PIC 3 Mediation through Objects: How does the practice of Narrative Art Jewellery inspire connection whilst reflecting our human tendency to make sense and meaning of the world through objects?
Evelyn Mae Watson
Submitted to Hereford College of Arts In partial fulfilment of the requirements For the degree of BA hons Contemporary Design Crafts CDC – HECD6020
Validated by the University of Wales Trinity St David
Edited Word Count: 5490 Full Word Count: 6689
List of Illustrations Figure 1: (Francesco Calzolari, Museum Calceolarium (Verona, 1622) In: Patrick, M. (2002) Cabinets of curiosities. London: Thames and Hudson. Pp. 14-15. Figure 2: Cornell, J. (1940-42) ‘Solomon islands’ Box Construction; 2 ½ x 17 ½ x 12 5/8 inches (6.5X44.5X32CM [closed] In: Hartingan, L.R. et al. (2003) Joseph Cornell: Shadowplay eterniday. London: Thames & Hudson. Pp 90-91 Figure 3: Image by Author (My Belongings 2022) Figure 4: ‘Ex Votos from Mexico,’ (Girard & Francis, 2007) In. Girard, A. and Francis, D. (2007) Faith and transformation: Votive offerings and amulets from the alexander girard collection. Santa Fe: Museum of International Folk Art, Museum of New Mexico Press. Figure 5: Marziali, L. (2018) Are We There Yet (Hardcore rubble from local and international dirt tracks, new and reclaimed copper, vintage bead necklace, recycled silver) Available at https://www.lietamarziali.co.uk/gallery/are-we-there-yet (Accessed: February 1, 2023). Figure 6: Nogueira, K. (2012) Threshhold (silver, bronze, vitreous enamel, found object, pearl, mica, paper collection of the artist) Available at https://www.kimnogueira.com/threshold-1 (Accessed: February 1, 2023). Figure 7: Hardy, L. Flower: Fruit (year of production unknown) (Fine Silver, sterling silver, pearls, milkweed silk, cloth) In Fenn, M.E. and Cunningham, J.P. (2017) Narrative jewelry: Tales from the toolbox. Atglen, PA: Schiffer Publishing Ltd. Pp 104
Introduction Narrative Art Jewellery is a contemporary crafts practice that uses mixed materials both precious and non-precious along with found objects to construct body ornaments, embedded with meaning and narrative. Contrasting with historic jewellery that predominates the use of precious stones and metals in order to symbolise that of wealth and status, this kind of jewellery making practice is unconventional in its execution. It’s takes on more adventurous forms and revolves around communicating sentimental meaning or a story that the maker wants to express. In this essay I intend to discuss the ways in which Narrative Jewellery reflects our historical human relationship to objects and of how our possessions provide a lens through which we can reflect upon the world around us and our experience of it. I seek to highlight how this practice mirrors our human inclination to collect and use objects as mediators between the past and present or between what some perceive to be the more spiritual and secular realms and what positive purpose this has served in the past and in the present day. Throughout this essay I will be referring to four core texts that have been a foundation for my research which are Art and Intimacy by Ellen Dissanayake, Entangled by Ian Hodder, Why We Need Things by Mihaly Csikszentmihalyi and Narrative Jewelry by Mark Fenn. Through this research I will highlight the value and significance of this practice through exploring its origins within human nature. I will then discuss the value of this for the maker and the viewer. I will also explain how these art forms serve as autobiographical objects that embody meaning for the maker and then highlight the fundamental similarities this has with historical human behaviour in an attempt to address a deep rooted relationship to external objects that has evolved within humanity.
