Sydney Morning Herald – ‘The healthy growth of the edible garden movement’
ABC digital News – ‘How we’re dealing with Caronavirus in the suburbs’
Sydney Morning Herald – ‘Granny Smith’ the apple that Sydney gave the world’
and more here – https://sydneyediblegardentrail.com/media/
Wow, it’s been an insane couple of weeks….in a good way!
I made a decision quite a few years ago now to more closely align my inner values with my outside ‘doing’ in the world. The first thing was to give up my well-paid job in the corporate world working for an investment bank. I won’t lie, sometimes it’s been tough but there are weeks like this that make it all seem worth it. While I’m no longer as wealthy financially, I’m richer in so, so, so many more ways. One of the not-for-profit projects I’m involved in, The Repair Cafe Sydney North received some exposure on the ABC 7.30 Report this week and the amount of positive commentary received from the public has been incredible. Our website nearly fried twice from people interested in knowing what we do. We’re a bit freaked out that we’re going to be bombarded with people in August, so if you’ve been thinking of coming along, I suggest you wait a couple of months 🙂
Another thing that happened is that we’ve found out that the Sydney Edible Garden Trail is in the finals for the NSW My Community Project grants. It needs the public to vote for us to win the grant.
If you live in one of the following areas you’re able to vote for us to receive funding (you’re only allowed to vote in projects in your own state electorate and each electorate is allocated the same amount of funding): Artarmon, Chatswood West, East Ryde, Gladesville, Gore Hill, Greenwich, Henley, Hunters Hill, Huntley’s Point, Lane Cove, Linley Point, Longueville, Macquarie Park, Monash Park, North Ryde, Northwood, Pitney, Riverview, Ryde, St Leonard’s, Tambourine Bay or Woolwich. VOTE HERE
Tonight is the opening of ‘The Neck’, an exhibition I ‘cooked up’ whilst visiting my husband’s ancestral village earlier this year. Sagada is high in the mountains of the Philippines. We’ve been visiting this ‘second home’ for the last 15 years or so. This was the first time we’d been surrounded by unseasonal forest fires and tales of local springs running dry. It felt like the Climate emergency that Mother Nature is in, was coming closer and closer to home.
As a visual artist, I explore, through my work, ideas that are important to me. Often I feel helpless about what’s happening on the planet. This show seemed a way of galvanizing that feeling into something positive, to highlight issues in a way that may resonate with others to take action. Our weaknesses can often be our strengths, hence ‘The Neck’.
For me, the neck, often seen as a sensual part of the body, a site of vulnerability, is also a site of strength, supporting the heavy head, a conduit to our heart and lungs, providing life; giving oxygen to our bodies, and nourishment through the ingestion of food. At a time when our planet and humanity seems to be suffocating on many fronts, strangled by powerful, self-serving ‘leaders’, I decided to invite selected artists to explore the neck as a vehicle for political, social and environmental activation.
I’ve also made a piece for the show (A Breastplate For Greta – As The Seas Rise, The Tide Turns). I didn’t list my name on the list of artists as I wasn’t sure, with my other existing commitments, whether I’d be able to complete it in time. But I have. So, in this show, ‘The Neck’ I am both curator, gallery director and artist.
10% of all artist profits from the exhibition will be pledged to Pacific Calling Partnership, advocates for the peoples of the low lying islands of the South Pacific affected by rising sea waters.
But today is also special for another reason. A friend recently pointed out to me that today is the day that my dear friend, fairy godmother, and surrogate aunt, Margaret, passed away. Margaret (the daughter of Sir John Clancy) is the reason I now make jewellery and the reason I run a gallery. She died the week before my first born child, Tegan.
Margaret left myself and my sister two shoe boxes filled with three generations of jewellery. The first day that I left the house with my newborn, I was robbed. Amongst other things, they took those two boxes. I’d previously never shown much interest in jewellery but now I searched and searched, at auction houses, pawn shops, second-hand shops in the vain hope that maybe I would find some of what had been lost to me.
The insurance company said that they would pay out up to $2k for replacements as long as I showed receipts of purchases (I hadn’t had time to get these precious items insured). At the time I only knew of ‘high street’ jewellery shops like Goldmark. All the jewellery looked the same. It was boring and the memories that the jewellery had embodied were irreplaceable. I couldn’t ‘buy’ replacements. I wrote a letter to the insurance company stating this. They agreed to write me a cheque for $2,000. This I used to attend classes at the Workshop Arts Centre to learn to make my own jewellery. Maybe I could make something that would at least represent the emotional loss I had incurred. Jewellery with meaning. It was there I was introduced to the world of contemporary jewellery. I was hooked. Here was jewellery that was interesting, challenging, filled with ideas and stories.
I ended up going back to study full time as a mature age student at The Enmore Design Centre, and on completion was awarded a scholarship, which gave me a year’s access to the workshop, and the opportunity to also study the Trade Certificate in Jewellery. From there, I opened a gallery and have been curating and providing a space for other jewellery makers to exhibit their work ever since.
If I hadn’t been burgled and suffered that loss, so soon after losing Margaret, my life would be different and I would probably be still at Macquarie Bank making money for the corporation but here I am about to open a show which has so much meaning for me.
On my last trip home to Sagada, Philippines, I ran a jewellery workshop, turning tourist plastic into earrings. Could it become a local industry?
I’ve been travelling to the mountain village of Sagada, for the last 15 years with my partner Luke, an indigenous Igorot Filipino.
Apart from its hanging coffins, Sagada is known for its caves, waterfalls, limestone mountains, and hill-tribe atmosphere. Because of its remote location in the Central Cordillera Mountains, it was left relatively untouched by missionaries, resulting in one of the few places in the Philippines that’s preserved its indigenous culture with little outside influence up until the later half of the 20th Century.
The first time we drove up to the mountains, it took 13 hours of treacherous driving – up a muddy, twisting, narrow dirt road, whilst detouring around local landslides and trying not to look too closely at the steep drop off the side of the crumbling road. Once there, to get any mobile reception at all, we had to drive to the top of a specific mountain outside town.
These days, the roads are paved and it can take as little as 10 hours from Manila. There are mobile towers sprinkled atop the mountains, and along with the influx of tourists to town, has come mountains of single use plastic, plastic water bottles, and excessive development. The rubbish is burnt to keep it under control as the town has no rubbish management facilities, causing toxic fumes.
A few years ago, we purchased a very modest house built in the traditional style, from local pine wood hand milled from trees cut in the nearby forests, and covered with thin sheets of tin. The house once belonged to Uncle Ezra, who runs Sagada weaving and it was used as a weaving workshop. It’s now a very simple eco-homestay which we’ve called ‘The Seedling’.
Every time we come back to our ‘home away from home’ we hold small free workshop and skill share for the local community. We’ve held hot composting workshops, and coiling workshops making baskets out of old rags and discarded plastic. We also showed locals how to build a ferro-cement rainwater tank, one of the first in the village.
Last trip, I brought along some of my jewellery hand tools to teach a beginner’s jewellery and I ran a workshop making jewellery from some of the trash that’s been generated by the expansion of the town due to the exponential influx of tourists and the increasing use of plastics.
I had a couple of regular attendees – Gawani, a poet, environmental activist and local business woman, who runs Gaia, the only vegan cafe in town; and Bogan who manages the family organic farm, as well as a few newbies. One of them Rose-Ann, a local weaver, who I later visited in her home where she had her workshop and looms.
In the village, no one had made jewellery before.
There was much laughter and brainstorming about how they could take up this craft during the rainy season, when there were few tourists to keep them busy. They mentioned that whilst there were many souvenirs in Sagada, none were made locally and they loved the idea of converting trash to cash!
Whilst the workshop was only a few hours, I hoped that it might plant a creative seed or two in their minds. I donated some of my tools to them and wrote down a list of all the tools they would need to keep going with their new craft.
A few days later I bumped into Gawani at a local tribal festival. She was still full of energy and ideas and had already researched purchasing the tools on Amazon. She was keen to learn more and for me to give a lecture on contemporary jewellery. This will have to wait until the next time we take the long and winding journey up the mountains. I now have a few new Facebook friends and look forward to seeing what they make of their new crafting skills.
This article was published in Ekko 16/04/2019 –
HOLIDAY OPENING HOURS
Wed 19th Dec – 11-6pm
Thurs 20th Dec – 11-6pm
Fri 21st Dec – 11-6pm
Sat 22nd Dec 11-6pm
Sun 23rd Dec 11-6pm
Mon 24th Dec – 10-2pm
Wed 2nd – 5th Jan – 11-5pm
then open by chance or prior appointment until 1st May
I didn’t want the year to end without a massive THANK YOU! Your support has made more of a difference than you know.I’m really excited about next year and will be around in the gallery working on creative projects, teaching classes, and welcoming you if you message, or ring prior. A big decision was made to carve out a couple of months of ‘me’ time to re-energise and focus on my own creative practice. I haven’t forgotten you and hope you’ll continue to support the gallery during this time. From January thru April, Arts and Culture North Sydney will be exhibiting work by local artists and then I’ll be back with a free pop-up Jewellery Repair Cafe in May and a very exciting group exhibition around all things ‘Tea’ in June.
Relax and take good care of yourself in the lead up to the last days of 2018. Wishing you and your family a fabulous holiday season. Here’s to a great 2019 filled with handmade loveliness!
Tracey Clement is an artist and writer based in Sydney, Australia. Her artworks are diverse and tend to incorporate labour intensive techniques. She exchanged time writing about the project in exchange for one of the ‘Year of Time’ vessels.
Making Time Manifest
When I go to meet Bridget Kennedy to chat about participating in her A Year of Time 1:30 project I’m running early (as always) and she arrives right on time; an appropriate start, it seems to me.
I’ve just finished reading (for the second time) Kate Atkinson’s 2004 novel Case Histories. As Kennedy attempts to explain to me the complicated mathematics which underlie her project (a process which reminds me why I work with images and words, not numbers) I
become slightly befuddled and my mind drifts to one of the characters in Atkinson’s novel who has also been struggling with getting the numbers to add up; in her case the limited number of hours in each day:
Michelle had been setting her alarm five minutes earlier every day. This morning it had gone off at twenty past five. Tomorrow it would be quarter past. She could see that she would have to call a halt eventually or she would be getting up before she went to bed. But not yet… She needed more time, there simply wasn’t enough of it. This was the only way she could think of making it. Not making it exactly, if you could make it from scratch––brand-new time––that would be fantastic. Michelle tried to think of ways you might manufacture something so abstract, but all she could think of were examples from her own small-scale domestic economy––knitting and sewing and baking. Imagine if you could knit time. Christ, her needles would be clacking day and night. And what an advantage she would have over her friends, none of whom knew how to knit (or bake or sew)… And anyway, where would she ever find the time to make time? There was no time. That was the whole point. What if she stopped going to bed altogether? She could shut herself away like someone in a fairy tale, in a room at the top of a tower and spin time like gold. She could stay awake until there was so much time, lying in golden hanks at her feet, that it would last her the rest of her life and she would never run out again. The idea of living in a tower, cut off from everyone and everything, sounded like heaven to Michelle.
Although fictional Michelle is a woman on the verge, and the real artist in front of me clearly is not, this passage resonates with Kennedy’s A Year of Time 1:30 project. It highlights the positive generative nature of traditional womens’ work––all that crafty knitting, spinning, and baking (or in this case basket making) which is so often taken for granted when it is not being openly maligned. And it also draws attention to the abstract nature of time.
These days, even those of us who don’t understand Einstein’s theory of relativity (and frankly who does, I mean really?) have probably watched enough science docos or sci-fi epics to know (without really comprehending) that time isn’t matter fixed in precise unchanging increments. It is, ummm, relative. It stretches and compresses depending on where you are and how fast you are going. And (in theory at least) it is possible to travel backwards, forwards and sideways in time through the vast reaches of the infinite multiverse.
