While seating in a terrace with my Endotic team colleagues, at the end of the last day conference presentations, I’m called by a luminous sign blinking from the corner of my vision field. I grasp the phone, turn the camera on, and run to capture what seems like a ghostly dream.
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
Exploring jewellery with Teesside University Dance students at mima’s jewellery gallery. Jewellery motion explorations on a white table.
“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
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 …
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.
As a part of a series of interviews and conversations to gather testimonials and direct material to enhance our research project “Documenting the creation of the mima International Jewellery Collection 1975-1995”, we met Muriel Wilson, managing editor of Jewellery History Today magazine and one of the founding members of the Association for Contemporary Jewellery (ACJ). Some hours before the opening of the new permanent gallery space for the International Contemporary Jewellery Collection at mima, we had the joy to share her insights, her enthralling narrative and her capacity for bringing to the present relevant past moments in the most graceful way. She has built a private collection since 1991, when for her employers, the British Council, she prepared an exhibition of contemporary jewellery for world-wide touring. That is what she told us when we asked about her first encounter with jewellery: (Sorry, the ambience sound is quite intense, first learning outcome for future recordings!)