A Year in the Making - online catalogue

A Year In The Making

Claire Townsend Brenda Ridgewell Philip Noakes Jill Parnell Sarah Elson Claire Moody Christel Van der Laan Leanne Ryan Robin Wells Jacquie Sprogoe Helena Bogucki Julie Ann Ogilvie

12 Months / 12 Themes / 12 Makers

12 Months / 12 Themes / 12 Makers A Year In The Making

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Introduction

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Essay

A Year in the Making was inspired by a desire to bring a selection of Western Australian jewellers together; to work collaboratively and push the boundaries of their normal practise. To make something bigger than themselves, while giving the viewer an insight into the narrative and process behind contemporary jewellery.

Makers were selected through my interest either in them or their work and come from different stages in their careers and methods of working; established, emerging, traditional, conceptual...

Each maker had a turn to choose the theme, then all twelve made a piece of work in response to that months given theme. Having to make to a set theme, not of their choosing, has pushed all of us outside our normal making parameters and has led to a different body of work than is normally made and shown by these jewellers.

With the jewellery industry currently driven by new technology, cost savings and time efficiency, this project aims to reconnect the audience and the maker to the handmade, emphasising the ideas behind the work. All of the work is made by hand, all 12 makers rely on traditional techniques.

The project aims to show a wider audience themes that are relevant to WA jewellers, and to promote the importance of contemporary design within Western Australia.

We wish to engage new audiences with contemporary jewellery, and give them a window into the processes and different approach taken by each artist, even when working within the same theme.

My practise and my teaching is based around engaging with other artists, the public and the broader workings of the contemporary jewellery scene. To encourage the audience to connect with, and develop a greater understanding of the preciousness and the narrative behind contemporary work is the overarching aim of this exhibition.

I hope you find the project as stimulating as all twelve participants have.

12 themes, 12 months and 12 makers A Year in the Making Claire Townsend

A Year In The Making

Essay

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Essay

A Year In The Making

Claire Townsend

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My work is an exploration around the idea of the marks we leave on each other. The notion of the ring as a symbol of commitment and beauty, countered with our influences, both positive and negative that we have on people around us. The work for this show has led me away from the ring as a focus with its many varied themes.

Connect An initial statement, to bring this new group of people together. I make two part rings often within my work so was keen to see how everyone else would interpret something I think about all the time.

A false story on the hand again; because witches always have black cats Stg silver, cubic zirconia

Brenda Ridgewell

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Being involved in this group exhibition has given me the opportunity to rethink the way I approach the conceptual development of my work. Different topics every month for a year have left me with many ideas that need to be revisited and challenged to produce new forms in the future. I have continued to use precious materials to reference the preciousness of memory and history, and repetitive elements as a reminder of the repetition within our bodies and histories.

Edges Edges are important, they are a starting and finishing point.

Some Moments Are Golden

Stg silver, 9ct gold, glass bead.

Philip Noakes

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I began my career in London learning traditional techniques in silver smithing and jewellery for five years at Sir John Cass College. Working in London I was influenced by the new movement in art, architecture and social change in the 1960’s.

I responded to each theme in a Year in the Making with my focus on traditional materials and craftsmanship.

Beauty “A story, a work of art, a face, a designed object — how do we tell that something is beautiful? And why does it matter so much to us? Designer Richard Seymour explores our response to beauty and the surprising power of objects that exhibit it.” (Seymour, 2011).

References: Seymour, R. (2011, May). Richard Seymour: How beauty feels [Video file]. Retrieved from: tedcom/talks/ richard_seymour_how_beauty_feels?language=en

Even Horizon 22ct Gold, Stg Silver, Black Spinel

Jill Parnell

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I am inspired by my surroundings of beach and parks. Enamelling is my ideal medium; being challenging, expressive and with a touch of magic in being able to create my own gems. I work from a studio at my home in Perth and regularly exhibit overseas and within Australia.

Invasive Species Generally when I catch up with my neighbour it is when I am gardening, doing battle mainly with couch grass. She, being an environmental scientist, explains that any plant out of place is an invasive species and points out a few more that I am cultivating. We check out the National Park at the bottom of our street and find many examples, one of these being Veldgrass that is being treated with a native plant friendly herbicide. We discuss a tie up between art and science and hope the pieces we do for the theme “Invasive Species� brings awareness of the problem.