Human relationship to objects Though Narrative Jewellery is considered unconventional by more traditional silver and gold smithing standards it arguably could be considered more aligned with our humanly inclination to collect and assign cultural value rather than just monetary or status-oriented worth. There is something very innate within our intelligence that demands the manifestation of things that help us to navigate and in turn communicate our own human experience. Hodder states that, “humans need sensory input in order to feel, touch, see, smell, hear, think. We would not have evolved as we are, with agile fingers and complex brains were it not for the niches that made things provided for us.” (Hodder, I. 2012, p.38) Here he insinuates that our dependency on things and our evolved material culture cannot be reduced to a superficial need to accumulate things purely for validation or as signifiers of wealth and status, but that we are surrounded by things that shape the way we perceive the world. The things we bring into this world reflect the complexity of our mind. We are more elaborate in the way that we operate possibly because we are in part governed by a need to communicate and share our experiences to others. We also need to operate by the rules and conventions of society in order to achieve a sense of well-being and fulfilment. We are unique in this way due to our acute perception of past, present and future which therefore requires us operate within a time frame. Csikszentmihalyi explains, “It is difficult to keep ideas straight without the assistance of a sensory template that gives them boundaries and direction.” (Lubar, S.D. and Kingery, W.D. 1993, p.22) Here, he approaches the idea that objects are necessary for us to set parameters and in this way sensory input enables us to bring order to our lives or we would decline into a
spiralling deluge of abstract thoughts that may lack direction. Both explore the fact that our human to object relationship is a defining characteristic of our human nature and an intrinsic part of how we have evolved to operate alongside one another and experience the universe. In this sense our possessions also serve to anchor us within a transient life experience. On a personal scale our belongings have the ability to evoke an emotional response within us. This may be at a conscious or unconscious level through their associations with people, places and memories and are in this way a lens that allows us to reflect upon ourselves and our past. Csikszentmihalyi elaborates that, “artefacts help objectify the self in at least three major ways,” (Lubar, S.D. and Kingery, W.D. 1993, p.23) in that they, “reveal the continuity of the self through time, by providing foci of involvement in the present, mementos and souvenirs of the past, and signposts to future goals.” (Lubar, S.D. and Kingery, W.D. 1993, p.23) Here he illustrates the idea that our objects physically mediate between ourselves, the past and the future like a photograph can evoke strong memories of a certain time and place, or a toy can transport you to your childhood. Both these ideas imbue the viewer of this sentimental object with a sudden awareness of time, change or immortality. In this way objects can be symbolic and help us gain perspective on our existence. On a larger historic scale, we can see the idea of collections becoming something of a cultural phenomenon. One example of this in particular were the 16th to 17th Century ‘Cabinets of Curiosities’ or ‘Wunderkammer,’ which were vast collections of oddments and artefacts collated by various people from aristocratic backgrounds, to merchants and scholars. (Galambosova, 2022) They varied in size filling whole rooms and their contents were arranged into categories of objects that related to one another in a certain way. A lot of the contents were attained from voyages and their contents tended to be obscure and esoteric by nature. Depending on to whom the collection belonged, ‘the personality of each collection depended above all on its founder and creator.’ (Mauries, P. 2002. p. 51)
Figure 1: (Francesco Calzolari, Museum Calceolarium (Verona, 1622) In: Patrick, M. (2002) Cabinets of curiosities. London: Thames and Hudson. Pp. 14-15.
The ‘Cabinets,’ being shrine like in their meticulous arrangement, can help us to understand this historical propensity to understand and make sense of the world through the observation of objects. We can see this manifest itself within society through museums and large scale cultural spectacles. The organisation of fragments from the organic world along with art and sculpture created a kind of visual road map of history through an object related understanding of the natural world before human intervention and a perspective on cultural growth. These objects encapsulated not only the evolving natural world but also of a human need to interact and understand it. In a way this represents a method of creating order within the chaos of the known universe that reflects the human ability to see patterns and make connections between objects. Bringing this historical tendency to accumulate ‘things’ in to the art world, the form of collections has been prevalent in the work of many artists but one predominantly is Joseph Cornell. Whilst Cornell was noted to have been reserved by nature, (Laing, 2015) his artworks show that he was adventurous in imagination and it can be interpreted that his work in essence encapsulates the same inquiry of the unknown as the collectors of the ‘Cabinets.’
