Thursday, April 30, 2009

Random ring







Random ring
18ct yellow gold, diamonds, champagne diamonds, pink sapphires, Ceylon sapphires, ruby

this can be viewed at e.g.etal

Polly ring







Polly ring
Sterling silver, peridot, Australian blue sapphire, Ceylon sapphire, purple sapphire
Hand engraved back, with feather and warp and weft pattern

you can see this at e.g.etal

Friendship ring







Friendship ring
18ct yellow gold

Wonky wedder






Wonky wedder
18ct yellow gold

Wednesday, April 29, 2009

earrings



Embroidery pattern earrings
sterling silver

Tuesday, April 28, 2009

Veil House



My Great Aunt lived in the house that I was exploring in the Koroit Series, which formed part of the body of work These are the things that hold me here, (a house, a vessel, as shell, a ring). I always remember her sitting on the same chair, which had a patchwork crochet rug over it. She seemed to be framed by the rug.



Nancy Mairs, in an essay "Reading Houses; Writing Lives" writes:

The body is a dwelling place, as the Anglo Saxons knew in naming it BANHUS (bonehouse) and LICHAMA ( bodyhome), and the homeliness of it's nature is even livelier for a woman than for a man... And it is as a body that one inhabits the past and it inhabits one's body...
...But over and beyond our memories, the house that we were born in is psychically inscribed in us. It is a group of organic habits...The word habit is too worn a word to express this passionate liaison of our bodies, which do not forget, with an unforgettable house.


Mairs goes on to state:

Bachelard tells us, memory "does not record concrete duration"; rather, "we think we know ourselves in time, when all we know is a sequence of fixations in the spaces of the being's stability." Memory itself is essentially spatial...








In the same article Mairs quotes Maurice Merleau-Ponty:

...to give the past not a survival, which is the hypocritical form of forgetfulness, but a new life, which is the noble form of memory.

"Reading House; Writing Lives" Nancy Mairs
Frontiers Vol. X. no.3. 1989



click on image to see more detail

Monday, April 27, 2009

Marco Polo earrings












New earrings in sterling silver.

Sunday, April 26, 2009

Jordi Colomer Anarchitekton

Last year I saw an excellent exhibition by Spanish artist Jordi Colomer, at the Jeu de Paume in Paris. I almost did not go and see it, as I am not a big fan of video art ( but this is changing). My favourite installation was the Anarchitekton series.





In Artforum, Lillian Davies writes:
Using the camera as a means to investigate sculptural and architectural forms, Jordi Colomer tugs at
the fabric of urban life. In this exhibition of new and recent works, he transforms the gallery space,
intensifying the scenarios embedded within his still and moving images. Colomer infuses the
galleries with a visceral aesthetic: His films are projected onto wooden panels, and a motley
collection of beat-up chairs is arranged against the wall of almost every room. In his installation
Anarchitekton, 2002–2004, four projected films and maquettes offer a lo-fi mimicry that strikes at the
constructed fiction of an original. Sending his character Idroj Sanicne through the bustling streets of
Barcelona, Bucharest, Brasília, and Osaka while carrying a cardboard model of a high-rise building
visible along his route, Colomer evokes acts of both protest and devotion.









These images are from here.

Behind the room showing the videos of the man running with the cardboard buildings were the actual models themselves. They were all lined up, leaning against a white wall. I have to say that these works were amongst the best things that I saw on my whole trip. I really loved the video element but I loved the cardboard buildings even more. They were rudimentily made but captured perfectly the essence of not only the original buildings, but also and more importantly the essence of what he was saying about the whole thing. So simple and yet so complex at the same time. And on top of all that, it was also very funny. I realised how important objects were to me, that the experience of looking was enhanced by the real object, not an image of it, or a video. That an object tells the story of how it was made and also why it was made.


This image is from here

Thursday, April 23, 2009




For every distinct idea there exists a plastic thought to translate it. But ideas usually come to us tangled up and indistinct. Thus, the important thing is to isolate them and hold them pure before the interior vision. A work is born from a kind of confused emotion...I turn the thought within this emotion over, until my vision of it is clarified, and it appears with all possible distinctness. Then I search for a spectacle to translate it exactly...
Puvis de Chavannes c.1898

Wednesday, April 22, 2009

Black wooden houses





This is one of my favourite works, but difficult to photograph and describe. The first two photos here were taken by my friend Jane.
This work is about remembering a house that is no longer there. Instead of making one house, I turned my original drawing into three parts. I can't think of the word, but the roof had two 'pitches' so they became separate parts and the centre became an elongated 'hallway', and this sat between the two 'pitches'. Originally the parts were displayed one next to the other. When I exhibited this piece last year, I changed this formation so that one followed the other. The houses were painted in matt enamel paint with detail handpainted over the surface. One house I carved the whole surface with a textile pattern. I wanted the detail to be almost hidden, that it only became evident on closer inspection. That from a distant the works would look all black. But up close there was dense hidden details, that suggested something else. Like memories, which seem real but at the same time are part fabrication and longing.





The 'hallway' with green interior.











Place is part of memory, and memory is also part of defining 'place'. Without a sense of place, a people can have no real sense of history. Yet people's relationships to places or their ideas of a place take different forms, form different understandings.
Place does not necessarily read as a fixed and bounded area of land; physical environments are loaded with social meaning. Place might have something to do with how the story is told of a particular way of knowing a cultural as well as a physical landscape.

Glenda Sluga, "dis/placed" MEANJIN 1989




















Place absorbs our earliest notice and attention, it bestows on us our original awareness; and our critical powers spring up from the study of it and the growth of experience inside it... One place comprehended can make us understand other places better.
Eudora Welty, Place in Fiction, 1956