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Sarah Elson

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Attention to growth, decay and renewal in my work is continued within A Year In the Making. Through the use of cast found organic materials in reclaimed metals, my work questions the nature of what is considered precious to us as West Australian’s.

These sculptural forms elicit a colour palate that reflects the raw materials of our mineral rich and bio-diverse part of the earth, gesturing a sharp, hardened danger through the shapes of symbolic soft natural beauty.

FIFO FIFO - with a reflection upon the political, social, economic and environmental impact of the Fly In Fly Out lifestyle.

Around and around and around we go The economy stops the economy grows The weight around our necks!

Weapons for a New Ecology Stg Silver and Copper

Claire Moody

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The value of the handmade and the process of making have always been important to me. Living overseas for many years allowed me to explore these notions in different cultural contexts. This body of work references these influences through the use of different materials and the application of colour or texture to the surface of the metal. By changing surface and mediums I can challenge the viewer’s perception of the material. My work will continue to change and evolve depending on the materials and objects I’m drawn to at any point in time.

The Red Centre.

Last April I was part of a group of ten family and friends who drove to Uluru.

A total of 6000km covering some of the most beautiful country I have ever seen. We free camped under the stars, often as “guests” on aboriginal land. We walked up creek beds and found waterholes that have sustained indigenous people and early settlers alike. We found rock art and early Christian symbols, all signs of different times and settlements. And amongst this raw beauty we witnessed dysfunctional communities, disconnected from all their land and culture and reliant on welfare. Something I found very hard to reconcile. And then out of nowhere, right in the middle of this vast country, rose that majestic form.

Evil Neighbours Stg silver, oxidized, enamel paint

Christel Van der Laan

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The idea of preciousness in jewellery and the pursuit of beauty in the discarded and overlooked are enduring themes in my work. Since 2008, I have been carving parts and components from ceramic honeycomb, soldering aid on the jewellers workbench. A Year in the Making has stimulated me to explore a new range of materials, most notably litter, bricks and stones found in and around Port Hedland.

The selection and organization of materials to give form to thoughts and experiences is often the most exhilarating and challenging aspect of the making process. I strive to create poetic jewellery objects where each element is transformed when it is juxtaposed with another and each plays a crucial role in the final composition.

As Good as Gold My reason for setting the theme ‘As Good as Gold’, was to initiate a dialogue about preciousness in jewellery.

Oversight Stg silver, oxidised, beach rubble, stones

Leanne Ryan

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For me the actual jewellery making process is the most captivating and fascinating – seeing thoughts and ideas develop and transform into reality.

Something piques my interest, a particular structure or form, a different technique or material which leads to an almost inescapable flight of thoughts that continue as the design develops. Ideas mutate and multiply and the original idea frequently falls by the way as impulse, serendipity and often the material or process itself determine the eventual outcome.

Identity This theme is a personal one. Being adopted, identity has always been a cause of both intrigue and angst for me. Intrigue as to what it must feel like to look like someone or share a family trait. Angst because no matter the unconditional love and attention I have always had from my family there is always a knowing that I am not of them. Meeting my biological parents later in life has been a comfort but there has been no bonding to connect into their lives and families and I know that I am from them but not of them.

The adoption triangle is complex.

Not Fitting In Stg silver, 9ct gold, copper

Robin Wells

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Growing up in a rural environment, surrounded by bushland has had a lasting impression on the type of work I like to make. In essence inspired by nature, I want the work to communicate to the wearer a narrative of my experiences and concerns living in today’s society.

Seeing the Unseen I was inspired to give everyone this theme after listening to an ABC radio program, where speakers highlighted things we’d rather not see or can’t see.

They spoke of Jelly fish plagues and asylum seekers, but overall it was a topic of conversation that resonated with me. I thought it could be explored very widely and applied to many, many ideas that should be of concern to us in the society in which we live today.

Environmental issues of microscopic plastic in the oceans and climate change, to the background stories in the production of many consumer products, such as iphones and cheap clothing were some ideas that came to mind.