Cornell, J. (1940-42) ‘Solomon islands’ Box Construction; 2 ½ x 17 ½ x 12 5/8 inches (6.5X44.5X32CM [closed] In: Hartingan, L.R. et al. (2003) Joseph Cornell: Shadowplay eterniday. London: Thames & Hudson. Pp 90-91 As stated in ‘Shadowplay Eterniday,’ ‘the artist himself acknowledged that one of his greatest challenges was visualising the poetic associations he sensed among all manner of experiences, ideas, people, things and places.’ (Hartigan, L.R. et al. 2003, p.12) This illustrates how Cornell used a historical tendency of collecting, categorising and organisation, and through this created his own platform through which he could observe and study the connections between things.
Humans have the ability to bestow meaning and value between what could ultimately be two disparate ideas or things. This could be between an objects, places, or events through which they can forge a connection in their mind and imbue narrative which can evoke more of an emotional response within themselves. These kinds of connections can deepen with time and our belongings become more symbolic as they serve as a kind of mental mind map of our life experience. The Semiotic theory illustrates that we are constantly either consciously or unconsciously, assessing what an image means to us, through what we associate it with in our minds whilst being influenced by the conventions of society. This is all part of how we internalise and process our experience of the world. Charles Pierce and Ferdinand de Saussure first posed this theory through different models in relation to linguistics. Saussure theorised that the connection a person makes between a spoken word and the image of what that word conjures is dependent on, ‘the conventions of language rather than some natural connection.’ (Sturken, M. and Cartwright, L. 2001, p.28) Meaning that the name we have for something is not innately there until society labels it. The concept of this theory was later adopted by Roland Barthes, amongst others, and became a framework that was elaborated on for analysing images. In Barthes model he theorises that a sign is comprised of the initial signifier which could be an image, along with the ‘concept evoked by that word/image.’ (Sturken, M. and Cartwright, L. 2001, p.29) In this sense the idea that we are constantly picking up on clues and formulating connections in our minds based on experience is deeply embedded in how we interpret the world around us. Using this theory I can analyse an image I have taken myself of objects I have collated over time that I used to reflect upon as research for the designing and development of a wearable piece that encapsulates my perceived experience of Cornwall. Inspired by the Cabinets and of Cornell’s work, I have collated and assembled these objects as a way to visualise through physical things a journey of my personal experience. I reflected upon why I held onto these things with such sentimental value and what these objects evoke for me emotionally.
Figure 3: Image by Author (My Belongings, 2022)
I can communicate that these objects have personal connotations to me as they are symbolic of the landscape and the atmosphere I grew up in. The pieces I have collated serve as a window to my childhood. To study this image using a semiotic framework is to understand that the colours and imagery of this photograph could evoke all kinds of different associations for another person, but for me are directly linked to childhood and place. The background fabric that holds each piece was used as curtain fabric in my parent’s truck growing up. The fabric being the signifier, is quite simply soft cotton which more universally could be associated with comfort. However, through the lens of my experience it conjures the thought of my parents as it once belonged to them and harbours a reminder of my childhood summers spent attending events and festivals in our truck. This along with the turquoise rusted patina fish that were once components of a pair of earrings I regretfully dismantled, belonged to my mother whom I always associate fish and aquatic imagery as she, like myself, was an enthusiast of the idea of mermaids. To a viewer with no personal attachment to the objects in this picture, the more universal imagery of fish, shells and the mythic imagery on the tiles indicates that of a strong oceanic theme which has historically been linked to ideas of freedom. This is further enforced through the colours and texture. As my project revolves around my interpretation of the Cornish landscape I have collected and assembled these objects as they are categorically representative of the coast. I have here intended to demonstrate that on a wider cultural scale, collections of objects can help navigate and understand our history whilst on a more personal scale, objects can ground the person to whom they belong and reinforce an idea of their own history and place in the world. They therefore can act as mediators between a memory and the present that helps create a story. The stories we create about ourselves is an important aspect of how we reinforce a sense of self. Objects can in essence capture the spirit of a place, person or memory as the above picture for me captures the spirit of Cornwall. This concept is emphasised in Jonathon Chapmen’s reflections on his rocks collected by his son from the beach. He describes upon handling the rocks that, ‘my mind now awash with memory. I am back on that beach in Sussex, watching my young son scramble his way up the shingle to show me his prize.’ (Chapman, J. 2015, p.64) In this case in order for something to have this intrinsic value and meaning bestowed upon it, there must be some level of interaction. This ability to attach meaning goes hand in hand with our accumulation of things that we then categorise, showcase or exhibit by artistic means.
