In September of this year the touring Bodywork exhibition, or to give it its…
PARTICIPATORY SPORT FOR CRAFT ARTISTS
“Ferrous”- A Cooperative Exhibition between Velvet Da Vinci Gallery, SF and crafthaus.
Exhibition dates: March 1 - April 14, 2013
Simultaneous exhibition at Velvet da Vinci Gallery, SF and crafthaus (online)!
Location: Velvet da Vinci, SF and crafthaus (online)
Latest Activity: Nov 5
Ferrous - Steel, iron and pig iron: materials used by mankind for thousands of years. The Chinese were already making pig iron by the late Zhou Dynasty (1122-256 BC) and the usage of iron (Berlin Iron) in jewelry has been well documented.
Velvet Da Vinci Gallery and crafthaus have joined forces to create a new exhibition of jewelry that brings ferrous materials into the contemporary realm.
A catalog of the exhibition produced by Velvet Da Vinci with an essay by Jillian Moore is available via the gallery.
Due to the high number of artists participating, crafthaus will show the exhibition in 2 parts.
Participating Artists, Part 1, March 6-19, 2013:
Nanz Aalund, USA • Anne Achenbach, Germany • Dauvit Alexander, Scotland • Talya Baharal, USA • Michael Berger, Germany • Lisa Bjorke, Sweden • Aaron Bray, USA • Elizabeth Callinicos, UK • Melissa Cameron, USA/Australia • David Choi, USA • Kat Cole, USA • Dialogue Collective, UK • Andy Cooperman, USA • Donna D'Aquino, USA • Jaclyn Davidson, USA • Joke Dubbeldam, The Netherlands • Ann Catrin Evans, Wales • Maureen Faye-Chauhan, Australia • Fekete Réka, The Netherlands • Mirla Fernandes, Brazil • Peg Fetter, USA • Rebekah Frank, USA • Motoko Furuhashi, USA • Susie Ganch, USA • Elliot Gaskin, USA • Janna Gregonis, USA • Dana Hakim, Israel • Masako Hamaguchi, UK • Tom Hill, USA/UK • Heejin Hwang, USA •
Participating Artists, Part 2, exhibition starting March 20, 2013:
Rob Jackson, USA • Mary Frisbee Johnson, USA • Lisa Juen Sinnott, USA • Satomi Kawai, USA • Maya Kini, USA • Amy Klainer, USA • Jenny Laidlaw, UK • Lorena Lazard, Mexico • Roxy Lentz, USA • Timothy Information Limited, UK• Kasja Lindberg, Sweden • Tara Locklear, USA • Sarah Loertscher, USA • Drew Markou, UK • Judy McCaig, Spain/Scotland • Lindy McSwan, Australia• Chris Nelson, USA • Iker Ortiz, Mexico • Claudio Pino, Canada • Jo Pond, UK • Suzanne Pugh, USA • Meghan Patrice Riley, USA • Mackenzie Sala, USA • Natasha Seedorf, USA • Sondra Sherman, USA • Marjorie Simon, USA • Melissa Stiles, USA• Barbara Stutman, Canada • Tore Svensson, Sweden • Sarah West, USA • Katie Wright, UK
Card Four: The Emperor, 2004,
Sterling Silver and Steel Screen Mesh,
6.9 X 7.9 X 1.0 cm,
Photo by Doug Yaple.
zinc coated steel, folded/ 105x 2x 1(cm)
I like to work with steel, because of its hardness and tensile properties.
In my work the steel is mostly zinc coated. I like that agile and organic acting surface of the zinc after heating the finished piece.
I Put A Spell On You, 2011
Corroded iron gas-pipe found in a derelict garage in Glasgow; corroded iron hex-nut found on an industrial estate in Burgess Hill; silver; 36ct custom-cut amethyst; natural raspberry-pink spinels; mandarin orange garnets; Tsavorite garnets; tourmalinated quartz; hand-engraved.
Ring height 70mm (2.5”), diameter of top element 30mm (1.2”).
Photographed by Andrew Neilson, Neilson Photography
Rusty bolts lie by the side of the road. A coffee jar filled with corroded spring washers sits on the windowsill of a disused engineering works. Someone throws a cast-iron fencing spike into a skip. A piece of pitted steel washes up on the beach.