Also ideas that explore everyday objects or discarded items and see a life for them beyond their normal use, repurposing objects or changing their structure and form to change their purpose entirely.

Phytophthora Cinnamomi Stg silver, oxidised

Jacquie Sprogoe

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I like to work from natural sources, taking photographs and making drawings then working from these drawings to design finished pieces. A Year in The Making project has introduced a new way of working, starting from the abstract of words rather than a visual stimulus, responding to each different theme as the months of the year unfolded.

Enamelling is my preferred medium, with so many expressive ways, and variations of application. I love the colour on metal, using fine silver for delicate or bolder colours, and copper for the rich base it gives, together with gold and silver foils. I have a preference for brooches, as each one is like a small painting or artwork, complete in itself.

Over and Above When I first thought of this as my theme for the group, I was thinking of aerial views, and the large overview of landscape. Especially as Form offered the group a trip to Port Hedland for a two days experience in their studio workshop and we would be flying in and out over the Pilbara. It seemed to offer a broad or upclose view to draw inspiration from in a more literal sense, as well as a wealth of more individual interpretations.

Pyrites – Fools Gold ( No. 2) Fine silver, enamel, gold and silver foil, pyrites, stg silver, 18ct gold, s/steel pin

Helena Bogucki

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Combining formed and found pieces, my practice reflects a passing moment or conversation. My work begins in the field. Researching; taking samples; and collecting field notes from my explorations whilst revealing fragments of Western Australias history and my role within the portrayal of these narratives. I document my collection and making process from my studio; the catalogued information and findings provide souvenirs that are often as valuable as the objects I make.

Choose your own adventure Each maker is presented with a specimen envelope containing fragments cut from second hand books and note paper to assemble a response to the contents. The freedom to interpret the fragments provided responses which portrayed both opportunity and confrontation. The same freedom presented to readers of the classic Choose Your Own Adventure book series first published in 1977. The exploration of this concept appeals to the narrative nature within my practice and suggests the potential outcomes available to the makers whilst working together during A Year In The Making.

Collections Study. Denham, Western Australia 2013 Stg silver, bronze, collected specimens, patinated

Julie Ann Ogilvie

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I am a contemporary jeweller who creates wearable objects that combine fabricated and organic forms together to create unique artworks. My practice explores the relationship between the handmade and the connections between the use of hand stitching, referencing the home, motherhood and the nurturing qualities that come from my family and surrounding bush environment.

TRAP A year in the making has pushed me out of my comfort zone, there have been times that I had a clear vision of what I wanted to achieve, excited and driven and then others when I was lost and had no belief in myself and my arts practice. I have revaluated who I am and what I am trying to achieve within my work. The last time I recall feeling like this was when I was given a theme at University and I was developing my arts practice.

TRAP is that theme Morning Glory Stg Silver, Copper, Paint, Steel

Biographies

Claire Townsend Education: 2001 Master of Art (Coursework/Jewellery) with Distinction, Curtin University of Technology, Bentley WA. Currently: Co-Owner and Educator: Contemporary Metal Studio, Osborne Park Recent Exhibitions: Sept 2013 Convergence, JMGA WA, Percolator Gallery QLD. Nov 2012 Imprint, Solo Exhibition Studio 2017 NSW. Oct 2011 Tinker, Tailor, Soldier Sailor, Artisan QLD. Oct 2007 Solo Exhibition, Katherine Kalaf Gallery, Cottesloe, Perth WA. June 2005,’ 09, ‘11, ‘13 “Contemporary Wearables” Toowoomba Art Gallery, QLD

Brenda Ridgewell Education: 1997 MA. RMIT. Melbourne Vic Recent Exhibitions: 2013: Australian Jewellery 1970 – 2012, National Gallery of Australia (touring ). 2013 Contemporary Wearables, Toowoomba QLD. 2011 ‘Tinker Tailor Soldier Sailor 100 brooches for 100 stories’ Artisan Brisbane QLD. 2011 Personal Space Defined, Gallery East Fremantle WA. 2011 Cinderella Stories, Beaver galleries Canberra ACT, Lesley Craze Gallery London, Art Site Sydney NSW. 2007-8 Beyond Metal: Contemporary Australian Jewellery and Hollow Ware, Chennai, New Delhi, Mumbai, Bangalore India, Singapore, Hamilton Gallery, NSW

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Public Collections: The Alice and Louis Koch Collection Switzerland.