Historic use of cultural body adornment for transformational purpose In this section I will further my exploration into human object relationship through the lens of historic jewellery. The photo below belongs to the book ‘Faith and Transformation, Votive Offerings and Amulets from the Alexander Girard Collections.’ These are displayed at the museum of folk art in Mexico. I will refer to this book throughout the first part of this section. The image below depicts an array of ‘Ex-votos from Mexico.’ (Francis, D. 2007, p.17) They were used symbolically as a token of gratitude for when a person was cured of an illness. These tokens were then attached to a representation of a saint. The pieces come in various different forms that represent the, ‘afflicted body part.’ (Francis, D. 2007, p.16)
Figure 4: ‘Ex Votos from Mexico,’ (Girard & Francis, 2007) In. Girard, A. and Francis, D. (2007) Faith and transformation: Votive offerings and amulets from the alexander girard collection. Santa Fe: Museum of International Folk Art, Museum of New Mexico Press. Symbolic forms of devotional objects are prevalent worldwide within many religions and cultures from crucifixes, to statues of Ganesh. Other examples of objects imbued with spiritual properties are also displayed in collections at the Pitt Rivers museum. When observing the pieces depicted above or pieces in their likeness in a museum one might get a sense of a kind of intuitive purity that went into the making of these artefacts. The various forms can be intricate in decorative design detail but perhaps considered crude in their construction or untainted by the more steely and sleek demands of today’s design standards, much the way in which Narrative Jewellery tends to deviate from conventional or more refined jewellery traditions. These historic pieces can evoke the concept of a pre scientific society that lived more so at the mercy of the elements and in this sense had more of a reliance on faith. It is proposed in Faith and Transformation, that, ‘Amulets, Talismans and ex votos originate in a human need to order one’s world or at least to have a hand in controlling it by influencing God’s sway over life’s fragile balance.’ (Francis, D. 2007, p.26) What we can see from observing these pieces is a historical human tendency to use external objects to eternalise an idea or to make tangible a connection with an immaterial force. The idea of immortalising a saint through the use of objects is an ancient practice. What is significant to this essay is not whether the people that used these objects in this way were successful but to highlight the spiritual purpose and psychological benefit that the physical objects serve. Hodder writes that, ‘Spiritual energies flow through icons and
relics and awaken our devotion.’ (Hodder, I. 2012, p.38) This implies that the use of external objects such as a relic or in this case an offering helps to elevate this feeling of connection with the divine. This is similar to the way in which Dissanayake explores the origins of our human propensity to use objects and body adornment along with other expressive forms of human behaviour such as repetitive movement (dance) for performative, ritualistic purposes. She highlights the fact that the purpose of this is because as humans we have an innate need for communion with others through love and art which stems from our biological relationship between a mother and the dependent child. She refers to this as ‘mutuality.’ (Dissanayake, E. 2000, p.11) Dissanayake uses the word to ‘elaborate,’ (Dissanayake, E. 2000, p.11) to refer to that which takes on various kinds of artistic endeavour within religions and cultures worldwide. Dissanayake explains that, “although a scientific worldview would be sceptical of the idea that artified rituals themselves are effective at resolving the vital pragmatic problems that inspire them, we consider them valuable in that they address and satisfy evolved emotional needs in human psychology.” (Brown. S & Dissanayake. E 2018. p.9) Through this she makes the case that it is an integral cornerstone of our evolution and emphasises the importance on human participation and the perceived value of a ritual or ceremony, and implies that this is more important than whether or not it has a tangible effect on reality. What Dissanayake and Hodder are theorising and what we can observe within these ex votos is an effort within human nature for connection to something bigger than themselves. In this way objects help us to do exactly that. The attaching of the pieces to a Saint statue was ritualistic from our perspective looking back but for the people who did this it was more of a necessity. Whether or not the use of such objects effected one’s experience is speculative but the underpinning value to this essay is the use of a physical thing for an inner transformation or for a connection to something bigger or more divine than oneself. In a similar vein to how the ex votos depicted previously were used, Zivile Meskauskaite in the article “Touching Absence-Virgin Mary Pendants,” explores beyond the common assumptions we have of jewellery, that it is purely ‘socially symbolic.’