These are not the images normally associated with the worlds of either “commercial” or “art” jewellery but they are the sources of the material for most of my work. Combining these materials with precious metals and gemstones, using the skills of the traditional fine jeweller, The Justified Sinner aims to make pieces which are aesthetically pleasing, technically interesting and, if possible, humorous: if they happen to be not just a little
unsettling or disturbing, so much the better.
The jewellery is primarily aimed at men. Even in the supposedly free world in which people now live, jewellery for men is circumscribed by what footballers and actors wear, reported by magazines, filtered through a corrupting veil of media; men dare not strike out for fear
of being tagged an outsider, a loser, effeminate... Using what would traditionally be seen as masculine materials – iron, steel – from traditionally masculine backgrounds – the road, the building site, the machine-shop –
Dauvit looks back to the last time men could freely wear jewellery: the Renaissance. Renaissance jewellery was a glorious, allegorical, blackly humorous, alchemical mess. It was a triumph of skill and material over taste. It mixed precious with semiprecious with worthless, a riot of colour and shape. It was huge and overblown. It verged on the unwearable, comfort sacrificed, preferring to make statements about the wearer's beliefs, power and money. So it is with this work: it takes a bold person to wear a piece by The Justified Sinner.
Residue #15 Brooch. 2009.
Sterling silver, Iron and Steel
3" X 3" X 0.5"
Photographer: Gene Gnida
Aesthetic interpretations of vulnerability and decay combined with the bare essence of form and texture are at the core of my sculpture and jewelry.
The cross-pollination of sculpture and jewelry, the materials of one medium spilling over into the other, the form and texture created during one body of work are re-worked and reappear in the other. A constant dialog takes place in my creative pursuits between the larger format and the more intimate and in a way more powerful format – jewelry.
Jewelry is for me the most intimate form of sculpture.
“Urban Landscape” is a series of unique jewelry pieces inspired by the streets of Pittsburgh, PA. During a month long sculpture project in the mid of winter - the residue and decay of ice, salt and rust stains on city sidewalks and asphalt surfaces, created a visual and material vocabulary from which I borrowed inspirations of nature’s corrosive elements. First to be utilized in the execution of my sculpture, and then, to be revisited and re-explored in the jewelry pieces.
Constructed forms of highly textured and painterly surfaces balance on delicate wire neck-armatures to create wearable sculptures. Surface texture and heat-induced patina are the result of a dialogue amongst different materials; allowing reactions to occur between various metals. Iron, steel and copper dust and filings, metal shards and solders create the palette which is then constructed into the piece itself.
The creative process is not a clean one. Inspirations from one area trigger inspirations in another. The beauty of decay is a concept that stretches across my work. Symbiotic explorations in different materials and different scales, the results of which are expressed as elements of ruination and rebirth - realized either in jewelry form or sculpture.
stainless steel, micro ball bearings
Michael Berger loves transforming graceful hands into eye-catching stages. Appropriately, his hand-made collections feature kinetic jewellery pieces that move and spin on the wearer's hand. At first glance, his stainless steel ring sculptures seem to be attractively heavy, clearly shaped pieces. It is when you put them on and start moving your hands that their full magic is revealed: the top elements, which nestle closely together, start to move and rotate.
iron sheet, iron powder, wood glue, wood, lacquer, piano thread
L 10,5 W 5 H 5,5 cm
Photographer: Lisa Björke
Jewellery is hidden messages, stories from maker to wearer. I work
with stories, scale, color and combinations to find my way and to
deliver my story. My inspiration can be anything from fairy tales to the catastrophe in Chernobyl,the inspiration can be found anywhere and everywhere, the important thing is to make the story my own.
I add...seldom remove, I find it hard to know when enough is
enough. I might take it too far sometimes, but I know I had a blast while I did it! I don't want my pieces to be small talk,
I want them to be a punch in the face!
Untitled 4, 2012
Rust and enamel on steel.
Photo: Erin Feller
Using a process, developed in my fine art practice, of combining rust with durable enamel sign paint, I create art jewelry designs informed by the line-heavy graphic visual representations produced by a variety of science and mathematic fields including geometry, magnetics and geosdesics. The resulting objects evoke qualities of both future and past, a kind of archeology of future artifacts.