Yet back in the real world, outside the rarefied field of theoretical physics, we continue to talk about time as if it was a quantifiable physical substance. We say things like ‘Time heals all wounds,’ an aphorism that pictures time as some kind of medicinal unguent, or ‘Time flies,’ a metaphor in which time shoots off rapidly like an arrow, in just one direction. Or, perhaps mostly commonly these days, we
say ‘Time is money.’ And, never mind jaunting across the space-time continuum in the Tardis, this is where things start to get really weird. In saying that time is money we assign value (an inherently arbitrary judgment) to an utterly intangible concept.
Even Atkinson’s character Michelle, poised as she is on the verge of postnatal psychosis, knows that you can’t actually define time, grasp it, pop it in a box and save it for later. And you most definitely cannot whip-up a new batch as required. But you can, as Kennedy has done, make both time and the value we attach to it visible.
In her A Year of Time 1:30 project Kennedy has made an entire year of time manifest as 60 finely crafted vessels stitched together primarily from textiles. She has then traded each one of these diminutive baskets for either services rendered by others for an amount of time equal to the minutes spent on each vessel, or cash, or a combination of both. This process of exchange has been documented, making transparent and tangible the normally arbitrary process of assigning value to both goods and services.
In being willing to do a straight minute for minute swap, Kennedy draws our attention to how unusual this equity is in our hierarchical culture. Normally there are wild discrepancies in the values assigned to labour: doctors, lawyers, plumbers and CEOs can charge amounts per hour t
hat cleaners, nurses, teachers, waiters, artists (and arts writers for that matter) can only dream of.
Some participants in A Year of Time 1:30 felt that they had nothing of value to exchange, or they just preferred to pay cash. But Kennedy left it up to each individual to decide what her time was worth, again highlighting the arbitrary notion of value. For example, she found that while someone might be willing to pay her $85 per hour for jewellery making lessons they only valued her vessel creation time at $25 per hour. I’ve exchanged words for minutes: 827 shiny new ones (in addition to Atkinson’s burnished old ones and a quote from the artist herself) for my lovely little vessel titled, 827:24810.
Kennedy fashioned the 60 vessels for A Year of Time 1:30 over the course of one calendar year (another way to measure time). She assigned the project a scale of 1:30, and that’s where I started getting confused. I’m still not sure why she settled on 1:30, but as the artist pointed out to me there are 525,600 minutes in a year. And, demonstrating that she’s not going mad, she realised that she couldn’t weave vessels 24/7 (if she could she really would be like a woman in a tower in a fairy tale.) As Bridget Kennedy patiently explained to me, “So that’s why I did a scaled down ‘time map’ of 1:30 ratio. This equates to 17,520 minutes. It would be really cool to find 29 other people to also work making vessels for 17,520 minutes each– then I could literally show a full year of time in one show. But that’s another project still in the planning stage.” Something to look forward to, at another time.
After an amazing and inspirational kayaking trip to Southern Raja Ampat off the West Papuan Coast, I’m looking forward to the year ahead! We kick it off with our first exhibitions ‘Sanguine’ and ‘Red – it’s not just a colour’ opening on 1st March, as well as a free pop-up jewellery making workshop, all part of THE RED PROJECT, a North Sydney Council Arts & Cultural event exhibiting artworks by 74 artists at 6 venues throughout the month of March, in celebration of creative women in North Sydney and International Women’s Day.
There’s also been an exciting new development with my ‘A Year of Time 1:30’ installation….stay tuned for details. The exhibition is on display in the gallery until 24th Feb, so there’s still a chance for you to participate. I’m looking forward to sharing 2018 with you!
1 – 24 March 2018
Opening drinks and artist talks Thursday 1st March 6-8pm.
Anita Larkin, Jenny Pollak & Margarita Sampson are three mid-career artists working in new media, found object & textiles; with work represented in major prizes and collections across Australia. In this exhibition they present new bodies of work responding to the idea of the ‘Sanguine’. Anchored in the body, their work is thoughtful, incisive and transcendent.
image:Jenny Pollak Bloodlines, 2016
RED – it’s not just a colour
1 – 24 March 2018
GOING, GOING, GONE
image: Michael’s hands with 263:7890 after exchanging 4:23min of time
NEW IN GALLERY
image: ‘Night falls over Brunswick’, pendant, 2017, enamel, glass, 9ct gold, blackened 925 silver chain, copper $480.
Love is in the air! Yes, Valentines Day is almost here and while we all deserve a special gift on occasions (and you can find heaps of very special ones at the gallery), I wanted to share a gift which doesn’t cost the earth…and that’s to ask your partner something new… like ‘what’s the most interesting conversation you’ve had recently?’ or ‘which talents do you wish you had?’ Another romantic idea could be to make your own wedding rings together. We have two locations available, North Sydney or the stunning Blue Mountains.Get in touch for details. Here’s to love!
See you soon.
It took 3 planes, an overnight visit in a dodgy Indonesian airport hotel, and a 13 hour boat trip, but the southern area of Raja Ampat was worth the hike to get there! Whilst the easier to access parts of Raja Ampat are showing early signs of a yet another remote paradise soon to be taken over by the tourist dollar, the remoteness of the south is providing fabulous protection from the inevitable decline that happens when masses of tourists move into an area.
The archipelago is thought to contain the richest marine biodiversity on our planet. Positioned between the Indian and Pacific Oceans, and the meeting of four tectonic plates, has contributed to this diversity. The reefs are also relatively resistant to coral bleaching and disease.
The marine life and landscapes we kayaked around for 10 days were mind boggling, crystal clear, blue water, calm, protected lagoons, massive limestone, weather-worn rocks, carnivorous plants, wild seas and currents, sea turtles, reef sharks, too many fish to name….One of the highlights was swimming through a dark and majestic limestone cave with just our head torch (think Jenolan caves without the kitsch coloured lighting)….I did hear later that salt water crocodiles had previously been spotted in the cave…that could have made for an interesting full stop to my mortal existance!
Sadly, even in this remote and beautiful part of the planet is being inundated with plastic brought in by the currents. On most of our kayak day trips, we collected plastic to be brought back to the ship. This would then be returned to the local recycling plant that had been setup. The Misool Foundation is a great organisation which is doing it’s bit to help keep the reefs clean. The trip was inspiring and left me with lots of food for thought…. as well as a few ‘plastic souvenirs’ which I’ll be using to make work for an upcoming group exhibition opening 5th July 2018. ‘Sea Shape reflects on our relationship with the sea. Artists will work with discarded plastics and marine debris in response to the changing shape of our seas, and the way we live in our urban environments.
I will be speaking at an upcoming event as part of the inaugural Sydney Craft Week – Craft Up Late and Panel Discussion
The Australian Design Centre will be open until 8pm on Wednesday 11 October as part of Sydney Craft Week’s Craft Up Late program. Come to the gallery, where you can see the exhibitions on show, have a drink and listen to the panel discussion: Sydney – A City on the Make, presented by Garland magazine and Australian Design Centre. Speakers include Kevin Murray from Garland who will moderate the panel, Sydney jeweller Bridget Kennedy from Studio 20/17 and Nadeena Dixon, a Wiradjuri/Yuin/Dharug Sydney-based textile artist.
When: Wednesday 11 October, 6-8pm
Where: Australian Design Centre
Free event, booking required.
With the recent sad news of the closure at the end of this year of the jewellery department at M.I.T Auckland, it seems timely to emphasise the importance of supporting our local Australian and New Zealand artists and creative arts scene. Despite a 50 year strong history and a plethora of accomplished graduates, M.I.T. was deemed not profitable enough to continue. Similarly in Australia, in recent years the contemporary jewellery community has been devastated with galleries and education facilities closing down or drastically downsizing. This makes it more vital than ever before to support our local makers and indeed our local supply companies. As makers, it’s tempting to buy supplies overseas for a ‘cheaper’ price but we do pay an ultimate cost. The money spent stays overseas and our local suppliers eventually go out of business taking with them the expertise that can only be imparted through local interaction and conversation. The same can be said for us as art/craft consumers, and as gallerists. While overseas artists might appear to add a certain cache to a gallery, if we don’t make it a priority to support our local makers, either through sheer hard work and promotion, or by putting our dollar where it counts, the end result will be a huge loss of creativity on our local shores and the demise of our cultural originality.
Australian and New Zealand makers have a unique perspective and it is imperative that we foster this expression. Encouragingly, a new initiative has this aim at The Australian Design Centre under the helm of the formidable Lisa Cahill. ADC is at the forefront of re-establishing support and generating enthusiasm for contemporary crafts in NSW with the establishment of an annual Sydney Craft Week, the inaugural event being on 6-15 October, 2017. I encourage you to get out and about during this time to see what wonderful creativity exists in our gorgeous city. I’ve been invited to speak on a panel about Sydney’s craft culture on Wed 11th October. If you’d like to continue the conversation please join me at ADC.
I’m proud to say that Studio 20/17 Project Space is the only contemporary jewellery gallery in Sydney choosing to focus solely on representing and supporting Australian and New Zealand contemporary jewellery artists in both a retail and exhibition environment.
You DO MAKE A DIFFERENCE to this world. Remember, the choice you make for every dollar you spend or every task in which you invest time and energy is a vote for the type of world you want.
Choose to support your local artist over the alternatives and keep creativity alive in our region. – Bridget x.
Our next pop-up Repair Cafe is on soon! Bring along a broken item of costume jewellery and with the help of volunteers from the Repair Cafe Sydney North, we’ll repair it together at the free pop-up Jewellery Repair Cafe at Studio 20/17 Project Space, 53 Ridge Street, North Sydney.
You’ll have the opportunity to gain skills and knowledge to make simple repairs yourself whilst being guided through the process. Please note that not all items may be able to be fixed. It’s an ongoing learning process. If you have nothing to repair, you can enjoy a cup of tea or coffee, or lend a hand with someone else’s repair job.
Spaces are limited. Time – 2:30 – 4pm. Book Thursday 27th July 2017
If you can’t make it to this one, there’s always our regular Repair Cafe Sydney North event, on the 1st and 2nd Sundays of the month where items such as clothing, jewellery, furniture, shoes & small appliances are repaired for free and kept out of landfill with the help of volunteers.
I’ve been neglecting this website for a while as life’s been so full of other things. Studio 20/17 Project Space has been open in North Sydney for a few months now and The Repair Cafe is in full swing. We’ve even had a couple of pop-up jewellery repair cafes in North Sydney. I’m now doing a little teaching at UNSWAD and enjoying more and more work remaking jewellery for people.
On 31st May 6-8pm at the Australian Design Centre, I’m looking forward to speaking at an industry focused panel discussion for designers, makers and thinkers to contemplate the viability of transformative repair. Is transformative repair a response to problems of obsolescence and waste in product design? Does it have the potential to create an emergent service market for design and arts professionals? Consider these questions and many more – hosted by ABC Sydney’s Simon Marnie with Object Therapy curator and project designer, Guy Keulemans and featuring ‘Object Therapy’ designers, owners and special guests.
Big melt for new golden jewels
Enjoyed melting down some broken bits of gold chain, single earrings who’d lost their partners decades ago, and old bits of jewellery that had been rattling around in a customer’s jewellery box. The brief was for a pair of large, minimal, with a contemporary tribal twist. I’ve been making a few of these lately and they tick all my ‘sustainable’ boxes! I remember reading somewhere that there’s already enough gold floating around the planet to handle all our requirements, yet we keep digging more and more out of the ground. Not cool.
Artist opens gold mine in Marrickville.
Only a couple of weeks until ‘Choice Mate’ opens.
I’m a bit anxious about this work. Like all new experiments, I’m not quite sure how it will all turn out. No images yet as the process of installation is part of the work itself.
Choice Mate – Bridget Kennedy,
airspaceprojects.com , 10 Junction St, Marrickvile, 10 – 25 July 2015
materials: beeswax, pigments, found objects, gold leaf, fools gold, an ounce of gold, 2015
Choice Mate, an installation covering the gallery floor with thousands of small objects. They look like rocks. Almost. But not quite.