(Meskauskaite, Z. 2017, p.131) In a view of Virgin Mary pendants, Meskauskaite describes the imagery within the pendants as being “a part of our collective memory and culture, which is grounded in material mediation.” (Meskauskaite, Z. 2017, p.135) In this sense the pendant itself solidifies and makes physical this ‘collective memory,’ (Meskauskaite, Z. 2017, p.135) or idea that we have held onto, of the Virgin Mary, which is a similar case for much other sentimental jewellery, religious ornament, or talisman and is a common theme amongst religions and cultures worldwide where by the objects perpetuate the story or myth. Although this tendency varies from different religions or is used in varying ways within different cultures there is continuity in the premise that these things occupy a liminal space between the spiritual realms that subjectively reside within our psyche and the tangible external world. Whether that object is deemed as having supernatural properties, channels spiritual energies or is symbolic to someone of a past memory or experience, the common theme is that an abstract thought is being mediated through a physical thing. The preceding paragraphs reinforce the concept raised in the first chapter that the human dependence on objects goes deeper than the practical means for a more convenient life but has evolved to serve an intrinsic human need for intervention, to make meaning and to connect with their surroundings. Whether or not it is conscious or unconscious one could argue that all human beings have ritualistic and habitual behaviours that include the use of external objects that are embedded into our lives. This could be as simple as decorating a Christmas tree our putting on jewellery and make up before leaving to go out. In turn we have evolved our societies around them and so they become part of the makeup of our existence. This therefore underpins the practice of
creating body adornment, with potent historic origins and emphasises the value of this practice in the contemporary art world which I will elaborate on in the next chapter. Contemporary Narrative Jewellery The previous chapters highlight an intrinsic human relationship to objects and how objects can act as mediators between abstract ideas and the physical world. This knowledge can therefore aid a deeper understanding of the value of Narrative Jewellery and the methods of communication behind its practitioners. Jo Pond states in regard to the practice that, “The works themselves give meaning through the use of symbols and visual communication” (Fenn, M., Pond, J. and Alexander (the Justified Sinner), D. 2017, p.8) This illustrates the fact that this area of craft is an effective platform through which the symbolic use of materials can be used to communicate elaborate expressions of a personal identity and story. Narrative Jewellery has the power to express themes around identity and place on a personal level as it initially takes on the form of something that is universally considered sentimental.
Figure 5: Marziali, L. (2018) Are We There Yet (Hardcore rubble from local and international dirt tracks, new and reclaimed copper, vintage bead necklace, recycled silver) In the piece pictured above Marziali has used salvaged materials along with found objects she has collected over some years. She describes that, ‘It took several years for the pieces of the puzzle to come together.’ (Marziali, 2018) This is evidenced in the way that, at first glance the pieces look asymmetrical and lack continuity but on closer inspection you see on the left hand side the way three fragments are slotted together showing considered placement of the materials. She implies the idea that the materials were communicating something to her that she had to slowly absorb rather than imposing any immediate ideas onto the materials. This reflects the slow growing relationship between human and object, as the time spent handling and observing the pieces is imperative to the meaning that was bestowed onto them. This could also be seen as having a slight animistic element, in the sense that it implies the notion of something inanimate as carrying a message. Marziali makes apparent the connection between the pieces to the viewer who might otherwise overlook them or see them as waste. The way she has assembled the fragments alongside
a re-purposed vintage bead necklace allows the discarded pieces to be reframed by the viewer as having value. This is done by allowing them to be exhibited in a different spotlight alongside something that is more likely to be perceived as valuable. This in itself brings into the question the idea of value systems and opposes conventional ideas we have around what is precious and meaningful to us. Marziali concludes that the ceramic pieces have stood the test of time despite being subject to, ‘dirt tracks.’ (Marziali, 2018) This adds another layer of meaning in that the concept of the rubble remaining a solid physical thing that defies time, reflects the stolid nature of our possessions through our ever changing life experiences. Therefore she encapsulates the theme of material things being a constant or anchor in time from which we can gain perspective, much like how the artefacts served as indictors of various aspects of world history within the Cabinets of Curiosities. Marziali highlights this resistance to change in the sub heading for the piece, ‘On recurrence, recollection, and the resilience of Material Existence.’ (Marziali, 2018) Marziali’s work is carefully considered and the pieces are categorized in similar way as historical collections. Her conscious consumption and material use demonstrates a connection to her surroundings that is in other ways lost within the mass production of fashion jewellery. Marziali’s practice contrasts with the disconnect that present western society can have with its surroundings and instead serves as a monument to the fact that there is still a yearning within human nature to have a more spiritual or sentimental connection to our material belongings and an innate need to make meaning and internalise our relationship to things.