‘Mirror Vessels’: 2011/12.
Materials and Process: Mirror polished photo-etched stainless steel, stainless steel safety pins, linen cord and dressmakers pins.
40mm high x 0.5mm thick or 120mm high x 0.5mm thick.
Worn as a neckpiece or brooch, or hung on the wall.
Photograph: Elizabeth Callinicos
Small hand held mirrors date back to archaeological times with many examples of ancient mirrors from all over the world having been found, and made from a variety of materials including iron, bronze, onyx and silver. Not forgetting water, the purest of all reflective surfaces when still and flat. Mirrors are ubiquitous. However, the technological ability to make glass and mercury gilded (silvered) full length mirrors was a major and relatively recent breakthrough. In late 16th Century France, at the courts of Versailles, The Hall of Mirrors with its wall-to-wall full length mirrors was an extravagance untold and was to have an important impact on social behavior, etiquette and fashion. Once highly valued objects, a price-less ‘jewel’, today we take mirrors, of either scale, for granted.
Gothic Bloom, 2012, from the series The Sieve 2010-2012.
Stainless steel, 925 silver.
65mm x 65 mm x 30 mm
Patterns, regular repeated organizations of elements, are omnipresent. Appearing in the natural and human-engineered worlds, they form an ever-evolving series, cross-linked yet gradually mutating.
Cameron’s patterns similarly iterate, featuring a sliding scale of motif determined by the object undergoing transformation or outside themes. Her precision, aided by the strict application of geometry, is founded in the clarity of her vision. As in nature, a vacuum is abhorred.
The pattern cuts the object and forces its revaluation and reassembly. The flexible ties that now bind the parts perform a delicate balancing act, reminiscent of the inextricable interdependence of all matter.
Look ‘in’ me, 2012,
Steel, 14k gold, Silver,
There is a certain beauty lent to forms constructed by flat sheets. I am interested in the monotony of different planes generates a whole series of exciting structure. When creating a volume, I explore the interplay between negative and positive, and the juxtaposition between inside and outside. I search for a visual quality, perhaps the seamless relationship between order and chaos, which brings a more lively appearance in which the resulting surfaces are undulated, intertwined, and creased to help the work reveal a rich depth of dimensionality.
The viewers open up their literal feeling of standing before the work. Form, balance, and surface; they are not mere renderings of content, but rather an expression of architectural, topographical and vestigial qualities one can enjoy discovering. My work is a world of geometry in which new codes of beauty are being investigated.
Kat Cole, USA
405 Summit Brooch, 2012,
steel, enamel, found objects, dirt, brass.
4.5in x 4inx 3in
I find meaning and connection through the observance and intimate awareness of the places I inhabit. Since the age of 14 I have lived in seven different states. With each geographic change, I have become more attuned to the natural and man-made attributes that make each location unique. It is these characteristics: natural landscape, building styles, interior architecture, color palette and distinct regional culture that I channel into my sculpture and jewelry. In each body of work, I seek to explore a particular aspect of the place. In this way I find a connection to a residence and a new way of understanding the idea of ‘home’.
Dialogue Collective, UK
Rachel Terry: “ Ego Pump” 2012
shoe and bike pump fabricated in sheet nickel and brass.
photo: Rachel Terry
The Dialogue project was started in 1999 as a collaboration between The Cass in London and the Alchemia Jewellery School in Florence to allow verbal and practical exchanges between jewellery and silversmithing students and lecturers. The subsequent ‘conversations’ culminated in a number of exhibitions at both institutes and external events. The energy within the Collective and at the events they create is partly due to the Collective’s balance of undergraduates with their fearlessness and positive naivety alongside established makers who bring their experience and knowledge. As the Dialogue Collective grows, the interests and focus of its members also advances and diversifies leading to splinter projects focusing on commercialism, craft, art and drawing.
Andy Cooperman, USA
State of Affairs: Pupil, 2012.
Steel, stainless, copper, brass.
