the Society for Contemporary Craft in Pittsburgh, it runs for ages, and for at least part of that time the SCC is simultaneously running a charm show called Charmed III – Third Times a Charm, in which I was also invited to exhibit. As myself and the illustrious Jill Hermans have designed and created a bunch of charms in the last six months, for the upcoming JoyaViva exhibition in Melbourne (and touring – possibly for-ev-er), we decided to exhibit some more of those little beauties, which, luckily for us, the SCC accepted. So, at the moment I’ve just finished a couple of those cards ready for enamelling, and Jill is preparing two more of the same. Yes, these ones are getting the royal treatment now that the kiln is up and running.

So of course, one of the shows soon-to-open is the actual Joyaviva show, beginning on the 10th of February at RMIT gallery in Melbourne, and touring. We’re in the final stages of our part for that exhibition – the work is ready and the catalogue is in produciton.

When you look at it in terms of what’s actually on my bench, the main pieces that I’m working on right now are for my upcoming solo show at Studio 20/17, opening at the very end of Feb. I’ve drawn, emailed, received and started working with a new laser cut plan that I created for these works, with an aim of the show also being to display this laser cut pattern. I’ve been wanting to do this for a while, but this is my first opportunity to exhibit both a full iteration of the pattern that I draw for each series, alongside all of the pieces that come from it.

This time in creating the pattern I’ve worked with the idea that various sections are to be enamelled, and come up with what might be seen as a tiled arrangement of parts. I have made a break from the radial arrangement of motifs, which dominated all my previous laser cut series (and many of my hand-cut works too, though this too has been changing over the last year…), and this development, along with all of the other considerations of the series, is proving stimulating for me to work with.

Now to the final exhibition, being mounted in late April. The Heat Exchange exhibition goes on display in Phoenix, Arizona, as a part of this year’s SNAG conference. The works that I am preparing for my solo show will provide some of the pieces for this exhibition – especially the object works that come out of the new pattern. I will also work on a few more pieces for this show, but only once the works from the first full pattern are in the bag.

So, with all this work to do, you might not see me haunting these parts quite as frequently as I have done. There will still be updates to the Heat Exchange blog as well as the C3 blog (for the Joyaviva exhibition) as well as an upcoming Online Exhibition that I’m curating at Crafthaus, so don’t fret, we won’t have to be strangers 😉

Upcoming deadlines

The Alice Prize, deadline Nov 4th

CU|29: Contemporary Work in Copper, deadline Nov 18th (by regular mail)

Stanthorpe Art Festival 2012, deadline Nov 18th (Thanks to Jill for this one)

REFINED VII: Inspiration, deadline Nov 21st – I’ve been in this one, as have other local artists (I think?)

Society of North American Goldsmiths: The Body Adorned, deadline Dec 9th

and the big ones – both due Jan 31st next year

Creative Australia Fellowships – Young and emerging artists
and
Creative Australia Fellowships – Established artists

Good luck y’all!

gold diggers

Over at the MSJA, website a post has just gone up in which they have compiled a bunch of resources on “Coping with High Precious Metal Prices”.

Now some of the suggestions are rather unusual – (have you ever though about using water buffalo horn as an ‘alternative material’?) or obvious (have you thought about just using less gold?)  but there appears to also be some ‘gold in them thar hills’ (if you’ll excuse the rather too-irresistible pun.)

There’s some useful info on stainless steel and other steel alloys, and of course the timely reminder of making sure you have up to date precious metal prices when pricing or quoting in such a volatile market. I don’t use silver plate as often as I used to, so what little I have in stock is at least 2 years old. I shudder to think of the price change in that time, but I also know I can’t afford to replace it if I base my pricing on my 2009 costs.

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t t tax . . .

aaaarrrggggggghhhhh!

This is my second day straight of entering all my tax data into a spreadsheet. I have an appointment with my accountant coming up, and like any exam, you have to walk in prepared.

Through this process I’m finding some interesting facts about my business (and therefore my life). Aside from the regular tidbits like; I should have remembered to download my banking data every three months as suggested (thanks bank, for telling me that noooow), so as to not have to trawl through individual monthly statements. Among the slightly more interesting things is this one – while I thought I had a pretty busy year, it looks like I still managed to find plenty of time to hang out at Koodak.

I now find myself looking back on the good old days, when I had my interior design business. I could walk into the accountants office with one pile of invoices and another of receipts and be done with the whole thing in half a day. Including the data entry.

Though back then some of my most creative acts were coming up with the figure that would appear in bold at the bottom of each quotation.

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