Figure 6: Nogueira, K. (2012) Threshhold (silver, bronze, vitreous enamel, found object, pearl, mica, paper collection of the artist) Kim Nogueira’s piece, through the intricacy of her design and the finishes she has used on the metal has a similar mystique to the visual language within the Cabinets of Curiosities I have referenced in the first part of this essay and the ex votos in the latter. The piece symbolises a human to object relationship by actively inviting a tactile connection with the viewer by enticing one to open the drawer or the window. In the same way as the Cabinets have various pockets of intrigue through its drawers and door, Nogueira’s drawer is filled with removable charms. Nogueira’s piece therefore by nature employs similar qualities to how objects have been historically used in an observational context but is presented in a way that pertains to her personal experience.
Nogueira’s website states that her work is intended to, ‘function as a bridge between the physical and material realm and the invisible, unseen and mysterious territory of the mind,’ (https://www.kimnogueira.com/new-my-story-with-big-top-image ) which we can see is similar to how the ex votos and Virgin Mary Pendants were used to mediate between the spiritual and the tangible realms. She also explains her pieces are, ‘made to last lifetimes.’ (https://www.kimnogueira.com/new-my-story-with-big-top-image ) Therefore in the same way that historical collections and jewellery has remained a constant throughout history, Nogueira’s work is intentionally created to stand the test of time by design and so is demonstrating the human need for the creation of external things to anchor us and provide what I have previously cited from Mihaley as a, “foci of involvement in the present.” (Lubar, S.D. and Kingery, W.D. 1993, p.23) The artist describes this piece as being autobiographical for her and represents her journey from Massachusetts where she grew up, to her current island residence. In this sense the piece for the artist is a physical manifestation of her memories and life experience all of which are intangible in the present moment. Nogueira’s piece therefore transgresses a mere visual interaction and through the immersive nature of her design, encourages curiosity within the viewer through their tactile senses. Through this she incites a connection between the maker and viewer whilst using her practice as a method of self-reflection and in doing so immortalises her own life experience in a physical thing.
Figure 7: Hardy, L. Flower: Fruit (year of production unknown) (Fine Silver, sterling silver, pearls, milkweed silk, cloth) Hardy reflects the idea of objects being mediators in a way that differs from the previous artists. Instead her creation adheres to a historic notion of harnessing an immaterial force for inner transformative purposes such as the ex votos referenced previously. This piece is cited within Narrative Jewelry Tales from the Toolbox by the artist as being inspired by a, ‘Tibetan gau/gao-an amuletic prayer box.’ (Fenn, M., Pond, J. and Alexander (the Justified Sinner), D. 2017. P.104) It draws attention to the stylistic qualities of ancient jewellery. The silver has an aged, rustic finish whilst the tiny components that travel up the neck wire have a charm like quality. Through this there is a direct visual link to historical jewellery pieces such as the box pendant shape and charm components, but through her own creative identity, she brings it into the realm of the contemporary world.