Inspired by a month-long residency in Hill End ,NSW, this miniature landscape is made from ‘wax effigies’ of real rocks: discarded remnants of the town’s gold mining past. This phrase evokes the melancholic tang of loss. As well it should, for Choice Mate is a kind of memorial. And like all good memorials it serves as a trigger of contemplation as well as commemoration.
Made primarily from beeswax, the ‘rocks’ are coloured with both earthy ochres and artificial pigments. There is something just a little unsettling about the colour; something not quite right. I don’t want my objects to be mistaken for the real thing. The deliberately heightened colours point to the fact that my landscape is human-made. This microcosm is an invitation to consider the impact our interventions have on the larger environment.
While at Hill End, I walked a lot. I became aware of how every inch of soil beneath me had been turned over by human hands; crushed and eroded in search of treasure. I discovered that what appeared to be ‘natural’ was actually the result of choices made: the decision to delve into the earth in search of gold, the choice to destroy one thing of beauty in exchange for the chance of finding another.
Choice Mate offers visitors this same conundrum. Each of the rocks may (or may not) contain some genuine gold. Visitors may decide to ‘mine’ the work, stake a claim and take a piece home. In doing this they will leave an indelible mark on this carefully constructed landscape, destroying its original form. Or not. They may instead decide to leave the landscape intact. In this way, Choice Mate is a gentle reminder that all of our choices, no matter how small, have repercussions.
REFLECTIONS FROM HILL END – Artist Residency February 2015
Over a year ago I received news that the application for my month long residency at Hill End had been successful. This bit of gold on the horizon promised to be a wonderful start to 2015.
The artist in residence program is managed by Bathurst Regional Gallery and provides an opportunity for creative development in the unique environment of Hill End and its surrounds. There are two residences available, Murrays Cottage, where Donald Friend used to live, and Haefligers Cottage, which once belonged to the artist Jean Bellete and her husband Paul Haefliger. I stayed at Haefligers, a small wattle and daub building with a detached studio. The contents of the house comprise mainly of the original furniture and belongings of the Haefligers.
The time spent there was memorable in many ways. What stands out, upon reflection, is solitude, space, silence and uninterrupted time – a rarity in busy Sydney, with two kids and two businesses on the go. The opportunity to spend whole days not talking to anyone, not thinking about anything but my own practice, or whatever I wanted to think about, was an incredible gift. There was no television, very little lighting at night and a heavenly silence.
With a population of only 75, when I first arrived I felt like an interloper, acutely aware I was the new stranger in town. I found myself going for a walk at dawn and dusk and spending much time in the studio exploring ideas that had been simmering in the back of my mind for a while.
My walks provided me with freshly picked berries, figs, apples, pears and tiny sweet plums. During my time there the remaining plums on the trees dried and shrivelled in the summer heat. At the time, this reminded me of how important it is to grab the moment and opportunities when they arise, to embrace them, as they too can shrivel and die unless given the chance for fruition.
It was quiet. The silence enabled me to hear the bees buzzing loudly in the clover when I took my early morning walks. Or maybe it was that my mind also had time to quieten and become more open to sounds that are normally drowned out by both internal and external noise.
The land has a rich and layered history beyond its natural rural evolution and the historical human intervention in the earth fascinated me. As I walked, I was acutely aware of the ground beneath me – how it had been heaved, smashed and churned over. There are pits and potholes of old mines scattered throughout what, in some areas, looks like a moonscape. Hill End is an historic gold mining town and at one time it was a bustling, crazy melee of thousands of people turning over every inch of soil looking for the gold that would change their lives. Some say there is more gold still in Hill End than was removed from it and on weekends the roads become (slightly more) busy with 4WD vehicles filled with optimistic tourists keen to fossick for gold just outside of the historic town. Previously plots of land were marked out, tightly held and disputed, but now those boundaries are left to decay. Fallen fences are a reminder of history and the passage of time. The remaining buildings have a weathered patina with the colourful and subtle palette that only time can bring.
In the last half century, many artists have made Hill End their home and in the quiet of the street, as I walked, there was an awareness of much happening behind closed doors.
The time spent there was simple and grounding. I was able to spend time with myself without the pressures of external schedules or the expectations of other people. It seemed to help me find my natural rhythm and I found I wanted to walk more, make more, eat less. I woke refreshed each morning. I had no urge to relax at the end of the day with a glass of wine, or reward myself with a hit of sugar. It just seemed unnecessary.
Whilst in my practice in Sydney I appreciate input and collaboration, my experience at Hill End led me to consider that there is a need for the space that solitude provides and where thoughts can meander and solidify.
I took to the residency a number of projects that I was already working on (I like to keep my hands busy) but I had no expectations nor pressing need to finish any. I worked on simple pleasures like crocheting a bag and a series of colour studies from recycled materials, using the rich and lush colours in the local environment from which to draw inspiration.
I felt drawn to the many broken rocks that form the landscape, and spent time walking and collecting these as well as materials like bags of kangaroo poo and coloured soils. I started another wax work of multiples and rediscovered a childhood love of clay. The projects were varied and the mental and physical space allowed me to spread out. The residency left me refreshed, full of new ideas that I will meander through with time, along with insights and developments to enhance my existing practice.
Images from that time can be found on Instagram by following @bkandco hashtag #hillendiamusings.
A selection of the amazing works created by our Melissa Cameron One Design workshop participants. We loved everyone’s imagination and enthusiasm in tackling the project – what great results!
Conveying Korean Metalcraft with Kenny Son.
Kenny Son is an emerging designer-maker who has recently completed a six-month mentorship under master metalsmith Sung Joon Cho in Korea, with funding provided by the Australia-Korea Foundation. Kenny participated in the program with the aim of introducing traditional Korean metalsmithing skills to the Australian jewellery community. After graduating from Sydney College of the Arts in 2010 with a Bachelor of Visual Arts (Honours) and completing a Masters in Design at the University of Technology in 2013, he has successfully launched his own object and accessories label, Studiokyss, based in Sydney.
Kenny was kind enough to answer some specific questions about his time in Korea as a context for understanding more about his upcoming exhibition at Studio 20/17, Conveying Korean Metalcraft. I interviewed him over Skype from Sydney while Kenny was close to completing his program in Seoul, South Korea.
Let’s start by telling me how you came to make jewellery and objects? I imagine it’s been quite a journey.
I started at Sydney College of the Arts, majoring in Jewellery and Objects. I started because I just wanted to make. I really liked working with my hands, building things, making things. I started it, I loved it, I still do.
I graduated from SCA and took a year off to try different things and see what I wanted to do – from photography to working at the Powerhouse Museum. I realised that I wanted to continue learning but at the same time I wanted to try something different. That’s why I went to UTS, you went to UTS right?
Yes, I studied there for one year before I started at SCA.
I did it the other way around. I finished up at SCA and wanted to try something different in terms of approach and execution. I went to UTS and did Object and Accessories for my Masters Program.
And when did you graduate?
I graduated in the middle of last year. I had this idea [the program] that I wanted to do pretty much as soon as I graduated. The beginning of that year I looked into the scholarship provided by the Australian Korea Foundation that looks at building the relationship between Korea and Australia in relation to culture. It’s an Australian government foundation, the primary focus is on the improvement of Australia, benefitting from things that relate to Korea.
It has a subject or a topic that the scholarship focuses on each year. Last year it had to do with sport, but I thought what I had planned was different, that I had a case. They thought it was really unique and different. And yeah! Here I am, nearly at the end of the six months, due to go back to Australia.
What does your program focus on?
Basically, my program focuses on learning traditional Korean metalcraft techniques, and going back to Australia with a range of workshops and an exhibition at Studio 20/17. My progress will be shown as well as my mentor Cho’s lifetime work, who has a lot of years behind him, a lot of work and a lot of experience. Korean metalcraft is something special, so it will be good showcasing that in Australia, to see what Australia is missing in terms of the area.
Did you design the program yourself?
Yeah, I designed everything, along with a friend of mine, who is a well-known jeweller here. I was speaking to him to see if he had any ideas and he said, ‘Hang on, I’ve got a person in mind, let me talk to him first’. He introduced me to Sung Cho. He was born in 1945 and he’s been a metal craftsman all his life. I got introduced to him and had lots of phone calls with him. He said that he thought this program would be worthwhile and he had something in mind as well and we sort came up with this program.
It was hard for me because, and this is only my assumption, but a lot of the other people applied for the scholarship through a company or a school, which makes it a lot easier in terms of insurance, accommodation, paperwork…
In terms of just general support?
Yeah, exactly, and because Cho’s coming to Australia I had to organise everything for him as well. So doing the actual program as well as all the behind the scenes stuff is really difficult. Things like finding accommodation for the short stay [in Seoul]… I’m just like, how did I do it? I think now that I know that I scaled everything a little bit too big for myself to handle in the beginning, but hey, it’s a challenge and it’s what I wanted.
What has the experience of the mentor/mentee relationship been like? That’s not something that a lot of people get to experience in Australia.
It wasn’t easy. There’s the age difference, he was born in in 1945, I was born in 1987, that’s already forty plus years difference. He’s lived in Korea for seventy odd years and I’ve been away from Korea for twenty odd years so there was that cultural difficulty to start with. But, time fixes that.
It was quite special. It’s different learning on a one to one basis. It’s more intimate, more direct. If you do something wrong or make mistakes, there’s someone to go ‘nup’, or ‘do it again’, and let you know what the right way is. It’s a really good way of mastering something. I started the program November 1st, and everyday, except some Saturdays and Sundays, I went from 9 in the morning to five o’clock, or five-thirty, everyday. It means you have a lifetime teacher than you can always go back to if you need. It was really good, really special.
It sound like you will to continue having a relationship with him when you’re back in Australia.
I think so.
Can you explain one of the techniques you’ve learnt from Sung Joon Cho?
One of the techniques I learnt was ipsa.Simply explained, it is creating a chisel that has a very sharp angle, probably less than 5 degrees, well, much less than that, created out of specialized steel. It’s the repetition of the hammering against the chisel onto a steel plate and you are creating hundreds of, how should I put it…marks or indentations, and then putting in really fine silver wire.
And you’re hammering it into the indentations that are made with the chisel. The wire has to be about .2 or .18 millimeter thickness. You are creating a series of shapes or images with the wire and hitting those into the indents.
Wow, that sounds amazing.
Yeah! It’s quite interesting.
What has your experience been of the Korean metalcraft and jewellery community?
I can’t compare it to anywhere else around the world, only Australia, so it’s a very personal comparison. My opinion is that the metalcraft scene in the Korean universities are a lot more disciplined. There’s a lot more hours put in. Students stay until say 11pm, sometimes 12am. It’s just hours and hours and hours – that’s what’s expected. In Korea, even after they turn 17, 18, 19, a lot of them still stay home or they have a dorm at school. They get support from the family in terms of school fees. In Western culture, once you are an adult, you move out, you make your own living. And it’s hard with work commitments to find that amount of time.
A lot of the teachers or the lecturers have studied either in Japan or Europe, like Germany, Munich so forth. So a lot of the influences are from there in terms of design and skills. And material wise, it’s quite different from Australia. In Australia, there’s a lot of, if I can say [laughs] kind of very strange materials that comes into the metalcraft scene, I shouldn’t even say the metalcraft scene because some of them don’t even end up using metal! That’s what’s so great about the Australian jewellery scene is the freedom to work with so many different materials and techniques. The atmosphere or environment also influences you. Australia has such a good natural [environment], it’s full of trees and beautiful plants and flowers and so forth. Here, it’s very hard to see wildlife because there are so many high-rise buildings, it’s so urbanised. That’s got a lot to do with the work that comes out.
You’re recently had a small exhibition in Seoul. What were you exhibiting and what was the response?