National Gallery of Australia, Canberra, ACT. Toowoomba Regional Gallery, Toowoomba, QLD. Art Gallery of Western Australia.

Perth, Western Australia.

Philip Noakes Education: Trained at Sir John Cass College, London UK from 1968-72 Currently: Co-Owner and Educator at Contemporary Metal Studio, Osborne Park.

Exhibitions: Gunyulgup Gallery W.A. – 2012. Design & Tradition, Crafts Council Gallery Sydney – 1983.

Australian Jewellery in Europe - 1982 Bonython Galleries Adelaide – 1980 Robin Gibson Gallery Sydney – 1979 Public Collections: Art Gallery of Western Australia. National Gallery of Australia Canberra ACT. The Powerhouse Museum, Sydney NSW

Jill Parnell Education: Claremont Art School and West Coast College of TAFE, Carine Diplomas in Art Studies and Art and Design Recent Exhibitions: The Japan Shippo Conference 2013 The 46th International Exhibition of Enamelling Artists, Japan 2012 Wearable Narratives JMGA Central Gallery Perth 2012. All Fired up, Alister Reid Gallery Melbourne 2011 The 44th International Exhibition of Enamelling Artists Japan,2011 Public Collections: The Museum of Contemporary Enamel, Salau Spain

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Sarah Elson

Christel van der Laan

Robin Wells

Helena Bogucki

Education: current PhD candidate, Curtin University 2003 MFA Chelsea School of Art, London Recent Exhibitions: 2012 Perth Institue of Contempoary Art – PROXIMITY. 2013 Percolator Gallery, Brisbane – Convergence, A survey of West Aust contemporary jewellery. 2012 Embassy of Australia, Washington DC – Forces of Nature.

2011 solo Galerie Dusseldorf, Mosman Park, WA – rapier lehmanni.

2011 solo Perth Institute of Contemporary Art – phloem poetical Public Collections: John Curtin Gallery, Perth WA. Janet Holmes a Court Collection, Perth WA

Education: 1998 Diploma of Art & Design/Jewellery, West Coast College, Carine, Perth, BA(Hons) Murdoch University WA Recent Exhibitions: 2013 Bodywork: Australian Jewellery 1970 – 2012, National Gallery of Australia (touring).

2012 Intergalactic, Dunedin Fine Arts Center, Florida, USA. Represented by Charon Kransen Arts. 2012 Design = Wzornictwo, Design Centrum Kielce, Kielce, Poland. 2012 Collect Saatchi Gallery, London, Galerie Louise Smit. 2012 20 Years: Rhianon Vernon-Roberts Memorial Collection of Contemporary Australian Jewellery Art Gallery of South Australia, Adelaide, Australia. 2012 International Jewellery based on Ready-mades, Skien, Norway. Public Collections.

National Gallery of Australia, Canberra ACT. Art Gallery of South Australia, Adelaide. The Powerhouse Museum, Sydney NSW. The Alice and Louis Koch Collection, Switzerland

Education: 2002 Certificate IV in Gemmological Studies High Distinction Gemmological Association of Australia (Victorian Division). 1990 Bachelor Arts, Visual Arts Jewellery, Metalsmithing, 3D Design Curtin University of Technology.

Recent Exhibitions: 2013 The Ring Studio Ingot Fitzroy, Victoria. 2012 to 2014 Tinker Tailor Soldier Sailor Curated by Artisan Gallery, Fortitude Valley, Qld Touring Nationally . 2012 Wearable Naratives Central Gallery, Central Institute of Technology Perth, WA. 2011 Contemporary Wearables 2011 Curated by Toowoomba Regional Art Gallery Touring nationally. 2011 Love Lace Powerhouse Museum Sydney, NSW

