ROBERT BAINES
INTERVENTION OF RED BRACELET, 2003
Silver-gilt,powdercoat
205 × 32 × 32 mm
Collection:Schmuckmuseum, Pforzheim,Germany
INTERVENTION OF RED BROOCH, 1997
Silver-gilt,collectedobjects, powdercoat
30 × 50 × 19 mm
Collection:MuseumofArtsandDesign, NewYorkCity,UnitedStates
INTERVENTION OF RED
The Intervention of Red is a jewellery account. Jewellery, the document in question, offers a view into cultural descriptions of history. These descriptions are the stylistic configuration of iconography. Each jewellery piece has its own historical/cultural location. They have a visual genre with a chemical and methodological correctness. The stylistic and material data of each jewellery work identified becomes the basis for authentication by curators/conservators/jewellery historians. In the diagnostic purpose there is the expectation of an archaeological correctness within the fabric and manufacture.
This paradigm is upset in The Intervention of Red by the intrusion-inclusion-interruption of the colour red, and furthermore by the possibility of its substance. The inclusion becomes an impediment and an upheaval within the orthodoxy of the classifier. A perceived genre or style is challenged. The substance of the red has no specificity to the time location. The material condition of red is not located within any historical period. Substances of glass, plastic, foil, paint and found objects become a confrontation and a vehicle for colour, offering new vantages for signage for what preexists.
Not drawn to the preciousness of some gemset jewel but to the intrusion into something that was previously correct the observer is called to a new preciousness–the richness of plastic, glass–Coca-Cola. Rather than questions of clarity, faceting and cut, one asks ‘Is that Coca-Cola?’
INTERVENTION OF RED
THE LOST ‘DA CARRARA’ BRACELET, 2010–11
Silver,silver-gilt,plasticreflector,gold,paint 115 × 122 × 100 mm
Collection:NewarkMuseum,Newark,UnitedStates
MEANER THAN YELLOW
RETURNING TO THE JEWEL IS A RETURN, FROM EXILE 1, EXHIBITION, 2009
EinsäulensaalderResidenz,Munich
WHITER THAN RED BROOCH, 2006 Silver,powdercoat 67 × 107 × 55 mm
ENDANGERED PINK
NECKPIECE, 2014
Silver,electroplate,powdercoat,paint
43 × 180 × 280 mm
FALLALERY
BROOCH SNAKE, 2012
Silver,electroplate,powdercoat lacquer,collectedobject
121 × 121 × 22 mm
Silver,electroplate,powdercoat, lacquer,collectedobject 135 × 135 × 15 mm(withchain430 mm)
FALLALERY
NECKPIECE SNAKE, 2018
FALLALERY
PENDANT SEA HORSE, 2014
Silver,electroplate,lacquer,collectedobject 365 × 130 × 35 mm
PERCEPTIONS
NECKPIECE No. 1, 2015–16
Silver,electroplatepowdercoat,paint
180 × 175 × 90 mm
PERCEPTIONS
NECKPIECE No. 5, 2018
Silver,electroplatepowdercoat,lacquer 150 × 152 × 75 mm
PERCEPTIONS
MEMBERSHIP No. 6, 2018
Silver,electroplate,lacquer
40 × 46 × 18 mmto56 × 60 × 15 mm
TREASURY OF EVIDENCE
ARMBAND, 2009–10, GURGAN, IRAN, C. 11TH CENTURY
Silver-gilt
90 × 90 × 110 mm
The first armlet in Armbandits is silver-gilt and possibly from Gurgan and appears to have a very close likeness to the armlet depicted in Metropolitan Museum postcard.