Central element: 2”w
This piece was fabricated from scraps of decaying thin steel sheet collected by a friend from the shores of Lake Michigan. I had mailed her a box of stinky, road-kill porcupine quills and I received a smaller package containing these artifacts, along with a short note in return. I began working on “State of Affairs” within minutes of opening the box. I approached the steel as I would nonferrous metal, soldering and even pickling it and leaving the result up to chance. The hook was forged from a bit of stainless cut from a coil that has been laying around the studio for years. The subject reflects personal experience.
Red bracelet, 2010,
steel / plasti-dip
7”h x 6”w x 3”d
Photo: Ralph Gabriner
My current body of work is based on line and the act of drawing. I use various types of wire as I would use charcoal to create drawings for the body. The work consists of a series of jewelry objects that reflect an exploration of line, form, volume, movement, structure, geometry, space, light and shadow. The work is influenced by interior and exterior skeletal structures such as bridges and telephone towers.
Jaclyn Davidson, USA
Cuff- hand forged weathered carbon steel with 18k gold and 4diamonds-2012
Photo: Michael Heeney
In the last five years my work has undergone a radical change, as I have begun working with mild steel. The captivating aspect of this medium is the instinctual nature of the creative process.
When I am working small my entire body is involved, moving to and from the forge, gathering tools and quenching in between heats. Steel’s presence conveys unyielding cold strength, but when heated to a radiant yellow it becomes as pliable as bread dough. Conversely, I have learned to adapt my design plans when the hot steel is revealing new facets of its personality.
Working with mild steel has also changed the way I look at the end product— I celebrate the evidence of the forging process in the finished object. This element has been called the presence of the hand.
Untitled, 2008, pendant
Silver, rusted steel, silk
70 x 70 x 21 mm
The cast iron jewels, known as Fer-de-Berlin, are my starting point for a renewed look at mourning and mourning trad itions.
The black colour of the Fer-de-Berlin jewellery, produced in the 19th century, suited perfectly to the black colour of mourning clothes. The tradition of wearing mourning clothes for a period, which could take several years, was widely used in Western Europe and so in my country/ the Netherlands.
In the 20th century these mourning traditions have almost disappeared from our culture. Wearing black clothes is not necessarily related to mourning anymore. On the one hand there is a relief of very restrictive rules, on the other hand there is a lack of possibilities in our contemporary society to physically express feelings of lost and vulnerability.
My series of mourning jewellery are a response to this gap, wearing a piece of jewellery can give guidance during a period of unstable and insecure feelings and gives the possibility to express feelings
in a wordless way.
Ann Catrin Evans, Wales
I work mainly in steel and iron, varying in scale from palm size to architectural. In between public art projects I make smaller gallery work and private commissions. The jewellery in iron is lovingly made, and I tend to treat precious metals in a somewhat crude manner in comparison. I use braising and silver soldering as a joining and highlighting method – I like the contrast in colour against the bees-waxed natural black iron oxide. I adore the way the work sometimes weathers as its worn, one against the other, revealing its soft underbelly of steely blue beneath the dark oxide.
Maureen Faye-Chauhan, Australia
Octahedral brooch, 2011, Stainless steel
125 mm x 95 mm X 65 mm
Photo: Janak Chauhan
Maureen Faye–Chauhan is an Australian Jewellery maker, who lives and works amongst the gum trees in a semi-rural community just outside of the city of Melbourne, Australia.
Maureen’s current practice involves a conceptual and technical investigation into the development of form and her inspiration is drawn from a fascination with the fundamental geometric patterns that are found within nature’s building blocks.
Puszta séta gémeskúttal (Praire walk with shadoof), brooch 2012
steel, zinc, (found) wood, paint, silver
Height 14 cm
Width 10 cm Depth 2.2 cm Weight 20 gram
Photo: Réka Fekete
The city, a great machine. Looking from above, neighborhoods that grow and others that fade away. People and cars as moving gears, keeping the city and each other in movement. Roads are lines, the buildings as coloured markings on a map or the button of a machine. By rivets the pieces keep their mobility which resembles the imaginary journeys in a city, and at the same time being the machine which I see from the air when I look down on land - and cityscapes.