That exhibition wasn’t planned. It wasn’t part of the program at the beginning. It was held at Gallery Ah-won. Gallery Ah-won specialises in craft, mostly metalcraft. I’ve got to know the owners of Ah-won just through people I know in the industry in Seoul. They’ve been watching over what I’ve been doing. They also have an association with my mentor. They said why not show what you’re doing to the metalcraft scene in Korea as well. Nothing huge, nothing major. It was on for about a week. It was quite special. It was also an event to say goodbye to the people I got to know in Korea and a lot of people who have an association to the Korean metalcraft scene came, lecturers from different universities, current practicing artists and students as well.
The exhibition was progress work, trials and experiments. Nothing in the exhibition was finished. It was like a process diary, an archive, of what I’ve done and how I’ve learnt it, the process behind a certain technique. That’s how I displayed it. It was all laid out on three different tables. It was the tools as well, because I had to make all the tools. Cho’s known for that as well. Because he does traditional work, not a lot of tools are available for his work. In Australia the exhibition will be called Conveying Korean Metalcraft but here it was called The Process Diary / Conveying Korean Metalcraft because it was a process diary basically. It was just great, thanks to Gallery Ah-won.
How do you think your personal relationship to Korea has changed? Do you see yourself going back to live there?
At first it was hard. Some of the things I just didn’t understand, not like ‘what does that mean’. More like why, ‘why would they do that’? In Australia I’m very connected to the Korean community but actually being in the country, experiencing it as a 28 year old, is very different. Life as an adult in Korea is very different because of the history of how the country developed. Korea’s history has effected how people live today. There was a huge Japanese invasion in the early 1900’s and the Korean War in 1950. It’s an amazing country if you think about it. Everything was destroyed because of the war. It redeveloped, re-civilised. Now Korea’s a country with a number one IT area, so many huge companies; Samsung, Hyundai, LG. If you think of that you just go, ‘oh’, you understand why some of the people are really stressed, why some things are different. And that’s why a lot of people put in a lot of hours, like I said before, even the students, tend to put in lots and lots of hours. Because without that you can’t come than far in 56 years.
What do you hope to bring back to Australia?
I hope to bring back more than what I initially did! It ranges from knowledge, skills and techniques to experience and even including emotions and stuff from over the six months. This program was highly set on skills, techniques and knowledge that are very rare in the Australian metalcraft scene, which could benefit the people in the industry.
Conveying Korean Metalcraft at contemporary jewellery design gallery, Studio 20/17, will show both your and your mentor’s work?
Well, what I’ll be showing is the progress rather than finished work and what Cho will be showing is his lifetime’s work.
Ok, so that’s pretty major!
Yeah, yeah! Not 100% [of it] because he’s sold a lot of stuff but what he’s got and what he’s managed to get, he will be showing. Everything he makes by hand, but it’s finished to perfection. A lot of people go, ‘oh is that cast?’ or ‘is that pressed?’ but he hand cuts, hand carves and hand raises everything. You just go ‘woah!’
How will the your work and Cho’s work fit alongside each other?
It will make a lot more sense, seeing my process and his finished work. I think it will be better that way.
You are hoping to introduce Korean techniques to Australia – how are you hoping to achieve this?
Through the exhibition firstly, and I’m set to have a range of workshops. Firstly at the Jam Factory in Adelaide, Perth JMGA and finishing off the main workshop at SCA which is co-funded by the Korean Cultural Centre in Sydney.
I’m doing the workshop in Sydney by the way, and I’m very excited! Will you and Cho be doing the workshop together?
Cho will be leading the workshops but I think it makes sense that I work as an assistant and as a translator.
How will your time in Korea benefit your future work? Do you think what you’ve learnt in these six months will become part of your work?
I think so, definitely, yeah. I think six months, it could be a very short time but at the same time it’s a long time to be apart from your actual life and submerging yourself into a complete program. Everything’s set, everything’s planned, there’s freedom but you know what you’re going to be doing for the next five, six months. It will be a huge part of my future and my work. Not everything [I’ve learnt], I must say, because some things are really traditional and some things…it doesn’t fit into..
Your personal aesthetic?
Yeah exactly, my personal interests. There will be huge influences or even changes towards what I do, and how I work, and the techniques I’ll be using as well.
Did you have opportunities to travel outside Seoul during the program?
I got to travel a little bit because I had some time during weekends, to see Korea and get to know Korea – going to Kunsan, it’s the southern coast of Korea. And also Jeju Island, it’s also off the South of Korea. Time and time again, it is the most wonderful place, a really amazing place within this world.
I’ve met so many people. Through the program I’ve become friends with a lot of good people, I’ve made a lot of connections and friends. Some of them will be great friends after I leave this country and because a lot of them are in the metalcraft scene, I’m sure we’ll be contacting each other if we need help with anything, on a personal level, and workwise as well. That’s quite special.
Lots of good food as well. I have a lot of Korean food back home as well but still it’s different. Definitely, food, lots of…I don’t know if I should say this but lots of drinking as well! Drinking culture here is huge.
So you’ve had fun as well as working really, really hard?
I guess so! Towards the end it was more working, working but yeah.
How are you feeling now you are at the end of your program?
I’m quite excited, a little bit scared, but quite excited.
Thank you Kenny!
Conveying Korean Metalcraft will show at Studio 20/17 from the 14 to 28 June. Join the artist for drinks at the opening on Saturday 14June 4-6pm.
Google synthetic diamonds...
The results are predominately synthetic diamond sellers, followed by articles detailing the laboratory process, a ‘how to’ on creating your own man-made diamond using a microwave to create ‘graphite plasma’ and a disgruntled ex-fiancé who asks ‘was it fair she dumped me because I gave her a fake diamond’? It’s a jumble of information that fails to illuminate the numerous benefits of lab-grown diamonds and gems…
Synthetic diamonds, also known as cultured or lab-grown diamonds are safe, sustainable man-made gems. Laboratory conditions replicate the heat and pressure of the earth’s natural diamond-growing environment. The result is a real diamond, chemically, physically and visually identical to natural, mined diamonds but without the environmental, social and financial baggage of the diamond mining industry.
Synthetic diamonds are affordable, sustainable, 100% conflict free and come with a certificate to prove it. In addition, lab-grown gemstones including rubies, sapphires, emeralds and alexandrite, are also created using similar high-pressure laboratory processes, gems identical to their natural counterparts. Synthetic diamonds and gems provide an excellent alternative when looking for something special.
Don’t be fooled by Google.
Note: the image above is of work by Saori Kita. It isn’t made with synthetic gemstones. We just put it on the blog because we love it!
April already! We had a lot of fun with our Glorious Food exhibition for ArtMonth in March.
Bridget’s Lipoma Lemon (miracle-gro) brooch provided delicious inspiration for a lemon tart dessert created by Luke Mangan for the Visual Feasts dinner, a collaboration between the 2 Danks St galleries and the renowned chef.
Continuing her long interest in food related art, during ArtMonth Bridget exhibited new works of electroformed and gold plated food, Eat Me!, as well as her fabulous oversized rice neckpiece food for thought: Cultured (bleached). Her asparagus pendants were a great favourite and drew much attention.
A special thank you to Mel Young and all who attended her ArtMonth talk. We love Mel’s colourful works and are always amazed by the diversity of her quirky pieces. Her Apricot Delight neckpiece drew our favourite comment of the month “They’re like fuzzy little bottoms!”
A professional image of your jewellery can really be the difference between getting exposure for your work online and zippo! We get so many images from artists of their work which we can’t use. We are always looking for great images to help promote the work in the gallery and while we do take photos here ourselves, our time is limited and it takes time to take the many photos required. So if want to increase your chances of having your work up online quickly, email us through some great images. Here’s a photographer who is Sydney based and very experienced with taking photos of jewellery, which is harder than you might think. You can get in touch with Barry at showreels4actors.com.
Quite a few people have been asking about the very thin gold honeycomb element in my three rings that were exhibited in the Earth to Earth, Ashes to Ashes exhibition. They were made using CAD with the fabulous help of Vernon. I really wanted to explore the limits of possibilities of thinness and play with pattern variatons. Vernon, a fellow artist and experienced 3-D designer, was willing to give it a go. Because he also has a background in contemporary jewellery, he totally gets where we’re coming from! He can be contacted at firstname.lastname@example.org. If anyone is looking for someone who can think a bit outside the square, he’s your man. It was lovely to deal with someone outside of the trade environment who was willing to be involved in the creative/experimental process. – Bridget
I didn’t know this but Tracey Clement offers an editing service for students essays, theses and dissertations. I studied under Tracey and believe having her eagle eye look over your work is a fantastic investment in your future, particularly if you want the best possible chance of success.
She’s an expert in the field of art and design and offers a special discount to students. She’s probably already found a few grammatical errors just reading this!
An open invitation to the ‘gentleman’ who was responsible for the unleashed dog that ran through my artwork on exhibit at The Coal Loader Centre for Sustainability as part of the North Sydney Art Prize and then insulted me by giving me $10 towards the costs of damages.
When I received the news that I had been selected for the North Sydney Art Prize I was ecstatic. As an artist, we invest heavily in our time and own financial resources to create work for both ourselves and the wider general public, to hopefully extend the experience of their world, create beauty, get people thinking and to create a sense of something beyond the economic rationalist view point that seems to have somehow dominated our society.
I was even more excited to find out that I had received the Encouragement Award. All too often an artist life is an uphill battle.
Unfortunately my experience during the first two days that the exhibition has been open to the general public has left me far from encouraged. This is the third installation of this artwork but it is the first time I have observed it being treated with such an incredible lack of mindfulness and respect.
While the installation is slightly problematic in that it is a floor piece and there are a number of works in the room, it is not so problematic that anyone knowingly walking into a space to view artworks as part of the North Sydney Art Prize would not be able to navigate the space in a respectful and mindful way.
While minding the space as a volunteer (of course, artists are not expected to get paid for their time) I have seen adults walk over the work, damaging elements with no acknowledgement of their action or apology. This has also applied to the parents of the numerous children who have run, walked or fallen onto the piece. Parents please hold on to your children’s hands if they are not familiar with appreciating art.
The last straw for me was Sunday when a gentleman allowed a dog, unleashed and in his care to run frantically across the work, scattering the elements widely and destroying many. I took yet another deep breath and remained calm, as accidents happen. People are careless without even realising it. It is an offence to have a dog unleashed in a public space. North Sydney Council officers, where were you to offer him his on the spot fine?
I invited the ‘gentleman’ to help me repair the damage that his dog had created (actually not his, he was minding it for his daughter, and agreed that it was out of control…”so why not leash the beast I thought to myself”). He seemed a man educated in the arts, discussed the similarities that he thought my work had with a work displayed in the new Kaldor Wing at the AGNSW……I made light conversation while taking deep breaths to remain calm…in an attempt to keep him from ‘feeling bad’ about the damage that had been done to my artwork……and then, when it was ‘fixed’ to a level that seemed suitable, he offered, hastily, a $10 note towards the damage that had occurred and quickly disappeared.
I was stunned. Still in a state of shock from what had happened, I took the note but felt deeply insulted.
My work takes a minimum of 18 man hours to install. The elements were made over an intense period of 21 consecutive days working 15-17 hours each day. There are 10,000 elements in the piece. I realise that the Visual Arts is increasingly undervalued and continues to be de-funded but the disregard shown by that $10 left me speechless. If not for the tireless commitment, and financial investment of the participating artists to their practice, the works in this exhibition would not exist for the public to enjoy.
So I invite the ‘gentleman’ to the opportunity of a lifetime, to experience what it is like to be an artist. To, in effect, recreate the commitment and effort it took to create my artwork that was then made available for him and others to enjoy; so that he can be educated in the life of an artist. He will have the opportunity to create his own artwork, learn new skills, experience dedication, persistence and focus.
I offer to take the time out of my life, to make him a commitment over all my other commitments (as a mother, wife, business partner, gallery director, student and artist), to make his experience my primary motivation, to take him on a journey that will open his heart and his mind to the joy (and heartache) of creativity and to the focus required to create an artwork like this. All he needs to do is commit, as I did, to 17 hour days for 21 consecutive days. I will even provide him with a gallery exhibition space to exhibit the resulting work in where he can celebrate his creation with friends, family and colleagues.
