All posts filed under: Making

To take a mirror for a walk. Displacements

I’m interested on keep exploring how objects might set its context’s conditions. To do so I decided to take our bathroom mirror outside the intimate space of the house. The mirror acts as an immediate interactive canvas, intense and indomitable in this plein air situation. It performs as a wild and overwhelming representation machine. I’m carrying a medium size mirror but feel like riding an untamed horse. If its materiality is already a body of given limitations and possibilities, how can I address any idea of displacement? Or, if there is a sense of completeness that wraps any object up, how to interact if not by transformative contamination or by destruction? Where is the “now” of an object to be found?   “Consider the use of things as analogous to the speech act within the linguistic system” Michel de Certeau, The Practice of Everyday Life, 1980

Time Capsule for the new Campus Heart building

Thesaurus, 2015. Two brooches and a book Paper, ink, steel wire. For this special commission the focus has been to create a jewel that could communicate what is valuable for us. What could be more precious than the possibility of understanding and sharing our human experience through language? Thesaurus is the Greek word for treasure. These two brooches are physically made from the richness and the joy of the language: paper, ink, and meaning. Each ovals, a shape that is deeply rooted in the language of jewellery as one of the most traditional forms used for cameos and faceted stones, has been carved in the materiality of words to reveal and to celebrate both its simplicity and its complexity. What a light way of carrying so much! My approach to this search for what is worthy and can be shared as a common good has been kept intentionally simple in terms of materials and technical solution. A simple steel wire holds the shape and allows the work to be worn as a brooch. One of …

Making at mima. To gild the Landscape

“the sublime is not to be looked for in the things of nature, but only in our own ideas (…) it is the disposition of soul evoked by a particular representation engaging the attention of the reflective judgement, and not the Object, that is to be called sublime” – The Critique of Judgement, Kant           The immeasurable height Of woods decaying, never to be decayed, The stationary blasts of waterfalls, And in the narrow rent, at every turn, Winds thwarting winds bewildered and forlorn, The torrents shooting from the clear blue sky, The rocks that muttered close upon our ears, Black drizzling crags that spake by the wayside As if a voice were in them, the sick sight And giddy prospect of the raving stream, The unfettered clouds and region of the heavens, Tumult and peace, the darkness and the light—  – William Wordsworth

Making at mima. Fabrication piece, first improvisation on the gallery space wall

Fabrication is a site-specific promenade collaboration between the 1st year dancers at Teesside University, lecturer Lorraine Smith and resident jeweller Gemma Draper. The initial inspiration for the performance piece came from the jewellery exhibition at MIMA gallery. The piece has been influenced by physical methods of making jewellery, mechanical processes, the act of being a tool and acted upon by a tool and the experience of wearing jewellery. The creation and rehearsal process has been taking place on-site at MIMA gallery, which at first was challenging due to working in the presence of the public. In time this has helped to build our confidence as performers, and developed our performance skills as a whole. In collaboration we have experienced working at a professional level with an established artist from a different art form and enjoyed engaging with a public and architectually interesting space.The process of choreographing as a large collective group has been challenging but rewarding. Creating the music, devising the piece and making costume choices have given us a wide range of new skills …

Making at mima. How to start?

Collaboration with Teesside University first year Dance students. In our first working session I asked the students to take a piece of paper and to write/draw what Jewellery is/evoke/means to them. I asked, then, to turn the page and to write/draw what Contemporary Jewellery is/evoke/means to them in this back side of the paper. Intentionally this question/exercise was put before starting to  share/show images and works and artists names of Contemporary Jewellery. We wanted to capture what they think about Jewellery/Contemporary Jewellery at the start of our collaboration.