Fe 3, 2008,
pin, latex with salt of iron,
Photo: Mirla Fernandes
Since 2003 I chose to work with latex because of its paint-like qualities that allowed me a crossover of disciplines: painting, as I have a background in Fine Arts, and jewelry that is a priori an art for the body.
In the series “Fe” (aka, Eu sou a medida II) I decided to work with a specific pigment: a salt of iron. As we find the element ‘Fe’ in the hemoglobin, which gives the blood its peculiar color, I reached with this pigment a more flesh-like color on my pieces reinforcing my intention of showing that the pieces derived from a body, my body.
Because among my creative choices, I also decided to use my own body as a tool or source for the forms I get. Considering that reality is becoming each day more virtual and abundant in new technologies where the handwork is more and more rare, my production positions itself in the opposite way, reinforcing a low-tech character where the production processes are extremely manual and incontrollable. My body serving as the mold works as a counterpoint to the standard measures of traditional jewelry tools. The perishable and cheap material working as a counterpoint to the idea that preciousness derives only from the chosen material. If normally the idea of a jewel is so strongly connected to metal, with this salt, I am using metal, although the result is extremely soft and organic.
14kyg, steel (2005)
L 3” x W 1” x H 2.5”
Photographer: Don Casper
I find the juxtaposition of the dark, dirty steel with the elegance of gold visually stunning, the perfect foil.
Untitled, Three Ovals, 2012,
Photo: Edgar Mosa
I work within geometric form and line. The simplicity within a structured form is compelling to me; I prefer the structure to be minimal, spacious, without a lot of layering. The chains I build react to gravity, creating a drape and a radius. The radius of the right-angled corners is where softness enters the pieces, because in spite of the geometry and material, they are not hard pieces. There is a delicacy in the line and in the structure.
The pieces can exist in two ways: on the body as jewelry and on the wall as drawings. The work is very quiet when it is on the wall. When displayed, the way the pieces might hang on the body isn’t immediately apparent. Instead, there is a direct relationship to gravity, the planar surface of the wall, and the way light recasts the piece in shadow. That the pieces can exist on the wall is important to me; I find the jewelry box a place of exile.
Sentiment II, 2012
steel, road segment, broken side mirror from road, sterling silver
15cm x 7cm x 7cm
Time and imperfection go unnoticed as events and memories shift from one to the next. Roads are not simply paths to a particular destination; they are representations of a tense relationship between the opposing forces of perception and reality. By drawing attention to the struggle for control, we can better understand this profound element in our lives.
Distressed enamel with diamonds
Dimensions variable (from 1-1.5”)
Photo Credit: Susie Ganch
I recently began using pre enameled sheet steel, forming it, soldering it, and creating simple forms that reveal the life cycle of the resulting piece (or how it got here). They are intentionally raw, their surfaces containing hundreds, thousands of little cracks. Solder is left on the surface, flux will come out over time, and because the steel is distressed (by forming), it will continue to shed bits of enamel. They will age and evolve, gaining rust losing enamel. The diamonds and rubies on the surfaces will remain the same. So, what’s more interesting? Something that stays the same or something that changes? In my opinion it is the latter. Applying this same comparison culturally, I can ask why we value eternal youth as the highest form of beauty when we are all evolving and aging every day. I suppose I am considering my own evolution and what it means to transition into a different period of my life. I see these changes reflected in the mirror every morning. These brooches are little mirrors reflecting back reality and will eventually disintegrate leaving some lonely diamonds and rubies behind. (In my imagination, they are the true loser in the story). Optimistically, I want this work to “die” to make room for what can come next. Part of my responsibility as an artist is to think of future generations and what they might need in order to make room for what jewelers sometime down the road will want to make.
Weight of Steel Necklace 2, 2012,
15in. x 1/2in. x 1mm,
Photo by Artist
My work is organic, mechanical, industrial, and detailed. It is masculine, but delicate. It is both produced and raw, and it is neither. I find inspiration by conceptually and physically connecting natural materials, often from animals and plants, with metal, my medium of choice.
I strive to tell a story with my work, weaving in symbols, found objects, and materials that speak at varying levels about a piece’s origins and what I want it to convey.
My studio in Seattle provides inspiration for much of my work, as the high rise of Rain City slopes down into Puget Sound, so too does my work, melding strong metal elements to the subtler organic material that often compliments my pieces.