I will also commit to giving him $10 to compensate for his efforts in the event that his work is damaged by persons showing a lack of respect for his creation.
Signed Bridget Kennedy.
Bridget is a contemporary jewellery artist and a director of Studio 20/17 (studio2017.com.au). Her works are respectfully exhibited within the galleries at 2 Danks Street in Waterloo (2danksstreet.com.au) and elsewhere. Her floor installation “just help yourself why don’tcha” is on exhibition at the Coal Loader as part of the North Sydney Art Prize until Monday 5th August 2013.
2 Danks Street Award for Contemporary Art Criticism
The 2 Danks Street Award for Contemporary Art Criticism has been established by the permanent galleries of 2 Danks Street Waterloo to foster new writing on, and extend discussion about, the visual arts. This award is initially being given for writing about exhibitions at galleries in the 2 Danks Street complex. In subsequent years, the intention is to extend the award to exhibitions in other Sydney based commercial or private contemporary art galleries.
We turned 5 in early February and Melanie and I have been so busy, that we totally missed it (but we’ll still happily accept birthday presents)! As we look forward to yet another fabulous exhibition opening in the gallery today, I thought it was time to take a few minutes and reflect on the last five years and where we’ve come from. We’re usually caught up in doing our best to make the gallery and our client’s experience (both artists and retail customers) better, that we sometimes forget how much we’ve achieved.
Melanie and I started in a rather small space which had a split personality between retail and exhibition space, showcasing just our own work, where we both had to remain on strict diets to enable us to have enough room to slide past each other into the back of the workshop….but now, we
– have doubled in size and are the only gallery n NSW specialising exclusively in contemporary jewellery
– have held more than 50 exhibitions in the gallery, hosted various artist talks, and held creative workshops
– have learnt something new every day on how to run a small business
– have built an international reputation
– had a baby (well, Melanie has)!
– expanded the retail aspect of the studio to now represent over 50 Australian and international artists
– and have managed to survive the GFC (please, we don’t want to hear that word again) and are looking forward to a great year ahead.
We’ve been blessed to have the wonderful support of many contemporary jewellery artists and collectors, and the mentorship of some very special people (you know who you are) over the last 5 years. Without this support we just wouldn’t be here.
We’re very excited about 2013 and privileged to be exhibiting artists of the calibre of Melinda Young, Sean O’Connell and Julie Blyfield this year….just to name a few! We installed a brand new internally lit cabinet in the retail section of the gallery towards the end of last year and are looking at launching a studio wedding range later this year.
We love walking down the corridor of 2Danks in the morning and every day we feel privileged to open the doors of our gallery and continue our role in supporting and increasing the profile of contemporary jewellery.
Hip, hip hooray!
Call for Submissions
MAKER/WEARER/MATCHMAKER – a collaborative jewellery project, initiated by JMGA-NSW and coordinated by Bridget Kennedy
NSW jewellery artists and members of JMGA-NSW are invited to submit a proposal to participate in MAKER/WEARER/MATCHMAKER, a collaboration between JMGA-NSW and the galleries of 2 Danks St, Waterloo, to be run during ARTMONTH, March 2013.
In this project, selected artists will each work with one of the gallery directors from 2 Danks St, producing a small series of works (1-3 pieces) inspired by the director or work exhibited in their gallery, which the gallery director will then wear during Art Month 2013 (March 2013). The works will be developed following a meeting with your gallery director. When your work is not being worn it will be displayed in the gallery.
An online catalogue will be produced documenting the project and the works produced.
The project will endeavour to create an aspect of community and conversation and to challenge boundaries of contemporary jewellery, whilst increasing its profile within the contemporary art environment. Wearers and viewers of the work will be able to reflect on their emotional and physical response to the work via a blog. Each director will be given a journal to document their personal responses to the work.
This project will be managed by Bridget Kennedy, co-director studio 2017, 2 Danks St and secretary JMGA-NSW.
Your submission should include:
– 3-5 images of recent work, presented in a powerpoint presentation saved under your name. Images should carry captions with title of work, year of production, materials, dimensions.
– a supporting statement about these works (max 200 words)
– The gallery/galleries you would preferred to be paired with (optional) – see www.2danksstreet.com.au. Or visit the galleries in Sydney at 2 Danks street Waterloo, NSW 2017.
– a CV (max. 1 A4 page)
Please email your submission to: email@example.com
Submissions due by 9am January 14 2013.
Eligibility and conditions
Submissions will be excluded if incomplete or not meeting the stated requirements.
No late submissions will be accepted.
All jewellery artists resident in NSW or with a JMGA-NSW membership current at time of submission are eligible to submit a proposal.
If selected to participate in the MAKER/WEARER/MATCHMAKER you will be required to become a member of JMGA-NSW, if you do not currently hold membership.
If selected, you will be required to attend the official matchmakers event in late January (date TBC) at 2 Danks Street. All work must be completed and delivered by February 26.
Artists and gallery directors will enter into an agreement covering the loan of the works for the duration of the project.
Artists will retain ownership of their work unless sold.
Copyright of the work will remain with the artist however artists will be required to provide permission for images of the work to be used in the catalogue and additional documentation and publicity of the project.
Questions? Please email Bridget Kennedy at: firstname.lastname@example.org
Just thought I’d put up an image of some exhibition work I completed recently….made from 925 silver and cicada shell legs. It’s amazing how strong these fragile elements become when massed together. I’ll be making some more wearable versions in earrings and pendants for our Christmas showcase which we’ll be installing this coming Monday…..better get back to the bench! – bk
Can’t make it into the gallery? Check out our online catalogue of the current show https://docs.google.com/open?id=0B6WbZzwd1PbtNE9DUlR0MlgzQXM
….okay, the images aren’t super fantastic..we’re too busy loving all the rings to spend too much time photoshopping…. but we can email you better images if there’s a particular piece you’re craving. – bk.
Five days left for our ‘Forever Plastic’ exhibition! If you haven’t already swung by the gallery, you can always take a look at our online catalogue here – ‘Forever Plastic Online Catalogue‘.
Venue: Dominik Mersch Gallery, 2 Danks Street, Waterloo
Woah, what a fantastic turnout we had at the ‘MotherCraft’ Opening last Saturday the 8th!
Our festive guests relished the delights on display while mingling with the artists (Effie Milos & Melissa Turner) and nibbling home made quiche! We would like to thank everyone who came along, for a thoroughly enjoyable evening!
Remember, ‘MotherCraft’ will be on display until Saturday the 15th.
Cheers- Studio 20/17
one of 14 precious and collectible, wearable and non-wearable jewelleries made by the NZ HandShake jewellers! They’re raising funds to exhibit their work at SCHMUCK, Munich in 2013, and producing a fabulous book about the 2 year project. Studio 20/17 is selling them on behalf of the NZ guys. Tickets are just $4 each and can be purchased here at Studio 20/17.
Thank you to everyone who came along to the opening of Sheridan Kennedy’s ‘O Tremblant’ last Saturday !
Kennedy’s wonderfully alive, attention seeking jewels were widely enjoyed!
If you are yet to experience ‘O Tremblant’, make sure to pop on in before Saturday the 1st of September.
We’re very excited that two of our gallery artists have had pieces purchased by the Powerhouse Museum this year! Congratulations Felicity Peters and Rui Kikuchi – go girls! – bk.
We would love to send out a huge thank you to all of you who came along last Saturday and celebrated the opening of Once More, With Love with us. It felt like all of Sydney’s jewellery community was there, not to mention some special guest appearances by some of jewellerys most royal!
The ‘In Conversation’ panel discussion held on the Tuesday night went off like treat, there was so much stimulating discussion, and it most certainly has given us here plenty of new ideas to ponder. Make sure you check out the project website (http://www.oncemorewithlove.com/ ) for more information. The exhibition continues until the 18th of August.
Cheers – Studio 20/17
2012 Christmas Showcase: Submissions now open!
We are calling for expressions of interest for original and well made contemporary jewellery for the Studio 20/17 annual Christmas showcase. Opening 3rd December 2012 and running through until Christmas Eve, it provides an excellent opportunity to showcase and sell new work during this busy period.
Selected artists are required to provide a MINIMUM of 5 works. Ideally, work would be able to be restocked when purchased. Selected artists will be required to contribute a fee of $38 each to help cover some of the costs of installation and opening night celebrations.
Your expression of interest should be sent ELECTRONICALLY and include:
– One page CV
– Artist Statement (the theme behind the work, inspirations, materials etc)
– Up to 5 JPEG images (either of the work you intend to submit, or previous work, with a detailed description of the work you intend to submit). PLEASE keep image sizes under 500kb.
– Number of works you intend to submit (with materials and pricing info – RRP please, please note: Studio 20/17 takes 50% commission on retail price). Please note this information is to give an idea and does not need to be finalised.
– All images must have a title, date of work, materials and photo credit.
31st August Expressions of interest due (late applications are unable to be accepted).
7th September Artists will be informed of selection.
22nd September Submission Fee required by Selected Artists
21st November Delivery of work with accompanying completed paperwork.
The artist is wholly responsibly for the cost of postage to and from the gallery. Please make sure you provide a return self address post satchel when you send your work as this ensures speedy return of your work once the show has finished. Please note that the gallery is closed from Christmas day until 23rd January so work will be returned when the gallery re-opens.
Expressions of Interest are accepted via email by 5pm 31st August 2012:
E: email@example.com T: (02) 9698 7999
Thanks to all who came along last Saturday for the opening of Oh Opal! (re-imagining Australia’s national gemstone). We had a lovely time and were lucky enough to be graced with presences of three participating artists aka ‘particles’ (Christine Scott-Young, Jill Hermans and Dianne Beevers)! Christine gave a delightful and informative talk about the history of Part B as well the ins and outs of how the research group works.
Remember this Saturday the 28th July is the last day to view the exhibition.
Cheers – Studio 20/17
We’re often asked by students and emerging jewellers for hints on how to establish a relationship with a gallery – and keep it! So here’s a few little snippets of info that we’ve found useful for ourselves as both practitioners, and gallery directors. Running a contemporary jewellery gallery is challenging and not particularly financially rewarding..and we’re continually making mistakes and learning….but we all know that none of us are in the arts for the dollars….and if we wanted to make a half decent living, we’d be selling Pandora beads and not beautiful, challenging, exciting Contemporary Jewellery.
While we certainly wouldn’t like to think that we’re in the same category as a certain Sydney chef, there have certainly been a few times when Melanie and I have also felt like having a bit of a rant….so I thought it was time to put pen to paper…..bk and Mel
1. Deliver work on time for exhibitions. While it may be cool to be fashionably late to a party, this is definitely not the case for your work at an exhibition. It’s stating the obvious but a lot of time and effort goes into putting on a show, and when there’s been deadlines given, and plenty of leeway, the excuse, of ‘sorry, I’ve been busy” is one sure way never to be invited to participate again….hey, we’re ALL busy! It’s disrespectful to the other artists and the gallery and effects the integrity of the exhibition.
2. Make life easier for the gallery that represents you, not harder – by providing consignment notes at the same time that you provide us with your work. Galleries have to spend a large amount of time on administration of work. The more artists, the more work. If we have to do YOUR paperwork as well as OURS, it just doesn’t work. If we have to chase you up on it, it just doesn’t work. Make sure each item in the consignment clearly identifies which piece it relates to. Your work cannot be shown to clients unless we know how much to sell it for and details of materials, processes etc. By providing a consignment note with your work, you show us that you’re not only a fabulous artist but that you’re also professional.
