Pioneer Landscape Ring

Our second major assignment for Advanced Techniques in jewellery was to create a sculptural ring that incorporated tube settings.

Continuing to explore my interest in pioneering Australia I chose to design a ring that referenced the landscape. I was also looking to incorporate other materials and so I wanted to work with plexiglass and also parts of an antique saw blade I had acquired.

Pioneer Landscape Sculptural Ring detail

Working with my fascination of light and transparency I used the plexiglass to create mountain landscapes, with sections of the saw blade to refer to the manual labour required to eek out an existence in the Australian bush. The silver casing was textured to also refer to the terrain.

I carved rough hewn nails in wax that were then cast in silver. These became the place to slide your fingers through and are in essence the 'ring' part of the sculpture.

Originally I was planning to set gems in the rivet holes that hold the plexiglass and saw blades within the sterling silver casing, however as the design progressed this was not possible. So I added the chain which connects to a cast silver nail at one end, and the end of the saw blade at the other. The chain can be wrapped around the wrist with the saw and nail dangling like charms from a charm bracelet. 

It was onto this piece of steel that I fused 24k gold spots, soldered the silver tubes and set Andalusite gems within them. Andalusite is a beautiful stone that looks green in some lights, and a light pink in others.  

It was incredibly exciting to be working with found objects, rusty steel and gold and it has led to many ideas that I wish to explore! 

End of Semester Summary

My first semester in the MFA program for studio was with Professor Gary Markle. Gary is the Head of the Fashion studio at NSCAD and he has extensive experience working in New York in fashion, film and sculpture. He was the ideal professor to work with given my interdisciplinary nature and desire to explore ideas across a range of materials.

Lichen was the launching point for a series of investigations and I represented shapes found within the lichen using paper, the lids of tins and enamel (a whole blog post was written about the enamel necklace here). The pieces also continue to reference my interest in pioneers and the isolation they experienced.

Continuing to explore my interest in women's domestic objects I made some thimbles and experimented combining porcelain with crochet and gold lustre.

Continuing to play with domestic kitchenware I was interested to see what happened when you filled the void with rocks, thinking about sense of place and your ties or attachments to a geographic location. 

Living in Canada enables me to objectively look at my Australian history and heritage. I am interested in how our ties to the past inform our present and I am exploring this through the imagery of cameos, chain and branches.

This final piece is still in the middle of being created. Originally a porcelain tea cup, it has been broken and pieced back together. All attached by a silver chain. Here I am interested in the notions of sentimentality and how we place such importance on fragile objects. 

All these ideas seem quite disparate at the moment although I am hoping to distill their essence in my next semester next year. Its going to be quite the journey! 

Kitchenalia

The Travellers, 2014. Image by Christina Arsenault

I was invited to participate in a group exhibition entitled Kitchenalia by curator Angela D'Elia at the Goulburn Regional Art Gallery.  17 artists who either worked with kitchen items or made works that represented kitchen items participated in the show.

I chose to submit my recent work The Travellers, made from antique kitchen strainers, combined with brass and copper patina-ed wire, machine embroidery and resin.

The Travellers was inspired by immigrants from the United Kingdom who left their homes to seek fortune and opportunities in foreign and often hostile lands when Britain was establishing new colonies in Australia and North America. Passages of writing by early British immigrants, who experienced the inconveniences of first settlement and the destruction of their precious personal items that travelled the rough bush roads to their new dwellings inspired my work. Despite adverse conditions their pioneering spirits never faltered, allowing them to follow their dreams and create better lives.

More information about The Travellers creation can be found here.

Participating artists include Jacqueline Bradley, Hamilton Darroch, Melinda Le Guay, Stephanie Jones, Waratah Lahy, Birte Larsen, Nongirrnga Marawili, Ellie Mucke, Alison Munro, Mylyn Nguyen, Susan O’Doherty, Rachael Roxburgh, Niomi Sands, Kate Ward, David Watt, Anthony Whyte and various knitters.

Kitchenalia runs from 28 August to 11 October 2014 at the Goulburn Regional Art Gallery.

Resin and Machine Embroidery

Heart houses 2.5 x 4 x 2.3 cm

I have been experimenting with machine embroidery, hand embroidery using reflective thread and embedding it into clear resin.

landscape embroidery embedded into a shape created from an antique hand saw

To create my own resin moulds I have been using a two part moulding paste (Pebeo silicon moulding paste) where you mix equal quantities of the blue and white paste for a minute until a uniform colour appears. It is quick to use and sets in about 5 minutes and is a little like working with oily Fimo (or polymer clay).

two part moulding paste house moulds

And I have worked with 2 different brands of resin: Pebeo Gedeo Crystal Resin and Castin' Craft Clear Polyester Casting Resin. Interestingly there was quite a bit of difference between the two. 

Pebeo Gedeo Crystal Resin took 24 hours to cure, was frosty where it came into contact with the mould and relatively smell free. I quite liked the 'softness' in the quality of the frostiness of the Pedeo Gedeo Crystal Resin, it is reminiscent of the sea washed glass you find on the beach. 

Castin' Craft Clear Polyester Casting Resin cured to the touch in less than 24 hours, was crystal clear even when it came into contact with the mould and was incredibly smelly. This one definitely needed to be used in a well ventilated space!  

House embroidery
embedded into the shape created from an antique hand saw

Whilst working with resin I discovered that you can:

• sand it with sand paper (this gives you a frosty look) and also helps even out any unwanted lumps and bumps
• paint it clear varnish (I used nail polish) which turns the sanded areas clear again 
• speed up the curing time by placing it in a warm oven (preheated to 80 degrees C for 15 minutes) this process also encourages any bubbles to come to the surface and disappear

The following sites were useful references

www.furnityurmolds.blogspot.ca

casting embedments in clear resin 

casting resin using a 2 part mould

Animated kitchen utensils

Over the past couple of weeks I have been learning the basics of stop animation.

You may remember my post from last week about the vintage kitchen utensils, well, my sketches for them have become the basis for my very basic stop motion animation.

The fun thing is they have all developed personalities of their own. Cheeky things!

This one above / and below, is based on an egg cup I designed in metal. Im in the process of making it! When flipped on its side it turns into a squid. Neat huh!

Vintage kitchen utensils

Whilst hanging out in my favourite antique shop I found a delightfully old strainer with a painted green wooden handle.

I thought it would be perfect for my continuing exploration into pioneering history from a women's perspective. I have become interested in the ideas of isolation and communication and how location would have impacted on the early settlers.

My original idea was to build a house out of wire on top of the strainer.

But there was something nice about the movement of the wire when held with the house structure upside down.

Im not too sure of the direction this piece will take yet - but Im having fun exploring the possibilities!