‘Landscape Bracelet #2’ 2010
Steel Wool, Enamel, Steel
4”x 2”x 1”
Photographer : Lahaina Alcantara
The alchemical events that occur with the liquid enamel and steel wool is an exciting process where two unlikely materials join and become one. I try to guide the materials to take form but I am often at the mercy of the events of the firing which produces beautiful objects often with the rust being preserved within the enamel. The melding of the two elements allows me to create strong light pieces whose materials abandoning each other to become one distinct object.
My four Guardian Angels, 2010,
01, 7.5 x 9.0 x 4.0 cm,
Photo: Josef Bercovich,
Series of 3 pieces - piece n02
The ancient use of amulets as a metaphysical protection against varies dangers (evil eye, demons,hate etc.) is shifted into our post-modern society and our current fears.The jewelry collection comments on our society condition as a Fear Society. We are constantly afraid from the "other", from crime,terrorism, epidemics and more. The materials used are connected and related to and with safety, such as: nets, filters, ventilation covers, light reflectors, working gloves etc. The inspiration of the shapes
and forms are both current and old. Surveillance cameras, gas mask and also the shapes of the amulets, in the Islamic and Judaic religions, the protecting hand (“Hamsa” or “Fatima hand”) and the blue glass eye and its geometrical version in the shape of a rhombus and triangle; an abstraction that represents the eye.
Iris Blossoming 3, 2012
mild steel; magnets, bronze
95 x 115 x 1.2 mm
I wanted a brooch:
Whose value would rest entirely in its shape –
That was incognito; you would never guess that it was a brooch –
That would involve the wearer, force a choice upon the person bearing it –
That had no pins to assault the wearer’s clothes –
These concerns found a solution in subverting the commercial bureaucracy of a conference name badge; a name badge backed with mild steel and held in place with a magnet.
Once my shapes were cut a simple oiling would protect them, in Europe at least, but in the climate of Japan, where I come from, oil cannot protect iron, my shapes would start to rust within the span of a day.
However Japanese craftsmen found a marvellous solution to this problem; first they made their iron rust, then they boiled it in tea. The tea converted the corrosive red rust (Fe2O3) into the protective black rust (Fe3O4) which, in turn, was protected and enhanced by Japanese lacquer cured by heat.
My brooches too are boiled in tea. I have left one side lacquered deepest black with a fine, grainy texture; whilst on the other side, four colours of gold leaf coat the lacquer, in such a way as to mimic grain boundaries. The wearer chooses which side to expose and which to keep secret, thus expressing a mood.
In Japan, the Four Seasons are each divided into six periods of 15 days (the Solar Terms) whose names reflect the cycle of the year. These in turn are made up of 3 periods of 5 days called Seasons. There are therefore 72 Seasons in the year whose names are based on the observation of nature. The Season called ‘Iris Blossoming’ corresponds to midsummer.
Tom Hill, USA/UK
Baby Rat Pin , 2009 ,
mild steel/spray paint/India Ink
3 x 2.5 inches
Gene Lee Photography
Mild steel has been my main medium for the last 20 years . I use wire to create 3d drawings ; sketches in space where subtle hammering widens and narrows the line to create the illusion of depth and weight . More recent work has involved making multipart stencils , using the steel as a canvas to create small scale graphic images.
12” x 13 ¾” x 4“
Photographer: Jim Escalante
My work is about the tension between structure and sensuality. I am interested in framing female identity through the lens of beauty, control, dignity, strength and vulnerability. By building simple structural units into complex sculptural forms, organic shapes give way to fortified architectural systems. Steel wire is used as basic material, and a continuous line of wire is shaped into interpenetrating forms. As multiple units complete a perfect structure, the whole becomes animated and my jewelry comes to life.
The human body is the perfect context for my three-dimensional forms. Only when the body ornaments are perfectly installed on the wearer, does an emotional and structural rapport begin. As people imagine building an ideal house of their own, I also imagine building my house of jewelry on the human body.
Due to the high number of artists participating, crafthaus will show the exhibition in 2 parts.
Participating Artists, Part 2 starting March 20, 2013