3. Invest in good quality/professional images of your work. Galleries are always needing images for publicity as well as for use on websites, blogs and invitations. It’s in your best interest to supply quality images (with correct photographer credits and image details) as your name will be beside the image promoting not only the gallery but you the artist as well. While we do make every effort to photograph work, fantastic images supplied by artists will take priority as they’ve made our job of promoting them so much easier! Please, no black, blue and textured backgrounds! Poor images of your works aren’t worth sending. Simple white is the general rule when dealing with galleries, publicists and magazines. If your photography skills aren’t crash hot, invest in some professional shots. A wise friend once told me that you can get years of value and mileage from just one or two great shots.
4. OWN your work – by this I mean take pride in your work out there in the universe, repair any defects in your work free of charge and as a priority. We’re not talking the usual wear and tear here, but rather situations like ‘the brooch finding doesn’t work – it keeps falling off’, or ‘it just fell apart – I only wore it a few times’. While none of us like to be out of pocket for our precious time and materials, the reality is, if we’ve made something poorly – this is the consequence. Remember, the gallery’s reputation has been effected by selling the item to a valuable client, the client’s time has been effected by having to deal with the return of the piece, and there have been financial outlays by the gallery – the time spent placating a client, the correspondence entered into with the artist, the costs of return postage. We expect artists to guarantee their work for an absolute minimum of 6 months, although many of our artists offer a lifetime guarantee on any defects.
5. Beading/threading/stringing – call it what you want – just make sure its done right and tight. Yes, after time some neckpieces may need a retread, we tell our clients this, just like a pearl necklace, there may be a maintenance cost sometime in the future. However, it’s important to have the work threaded properly in the first place. Any area where thread will rub against metal will quickly effect the integrity of the piece – the metal will wear away the thread very quickly. So, crimping a bit of silk beading thread together at the end of a finding just doesn’t cut it. Try using gimp to protect any areas where metal may rub against thread. Glue – this can discolour and look ugly. Knotting – ensure that the piece is knotted tightly and back down the length of the neckpiece. Neckpieces can also stretch, another reason to ensure the threading has been done tightly in the first place. We recommend outsourcing your stringing to companies that specialise in this procedure.
If you’re using coated steel wires and nylon threads invest in slightly better quality versions rather than fishing line and ones purchased from the local hardware shop. Beadalon beading products sold through A&E metal merchants or on the Beadalon website have great coated wires and threads, these wires last longer, and depending on the version you buy, have great flexibility, stopping them from kinking and snapping easily.
6. Earring wires – Make them straight and strong! It’s important to make sure your earring wires are straight and work hardened. Burnish any wires after they have been soldered otherwise they can bend and flatten, just in the process of being delivered to the gallery – we are totally serious – it’s amazing what can happen!! Burnishing takes a few minutes and ensures the wear ability and integrity of your work.
7. Turn up to exhibition openings – particularly if you’re in the exhibition and live in the same city! It continually surprises us when artists don’t turn up to their own shows. It’s important to support your gallery and your fellow artists by turning up to openings where possible. It also enables you to meet other artists and potential clients. Okay, I have to fess up here – I am guilty of this one. I once submitted a work to an award exhibition and was so embarrassed about the work, that I couldn’t face turning up. I ended up winning in the emerging category and wasn’t there to collect my prize! I was new to the CJ world, shy and scared of people – so I totally get it – BUT – it’s REALLY important!
8. If you want to be known, get known – this one’s for all those students and emerging CJ artists out there. To stand out from the crowd, regularly attend openings and visit galleries, introduce yourself, offer to help out as an intern, be enthusiastic!
9. Cleanliness is next to Godliness – yes, washing your hands regularly WILL keep those nasty cold bugs away, and delivering your work clean and tarnish free will make all the difference!
10. And lastly – packaging (only because the OCD side of me needed to make this 10 hints) – we love receiving parcels! One of the best, best, best things about running a gallery, is that we get to pretend it’s Christmas all the time. However, like kids, if it takes a degree and various surgical instruments to either unpack or repack the box, the shine quickly wears off. Make sure work is well padded, but don’t over do it. There’s no need to use a roll of sticky tape and 3 layers of paper and 4 sheets of bubble wrap for a single pair of earrings. Also don’t pack everything in like an extremely well thought out jigsaw, with no room to move. While at the time it might seem brilliantly clever it just makes us feel like frustrated 3 year olds when we can’t fit that last piece of jewellery back in, and spend half an hour trying to work it out….and failing…..and then we need to recover with coffee and cake!
A few people have been enquiring as to whether there was a written copy of Mel Miller’s fabulous artist talk. For those of you who missed the talk, or want to review it again, Mel’s kindly posted it on her blog which can be viewed at http://melmillerjewellery.blogspot.com.au/2012/07/local-colour-artist-talk.html.
Studio 20/17 is hiring!
Interested in gaining industry experience in the arts? We’re looking for an enthusiastic part time/casual gallery curator/assistant with a passion for contemporary jewellery. You’ll need to be available to work 2 days a week (one of those a Saturday), be a people person, team player, organised with an attention to detail, and keen as hell to work in the arts. When we say keen, we mean super keen! Some arts administration and retail experience would be great.
Please send your CV and a cover letter stating why you want this position to Bridget or Melanie at firstname.lastname@example.org
Applications Due by Friday 3rd August
Thanks to all who came along last Saturday to hear Mel Miller speak so beautifully about her amazing work and who shared a well earned celebratory drink with us. The exhibition finishes up this Saturday afternoon the 14th of July, so make sure you get in quick to see Mel’s really delightful work.
Cheers – Zoe
This Saturday 7th July at 3.30pm, Melbourne Artist Mel Miller, will be talking about her current Solo exhibition ‘Local Colour. It’s sure to be really great!! We’re excited!
Gaffa have perfectly timed another Melbourne artist talk at 2pm, just before Mel’s talk. Nicole Polentas and Christopher Earl will be presenting alongside their Exhibition PSYCHOMANTEUM.
Hope to see you all on Saturday!
Please join us on Saturday 7th of July at 3:30pm to hear exhibiting artist, Mel Miller, talk about her beautiful work in her first solo exhibition at Studio 20/17. Opening celebration will follow from 4-6pm. We hope to see you there!
A solo exhibition by jewellery artist Mel Miller
3rd – 14th July 2012
CELEBRATION DRINKS Saturday 7th July 2012 – 4-6pm
ARTIST TALK 3:30pm Saturday 7th July 2012
Most people travel at the same time and the same route to and from work everyday. If you’re like Melbourne based jeweller, Melissa Miller, you might start to notice how places along your journey, maybe a church, a house or a park, start to look different not only in the changing light of the day but also through the changing seasons.
Local Colour, Miller’s first solo show at Studio 20/17 in Sydney, and will showcase brooches, neckpieces, rings and objects depicting abstracted interpretations of streetscapes, parks, buildings and details of the urban landscape that she passes in her daily commute.
Miller says ‘…knowing these familiar places in different lights reveals their picturesque
PROFILE 2012 applications close this Monday….the Biennial Award Exhibition is open to members of JMGA-NSW. With a prize pool of $3,000 it’s a great reason to join….AND….you don’t need to reside in NSW to become a member. There are prizes for both student and professional categories….we’ve heard rumours of who will be one of the judges….it’s not quite official yet…..but lets just say, we’re very excited!
try this link to download a form https://docs.google.com/file/d/0B62a27Id_jSfb0tDUVp5aENuTEU/edit?pli=1 or email JMGA at email@example.com for more details.
Thanks to all those who came along on Saturday evening, we had a great turn out! Find below images of some very stylish people who braved the cold to celebrate the opening of ’The Year Was 2006’.
Don’t forget the last day to view the exhibition is this Saturday 30th of June until 6pm.
Cheers – Zoe
Images below kindly taken by Christopher Corboy – please contact us if you would like his details.
psssst….extra bonus! – a special student discount is available for Mel’s workshop (check out some of her great work currently at Studio 20/17) – contact Karin at firstname.lastname@example.org if you wish to participate in this special offer….tell her studio 2017 sent you….enjoy – bk.
WITH MELINDA YOUNG
This workshop will explore and challenge approaches to making, focusing on the theme ‘Unnatural Jewellery’. Participants will be encouraged to experiment with and deconstruct a variety of found materials whilst developing and working to a theme.
This workshop aims to encourage participants to:
- Challenge their ‘natural’ and collaborative approaches to making.
- Experience new approaches to working with experimental materials and colours.
- Consider and develop a conceptual approach to materials to guide the making process.
- Develop a collection of experimental pieces of jewellery using deconstructed materials and new techniques, which are then developed into a small body of finished work.
Level: All Levels. This workshop is suitable for beginners through to experienced artists.
Estimated materials cost $35 – $100
PRINTING ON CLAY: EVERYTHING YOU NEED TO KNOW
WITH CLARISSA REGAN
Do you have a photograph you would like to transfer onto a ceramic artwork? Would you like to learn how to make your own Japanese-style tissue paper transfer? This workshop is a great opportunity to learn new image-making techniques designed for artists working with clay.
During this hands-on workshop participants will learn how to make their own silk-screens, transfer photographs and drawings onto raw clay and bisque ware, make laser toner decals, Japanese tissue paper and photocopier transfers, and mix their own inexpensive printing inks.
All the techniques demonstrated in this workshop are easily transferrable to participants’ own studio or home. During the workshop, participants will hand build simple forms which will be bisque fired during the course.
Level: All levels. This course is suitable for beginners to more experienced ceramic artists wishing to extend their range. Estimated materials cost: $150
What a show! It has been like Christmas here over the last few weeks, so many parcels arriving! After an 11 hour install, breakfast, lunch and dinner in the gallery, the three of us (Mel, BK and Zoe) have finally got all 100 pieces up. We are now ready to show the world what 2006 looked like in terms of contemporary jewellery.
We think it looks pretty great. The show opens this Saturday the 23rd of June from 4-6pm, we’ll put some photos of the whole installation as well as some opening images early next week. In the mean time, find below some images of the install, as well as our yummy breakfast and a little sneak peak and one section of the show.
See all you Sydney peeps on Saturday!
Cheers – Z
We had an absolutely smashing time at Claire’s opening last Saturday! Here are a few images of Claire installing the show as well as the opening. A huge thanks to all those who came along and participated in the many fun, loud, and over the top ‘Public Displays of Attention’.
We will let you know as soon as Claire has put your fabulous portraits up on her website. Also a big thanks to Joy and John of Lyrebird Photography for doing such a great job of making everyone (including me) look top shelf!
Cheers – Zoe
ps. There are some great shots of the show up on Klimt02!
FOR THE LOVE OF COFFEE….
We are looking for jewellers who love their coffee. We don’t expect it to be the ‘be all and end all’ of your existence, but we think it might or should, come in a pretty close second. You could say that this show is not so much about the work rather the stories and anecdotes that are shared about or over a good strong cup of Joe.
We assume one could parallel the making of coffee with the making of art or jewellery, but we won’t go that far. Really, all you need to know is that this show is about how coffee or the act of ‘meeting for a coffee’ factors into your practice, making and/or existence.
Perhaps without it, you might not have met up with an old friend and discussed your ideas, you might not have pulled apart your machine to see how it works, conversely you might not have built a machine to share the love, and you certainly might not have made all the interesting, beautiful/ugly and thought provoking work that covers your bench right at this moment.
Please note: The work does not have to reference coffee at all. The accompanying wall text will speak of how coffee or the act of meeting someone for a coffee factors into your practice.
EXHIBITION DATES: 2nd – 13th October 2012
OPENING: Saturday 6th October 4-6pm
– Max 5 Images or scanned sketches of the proposed body of work (3-5 pieces)
– Artist statement about this body of work (100 – 200 word)
– A very brief anecdote about your love of coffee and its roll in your practice
– Max 2 page artist CV including artist Bio
SUBMISSION DEADLINE: Friday 29th June 2012 5pm
NB. This is a curated exhibition, not all submissions will be successful, you will however be notified either way by the 13th July 2012
– If accepted, an artist contribution fee of $55 will need to paid by the 1st of August 2012 (this helps cover the cost of the gallery and professional presentation of your work)
– A questionnaire about why/what it is that you love about coffee, this will be forwarded to artists with successful submissions.