Education: 2004 Certificate IV Event Management (Arts) 2003 Bachelor of Arts (Visual) Honours, Edith Cowan University, WA. Recent Exhibitions. 2013 Breathe Into, COTA, Sydney, NSW. 2013 Very Simple Proofs; The Trivial Ring; Studio 20/17, Sydney, NSW. 2013 Convergence JMGA WA Survey, Percolator, Brisbane, QLD. Paper, Cotton, Wood, Leather. Midland Atelier, Midland, WA. 2012 (solo) SS Koombana: Oceans and Secrets, Port Hedland Courthouse Gallery and FORM, Perth, WA. Field Notes From Tabekistan, Stairwell Gallery, Tu, Northbridge, WA. 2008 (solo)Helena Bogucki presents a Field Guide to Collection, Distracted, Perth, WA Public Collections: City of Perth, WA. Art Gallery of Western Australia, WA. Midland Redevelopment Authority, WA. Edith Cowan University Collection, WA

Claire Moody Education: 2012 Certificate 11 in Jewellery Manufacture, Central TAFE, WA. 1984 Bachelor Applied Science, Curtin University, Western Australia. Recent Exhibitions. 2013 Convergence, Percolator Gallery, Brisbane, JMGAWA. 2012 Gallery Central, Perth, JMGA WA Wearable Narratives. 2011 Heathcote Gallery, Mt Pleasant, WA, Eight. 2010 Gallows Gallery, Mosman Park, WA, A Taste of What’s to Come. Brisbane Grammar School Annual Art Show, Contrast. 2009 FORM’s Illicit Making, Perth, Western Australia.

Jam Factory Contemporary Craft and Design, Adelaide, South Australia, Link Group

Leanne Ryan Education: 2012 Certificate II in Jewellery Manufacture TAFE Central Perth Recent Exhibitions: 2013 ‘Convergence’ JMGA(WA) Curated Members Exhibition JMGA 15th Biennial Conference, Brisbane QLD. 2012 Wearable Narratives Award Exhibition JMGA WA Gallery Central, Perth WA. 2011 ‘Out to Play’ Group Exhibition Mundaring Arts Centre, WA. 2011 Contemporary Wearables ’11 Toowoomba Regional Art Gallery.

2010 “20-10” National JMGA Members Award Exhibition Perth Galleries, North Fremantle, WA. A Year In The Making

Jacquie Sprogoe Education: 1970 – 1979 Dip. of Art Studies, Claremont School of Art., BA (Craft Design) WAIT Recent Exhibitions: 2008 “ Landscape of Longing” Ravenstein, Holland. 2011 “Painting with Fire,” Brisbane, Queensland.

2011 “Tinker Tailor Soldier Sailor” Invitational National Touring Exhibition (2011-2014). 2012 “Wearable Narratives” JMGA(WA) Central Gallery (Technical Excellence Award) 2013 “Participate” JMGA National Conference Exhibition, Brisbane, Queensland

Julie-Ann Ogilvie Education: 2001 Bachelor ArtsJewellery 3D design, Curtin University of Technology. 1999 Certificate of Gemmology, Institute of Jewellery & Gemmological Science Malaysia Recent Exhibitions: 2013 Convergence, Percolator Gallery Brisbane QLD. 2013 Summerset Jewels, Maureen Grierson Community centre. 2012 Wearable Narratives, Central Gallery. 2011 “Meticulous miniatures”, Mundaring Arts centre. 2011 Contemporary Wearables ’11 Biennial Jewellery Award and Exhibition, Toowoomba Regional Art Gallery (Tours nationally throughout 2012)

Contact

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Claire Townsend contemporarymetal@iinet.net.au 0439762647

Robin Wells robin@robinwellsjewellery.com.au robinwellsjewellery.com.au

Brenda Ridgewell brenda.ridgewell@yahoo.com.au 0409198233

Jacquie Sprogoe jsprogoe@bigpond.net.au

Philip Noakes contemporarymetal@iinet.net.au 0417 956 803 Jill Parnell jillparnell@bigpond.com

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Helena Bogucki collect@helenabogucki.com helenabogucki.com Julie-Ann Ogilvie jamacc@hotmail.com

Sarah Elson sarahjelson@hotmail.com 0407131861 Claire Moody claire@clairemoody.com.au clairemoody.com.au Christel Van Derlaan cvan_der_laan@hotmail.com christelvanderlaan.com

Leanne Ryan

leanne@globaldial.com

A Year In The Making

A Year In The Making

12 Months / 12 Themes / 12 Makers