Hardy describes in her artist statement that she has, ‘explored body ornamentation or jewellery as a vehicle for personal, wearable “shrines” imbued with autobiographical narratives to illustrate personal relationships in a poetically distilled manner.’ (Fenn, M., Pond, J. and Alexander (the Justified Sinner), D. 2017. P.104) Through this she therefore demonstrates a symbolic use of objects for a personal narrative through a universal practice. Hardy’s considered composition and the use of traditional materials such as pearls having historical notions of purity and silk known for its iridescence and beauty combine to create something that could be considered through its materials as being closer to a more divine entity. The imagery in Hardy’s other work frequently includes that of feet, hands and other body parts similar to the way parts of the body were depicted in ex votos to symbolically represent that particular region for healing purposes. However Hardy uses this imagery as, ‘metaphors for family connections and spirituality.’ (Fenn, M., Pond, J. and Alexander (the Justified Sinner), D. 2017. P.104) In her execution she reflects a modern day inclination for a spiritual practice in a more secular society despite living at a time in history which might claim that such needs could be omitted due to more technological or pharmaceutical advances. The three artists I have explored here all in slightly differing ways embody the themes explored in the previous chapters of this essay. From the inclination to collect and make meaning of objects, to the use of objects as physical stimuli to navigate our experience of the world. Sian Hindle in her study of Performing Art Jewellery explains that the various, ‘routines associated with jewellery,’ (Hindle, S., Colley, R and Boultwood, A. 2016, p.15) along with the symbolic purpose it serves in society, ’stress continuity through time.’ (Hindle, S., Colley, R and Boultwood, A. 2016, p.15) What is interesting is the way in which this form of artistic expression is universal and is perhaps one of the oldest forms of personal expression. It takes a myriad of different forms all over the world but the fundamental element that underpins it is the symbolic use of things to make tangible, abstract or socially constructed ideas through an expressive art form. In conclusion the artists demonstrate the intrinsic relationship we as humans share with objects and the effective way this idea can be artistically represented within the realms of body adornment. Marziali’s piece reframes the way we see discarded material fragments, whilst Nogueira’s piece represents the tactile nature of human curiosity and lastly Hardy represents the value and need for a human interaction with energies of a spiritual nature. In doing so they make a space for the viewer to pause on the finished articles and contemplate the human to object relationship which in turn encourages an enquiry from their own perspective.
Conclusion In a world of ever changing professional design standards and fluctuating trends Narrative Jewellery creates a playground for meaning, sentiment, and connection. It serves as a platform on which to communicate stories we have about ourselves through something that we universally perceive as sentimental. As Gauntlett states that happiness, ‘comes from having meaningful connection to others and meaningful things to do.’ (Gauntlett, D. 2011, P.120) Narrative Jewellery provides fulfilment and meaning for the maker through being a practice which allows for connection to others. It allows us to present an idea with immediacy or can be used to delve into a memory or communicate an experience with more clarity. It does not abide by hierarchies or trends and its value resides in the meaning bestowed upon it by the maker. The very nature of Narrative Jewellery demands that it is durable by utilising a
reflective and resourceful body of materials, in this it can provide longevity in a way that many other forms of jewellery may not prioritise. It demonstrates Dissanayake’s premise that artistic endeavour is woven into our behaviour due to our need to, ‘nourish people’s spiritual side and improve their well-being,’ (Brown. S & Dissanayake. E 2018. p.10) as Narrative Jewellery at its core it is about sharing stories, selfidentification and expression. It is therefore a powerful tool for social connectivity in general and in this sense it acts like any other form of performative art in that it requires an audience to elevate it from just being another piece of jewellery. As our growing deviation from a more divine relationship to the world is reflected in the mass materialism that is propagated by the capitalist system we live in, Narrative Jewellery counteracts this by creating a space to review the meaning behind objects which in turn creates a dialogue around what purpose materiality serves to us. Through this we can breathe new life and stories into our existing possessions rather than accumulating more and re connect with our surroundings and ourselves. Exploring and reflecting upon the ways we have historically accumulated objects as a species, and learning about the ways other cultures worldwide have used objects, could be helpful to our society as we move through the negative consequences of consumer culture. Connection to our surroundings is something we must actively practice in our developing world. We should not neglect the knowledge and wisdom that we can derive from studying our possessions and what benefit this has served us in the past, but continue to reflect on its rich history.
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