– The artist is solely responsible for the transport/insurance of the work to and from the gallery
– DELIVERY OF WORK: by 21st September 2012
Got a question? Please feel free to drop me an e-mail email@example.com or phone me on 02 96987999
Zoe Brand Exhibition Coordinator at Studio 20/17 (Wednesday, Thursday and Saturday 11am-6pm)
Very Simple Proofs, The Trivial Ring
8th May – 2nd June 2012
The Studio 20/17 annual winter showcase, an exploration of the RING.
Jasmine Matus, Marina Antoniou
Melanie Ihnen, Karin Findeis
Zoe Brand, Helena Bogucki (wall)
Nadene Carr, Inari Kiuru
For more info LINK
Last day to view the exhibition is this coming Saturday. Mums day is coming up – and surely she deserves something special (I know Melanie and I do!). Lots to choose from – a statement piece of An’s architectural, linear works, crafted with such sensitivity to materials…….or delicate and colourful work by Mary Odorcic, with tiny gemstone and silk thread embellishments. Note to self – leave discreet post it note on hubby’s bedside table. – bk
In brief, the evening will include about ten minutes from each of the panel, where they will put forward their view on the evening’s topic, ‘Are we too concerned with the new?’, the latest in the series of Conversations presented by 2 Danks Street. The Chair, Christopher Hodges, will be directing the Conversation. The evening will end with an open floor discussion with questions from the audience. In conjunction with the 2 Danks Conversations evening, the Danks Street Depot is offering 2 courses for $40. Bookings for the dinner are essential, contact 9698 2201 or email firstname.lastname@example.org.
Gallery artist Lisa Furno has just delivered some new works to the gallery. The vibrant coloured bold necklaces are titled “Mums going away necklaces” and are created from the retro fabric of her moms honeymoon dress.
WANTED: 100 JEWELLERS.
An invitation to PARTICIPATE in an exciting exhibition hosted by Studio 20/17 in Sydney.
THE YEAR WAS 2006.
It was a common year that started on a Sunday. John Howard was PM, the Yellow Wiggle retired for health reasons, Pluto was no longer classified as a planet and the price of 925 Silver was about 52 cents/gram.
It is often said that art is a reflection of our society; so we thought we might test this theory out.
Studio 20/17 is calling for the ambitious number of 100 jewellers who were making work back 2006.
DEAD LINE FOR EXPRESSION OF INTEREST
27th April 2012
EXHIBITION DATES: 19th – 30th June 2012
+ One piece of jewellery per artist made in 2006
+ One page artist CV
+ One highres image of the piece (preferably on a white background)
+ Caption details (title, materials, dimensions and approx month the piece was made)
+ $20 artist fee to be paid on submission (deadline for EOI 27th APRIL 2012)
THE FINER DETAILS:
+ The artist is wholly responsible for the cost of transport and insurance of the work to
and from the gallery. A self addressed express post bag is required to make sure
the work is returned promptly to the artist at the end of the show.
+ Work may be for sale, the gallery takes a 50% commission rate from the RRP.
+ Studio 20/17 reserves the right not to display work if it is deemed inappropriate, or the
correct details/information is not supplied.
(please return via e-mail as well as a printed copy with your sent work)
TITLE OF PIECE:
APPROX MONTH MADE IN 2006:
EXPRESSION OF INTEREST BY: Friday 27th April 5pm.
o PAID ARTIST FEE ($20.00)
o SUBMISSION FORM E-MAILED
o 1-3 IMAGES of the work.
o ONE PAGE CV
DELIVERY OF WORK to GALLERY by: Friday 8th June 5pm
o PRINTED SUBMISSION FORM
o ARTIST CONSIGNMENT NOTE
o A RETURN SELF ADDRESSED EXPRESS POST BAG
WORKS WILL BE RETURNED IN THE WEEK BEGINNING 10th JULY 2012
o Hand delivered: Unit 6B, 2 Danks St, Waterloo, NSW 2017
o Postal: Studio 20/17 PO Box 1341, Lane Cove, NSW 1595
o PayPal – email@example.com
o Direct Deposit Please e-mail the gallery for details (firstname.lastname@example.org)
For more information, please contact Zoe Brand – email@example.com Phone + 61 2 9698 7999 or +61 416 069 881
The National Gallery of Australia’s Research Library has archived our website for researchers now and into the future – We’re now a part of art history! check out http://pandora.nla.gov.au/index.html The National Library will retain the website in the Archive and provide public access to it in perpetuity. It will also undertake any preservation action to keep our publications accessible as technology changes over time….yay to Librarians!
Thanks to everyone who made it to the opening,
and thanks to Julia for a wonderful exhibition.
We had a great night !!!
Studio 20/17 would like to welcome David Cruickshank to the gallery. David has brought us in a selection of beautifully handcrafted titanium and 18ct gold rings. So if you’re in the market for a special ring for your man, please be sure to check these out. They can be made up in any size within a couple of weeks. We also have an elegant titanium and silver podlike neckpiece, two delicate podlike bracelets and a matching cuff in stock …see below images of a just small selection of the collection – bk.
Some photos from celebration drinks (including a gorgeous photo of the two beautiful artists – Szilvia Gyorgy and Jasmine Matus)….and some installation shots. The last day to see these shows is Saturday 26th November – bk.
A couple of upcoming opportunities for practitioners – Only less than 6 days to go for early bird registration for JEMposium and don’t forget the masterclass – http://www.jemposium.co.nz/masterclass.html…and some great summer classes at SCA Objectlab Brochure Compressed
This coming Monday, Melanie and I will be installing Western Australian artist Felicity Peters work for her exhibition ‘Jestem-I am’.
Felicity Peters is one ofAustralia’s leading jewellers who has consistently won awards and is collected inAustralia,Poland andSwitzerland. Her work has recently been acquired by the National Gallery of Australia (NGA) and is featured in seventeen Australian, USA and UK books plus numerous reviews in Australia and overseas. Felicity was the first jeweller to be awarded one of two Creative Development Fellowships awarded by the Western Australian Department of Culture and the Arts. This $60,000 award enabled her to work towards a solo exhibition at the prestigiousLondon jewellery gallery Lesley Craze Gallery in February 2010. A workshop in granulation in theUSA and her CAD designed work were also part of this award.
This exhibition is the first time that Felicity has had a solo show in the Eastern States since 1984. This event promises very exciting and unique work from one ofAustralia’s leading jewellers.
On Tuesday night (18th October – 6-8pm), she will be holding an artist talk exclusively for JMGA members. Drinks and nibbles included. – bk
beautiful work by Melissa Cameron and Chloe Vallance in our new BIG space……we hardly know ourselves! – bk
An exciting event not to be missed !!! The evening coincides with our Felicity Peters exhibition and the Studio 20/17 canape has been inspired by some of the works in the exhibition !!!
Crave Sydney International Food Festival Event presented by Danks Street Depot Thursday 20th October 2011, 7-11pm
Price: $49 + booking fee (includes a complimentary cocktail on arrival)
2011 marks a decade since 2 Danks Street opened as a space to celebrate great contemporary art and wonderful food. Join the Festival by attending a roving cocktail party specially created by Jared Ingersoll.
Pick up your passport at the door and wander from room to room for a walking canapé degustation inspired by the exhibition in each gallery. Aboriginal and Pacific Art, Annette Larkin Fine Art, Brenda May Gallery, Dominik Mersch Gallery, Stella Downer Fine Art, Studio 20/17, Syndicate, Utopia Art Sydney and Wilson Street Gallery.
Bookings / Inquiries
PDF flier download – crave_food_festival
our little space has now doubled in size……I’ve been busy setting up plinths with lots of work, sorting out our stock drawers and filling and sanding
the holes of a last minute partition that was put up this morning by our friendly ‘Blake the builder’……still waiting on the electrician who will be arriving tomorrow arvo so people will no longer need to bring their headlamps in to look at our jewels. so our exhibition space is now open for hire! any jewellery artists out there who want to take advantage of our lovely, freshly painted walls…please give us a shout! – bk
As I type, the builders are busy knocking a wall through our litttle gallery to make a whole new exhibition area. So, all you jewellery artists out there itching to have a show in what we think is the best venue in Sydney, please contact us!
Melanie and I are very excited about the possibility the space will bring to the contemporary jewellery community. Thanks to Leanne, Leah and Patrick for their help with packing everything away….We hope to be back up and running by this coming Tuesday – bk.
Jess, one of the artists in the current exhibition, HandShake – Prentice and prodigy, will be discussing the work and background to this innovative project. Look forward to seeing you there!
The nature of this project departs from more common exhibition formats, which focus on a theme or the curator’s perspective to bring to together a group of artists. Here, a group of emerging artists will have the opportunity to develop work in collaboration with a mentor. In this project, the traditional practice of the passing on of craft/artisan skills through a classical apprenticeship is revived in a contemporary context. The partnership and dialogue between the graduate and their mentor is a great opportunity for the graduates to learn more, but also for the established maker to bring forward their knowledge and share with the new generation of makers. See the blog of the project development at http://handshakejewellery.wordpress.com
Thanks to all the New Zealand crew who made it over for the set up and opening night!!
Bridget is currently in setting up our new exhibition – HandShake. Peter Deckers has just emailed us some images of the works and I thought we would give you a sneak peek of what’s on show.
Don’t forget the celebration drinks are tomorrow night – Tuesday 9th August. We usually have our drinks on a Saturday afternoon but not this time as Peter Deckers and some of the makers are in town for the setup and opening.
The exhibition will be formally opened by Dr Karin Findeis Subject Chair, Jewellery and Object Lecturer, Jewellery and Object, Sydney College of the Arts.
One of our favorite gallery artists is on a bit of an award winning roll!
A BIG congrats to Melissa (again).
see below for an except of the press release…..
Melissa Cameron, a Saint Kilda based jewellery artist, has taken out a gold prize at the 7th Cheongju International Craft Competition in Korea. The biennial competition, which tasks crafts artists to respond to a set theme, was this year entitled ‘Not the new, just the necessary.’ Seemingly inspired by austerity measures that are currently gripping many world economies, the motto was interpreted by the judge to mean that, “In a world that is characterized by an overflow of things… it could be the role of crafts to make people think about what is really important, what is the true basis of our life today.” Cameron’s metal work entitled “Circle Plate Set” was a surprise stand out, in a year where ceramics dominated the top end of the prize pool, winning the Grand Prize and two out of four gold prizes. Cameron’s piece, made from an antique electroplated plate (with nickel-silver under the silver plating), was designed to exploit this novel material, to create a set of three jewellery pieces comprising of a bracelet, brooch and neckpiece. The competition was judged by German art historian and curator Stephan von der Schuleburg, who had this to say about Cameron’s piece; “an outstanding work perfectly expressing the motto of this Biennale. It is a recycled nickel silver plated plate hand-sawn
into a number of jewellery items. There is a surprising beauty in these tender works of jewellery, and, with a smile, they breath[e] the spirit of sustainability.” The presentation of awards will take place at the opening of the exhibition in Cheongju, Korea, in September. Cameron intends to use her US $10,000 prize money to attend the award ceremony, and corresponding symposium.
Thank you Kenny for sending through these images! – bk
Hi everyone, I’ve some work in a group show of Australian artists curated by the lovely Lauren Simeoni and Melinda Young. Two of our gallery artists, Anna Davern and Melinda Young also have work in the show. The exhibition opens at Velvet da Vinci Gallery on August 2nd. check out the gallery website for images – bk
Bridget and I went to a beautiful exhibition opening last night at Paper Plane gallery in Rozelle. Two of our gallery artists Saori Kita and Rui Kikuchi were part of the exhibition.
Check out the exhibition blog – http://www.aboveearthbelowsea.blogspot.com/
Thanks to everyone who came along and supported the show and dined after with one of the artists, Claire McAlister.
Kenny kindly helped installed this fabulous show of semi-relief brooches by the Korean jewellery Hyun-seok Sim (some of you may know his incredible hand made cameras). Hyun-seok has exhibited extensively in Korea, Japan and USA . In this exhibition, by reworking, recycling and reconfiguring the every day subject, chairs, tables and geometric forms, with his clear modern aesthetic of geometric bas reliefs, he manages to reinvent the known, the familiar to make ‘the old’ new again. – bk
Congratulations to two of our lovely gallery artists, Rui Kikuchi and Melissa Cameron, who are both finalists in the LOVE LACE exhibition opening this weekend.http://www.powerhousemuseum.com/lovelace/. – bk
Our next exhibition ‘Seoid 11’ opens next week. Check out the PDF below for some recent publicity in the Irish Echo newspaper. – Mel
We’d love to congratulate one of our gallery artists Melissa Cameron.
Melissa was recently awarded the top silversmithing prize at the Buda Contemporary Silver and Metalwork Exhibition. Melissa received the Arts Centre Prize including acquisition of the work by the Arts Centre in Melbourne.
The Buda Silver exhibition continues in Castlemaine until the 19th of June, after which her work will be touring with a selection of the works including the other prizewinners, to the Arts Centre. – Mel
Jessica McMullen has just delivered us a range of her ‘Diamond’ inspired works.
Zoe Jay Veness has also delivered some beautiful earrings, neckpieces and brooches in her signature concertina folded paper technique.
The exhibition is up!
New work by :-
Karin Jacobsson, Karin Findeis, Helena Bogucki, KarenThompson, Joung-mee Do, Daehoon Kang, MelindaYoung, Lauren Simeoni, Phoebe Porter, Raewyn Walsh, Kristin D’agostino, Djurdica Kesic, Melissa Cameron, Elfrun Lach, Leslie Matthews, Bridget Kennedy, Diane Appleby, Farah Bandookwala and Saori Kita. – bk.
A selection of images
You have to visit Studio 20/17 before the 2nd April 2011. If not you miss seeing Bridget Kennedy’s new body or work.
Jewels from a distant future …… (past) – petroleum polymer series 1 (moss) currently occupies our exhibition wall.
See below for some tempting images
Victorian jeweller, Natalia Milosz-Piekarska, is launching an online auction of contemporary jewellery to raise funds for the Red Cross Disaster Relief and Rescue Services. Please see below for her letter….to contribute an item for this worthwhile cause please contact her at firstname.lastname@example.org. Stay tuned for the blog details….. – bk
attached is a letter outlining a Contemporary Jewellery fundraiser i have initiated in response to the onslaught of natural disasters that have taken place over the past few months, weeks and days.
I am reaching out to the contemporary jewellery community far and wide to take part and help raise much needed funds for the Red Cross Disaster Relief and Rescue services.
I’m hoping to generate quite a bit of interest from the public and press and ultimately raise some much needed funds with this event, but the most important ingredient is YOU!
Please take a moment of your time to read over my letter and i hope to hear back from you very soon. I only have a short time frame in which to launch and realise this project, so if you think you’re able and willing to get on board, please get back to me as soon as you can.
Also, please pass this on to any one that you think would be happy and willing to participate. I only have a handful of contacts, but as a community network, this can spread quickly and effectively.
Hope to hear from you soon.
…with a group from Sydney College of the Arts. Check out their blog at http://matterandmeaning.blogspot.com/.
Hi, my name is Sebastien Terracher.
I just completed a diploma of Jewellery and Oject Design at the Enmore Design Centre last Decembre and now I am investigating how I can start to contribute to the growing Jewellery world, here in Sydney. I’m starting here with gallery 20/17. I will be reporting on the blog, sharing a bit of the day to day life at the studio as well as some maker’s interviews. I will try and gather useful and inspiring stories for you.
Jewellery design is extremely varied, so many shapes, colors and materials but my favorite thing about it, is its scale. When entering any contemporary Jewellery space it is impossible for anyone but to be confronted by an array of magical objects all so different from one another. Each piece contains a personality, an essence which you could claim yours by wearing it. Studio 20/17 collection is a perfect example of how exciting Jewellery can be.
The gorgeous Rui Kikuchi is over from Japan for a few days. She’ll be showcasing a new body of exhibition work in the gallery for the next 3 weeks. Made from PET bottles that have been hand sawn, shaped and dyed, the works reflects the wondrous underwater environment. Please join us this coming Tuesday 1st Feb 6-8pm to meet the artist and celebrate her work. – BK.
“In manipulating an abundant material in the human world, such as the PET bottle, my aim is to consider the mundane object and recognise beauty within it. In extending our humility to see a value in these materials, it is my hope that we reduce the nonchalant use of goods and that can lead us to experience wonder in the everyday.
Since becoming an adult, I have become very curious about nature and love to pore over books about sea creatures, plants and fungus. I am very lucky to have visited the Great Barrier Reef to see first hand the diversity, colour and strangeness of such an alien world. Being immersed in the ocean, I found sea creatures to be beautiful in their grotesqueness and peaceful in their abundance. Although I am sure that these experiences are influential to my work, I am not conscious of presenting my pieces to resemble marine life, rather as I play and experiment with the material, I learn of the potential that is hidden within it. I find that the material itself speaks and teaches me about what kind of augmentations and transformations it wants to take. Control is not just about domination over a material but also the ability to listen to it and recognise that the material also strives to become beautiful.” – Rui Kikuchi
and now for something different! Mark McClelland and Marcelo Zavala-Baeza installing some larger scale works than those normally seen in our little gallery. The boys have created some amazing poetic granite and stainless steel sculptual works. These jewels for the landscape are not to be missed!Celebration drinks are this coming Wednesday 6-8pm in conjunction with the gala re-opening of the whole of the Danks St Arts complex. – BK
We had a great night with lots of beautiful work, champagne, ham and great company.
Thanks to everyone for a wonderful 2010, see you in the New Year – Mel
Celebration Drinks – Sunday 19th December 4 – 6pm
This is our last exhibition for the year. Our annual satellite Christmas exhibition ‘Unwrapped’ will be held in the depot gallery down the hall from Studio 20/17. This year we’re unwrapping the talents of emerging Australian and New Zealand makers. The works are priced for xmas gifts so don’t miss out.
The show also doubles as our annual Christmas party ! We will agin be serving Luke’s (Bridget’s Husband) famous glazed ham and plenty of champagne and nibbles.
Hope to see you there – Mel
Lucky us! The gallery now has a small collection of work by Penny Snars and Rhonda Dwyer from their ‘Artefact’ exhibition shown in the gallery earlier this year. Here are a few images….these would definately bring a smile to someone’s face this Christmas! – bk
A client came in with a beautiful antique turquiose ring. Tiny cabachons of turquoise all individually set – but the band had broken off. It had obviously been repaired in the past with lead solder and had a hole in the back where some gold had ripped away when the band came apart. We cleaned it up, sourced a couple of tiny turquoise elements that had fallen out over the years, and had the band welded back onto the setting. As good as new – if not better!……sorry, the pics are a bit blurry – BK
Statement bangles in a gorgeous cherry red and classic black have just arrived in the gallery. Some of you may remember Natalie’s compression bangles from one of our earlier Christmas Showcases. This time around, she has made a few in a stunning cherry red. Perfect to show off at Christmas lunch. Here’s a quick snap of a few of them before I put them in our stock drawers. These won’t last! We also have earrings and neckpieces in the same range. – BK
It was a fantastic turnout and Melanie and I were kept very busy on the night. The show looks great and we’re always so excited to see the wonderful work being created by the many talented makers we showcase. – bk.
Please join us for celebration drinks this Saturday 6th November 2010 4 -6pm
The exhibition showcases works by Rhonda Dwyer & Penny Snars
Scratching through the layers of rubble and soil, a tiny reflection caught their eyes. A shimmer in the earth-they had found something. And it was precious.
Rhonda Dwyer and Penny Snars have harnessed their passions of metal to create a series of tiny vessels & jewels, each unique and precious. Using carving, raising and forming techniques they have created an abundance of miniature treasures.
We have a new face in the gallery.
Visit studio 20/17 on a Tuesday and say hi to Michelle #2 (we now have 2 Michelle’s in the gallery).
Michelle has recently completed a Bachelor of deign at COFA. She is kindly volunteering a day each week to get further involved in the creative community, especially within the realm of contemporary jewellery.
Michelle hopes to gain experience from observing our workspace, and the myriad of tasks involved in keeping a gallery up and running. We are very grateful for her help!
new work by Vanessa Samuels…..those lucky enough to arrive early were treated to some delicious cupcakes decorated with the Greek Flag! – bk
Karin Findeis has some space coming up in her Sydney Jewellery studio….see below for details – BK.
“Hi, There is a space coming up in my studio and I have just posted a notice with K@C. If you know anyone who is looking for something please pass this on to them. My number is 0434977197. We would love someone who is responsible (can pay the rent), cheerful and enthusiastic. Location is great, good space…. forgot to mention we have a coffee machine… karin
A studio space suitable for a jeweller will soon be available at Sophia St Studio in Surry Hills, Sydney. The Studio is approx. 60sq. meters and is shared with 2 other jewellers and a photographer and we are looking for an independent, friendly creative person to share this space with us. It is a secure space with 24 hour access. We are close to Central Station, Crown St, Palloys, a 15 min. brisk walk to A&E/ HOJ, and not so far from Bourke St Bakery. . . Facilities include a small kitchen area and toilet. Rent is $387.75 per calendar month, incl. GST, electricity is extra. Equipment we have:
– soldering torch & pickle
– polishing lathe
– rolling mill
– drill press
Please contact Karin for more information: email@example.com”
Our recent Artisan day in the studio was a great success. Our Artisan Lauren Nathan was very talented and had exceptional hand skills. Lauren made a great sterling silver ring using rolling forging and soldering techniques! See below for some images.
Laurens partner gave her the artisan day as a gift last Christmas. Please contact us if you would like to know more about making your own special piece of jewellery.
Please join us this coming Saturday for celebration drinks, 4-6pm.
The exhibition showcases abstract and sculptural wearable works by Sydney-based contemporary jewellery designer Vanessa Samuels. Forged rings, neckpieces and pendants map a journey, personal encounter and exploration of the changing Greek landscape. Vanessa’s uses of contrasting materials tell a story of place and time.
You can view her blog at thestudiobench.wordpress.com
Part of Sydney Design 2010 Festival program.
We are calling for expressions of interest for original and well made contemporary Jewellery for the gallery’s 2010 Christmas gift showcase. Opening 16th November 2010 and running through until Christmas Eve, it provides an excellent opportunity to showcase and sell new work during this busy period.
Note: Selected artists are required to provide a MINIMUM of 3-5 works. Ideally, work would be able to be restocked when purchased. Please contact the gallery for more details. Submissions close 31/7/10
check out the progress of the Exchange project at http://scawhitireia.wordpress.com …can’t wait to see the final results. Only a couple of weeks to go……bk
which is a shame….but here’s a few snaps (a bit belatedly!) to give you a taste of some of the work in our annual ‘Winter Brooch’ exhibition. Definately worth a peek if you haven’t been into the studio for a while. I reckon Jared is probably cooking up a delicious winter feast in the Danks Street Depot cafe….so you could always add a nice leisurely lunch to your gallery visit. The last day of the exhibition is Sunday 6th June – Bridget
Cheryl Maloney popped in to drop off some new rings for the gallery, and I just had to take a snap of the two bumps. Melanie hasn’t long to go now……only a few more days! – BK
www.jewellerytalk.de – found this on Zoe Brand’s blog. It was a nice way to spend some time on a rainy Easter Sunday. – bk
for those who haven’t had a chance to see Sian’s beautiful and innovative work with glomesh and graphite, it’s well worth the trip out to Danks St. Sian is the first recipient of a new award that we are offering to recent tertiary graduates. We are offering a two week exhibition plus all expenses to one graduating student each year. So, any students graduating in 2010 will be eligible for the award next year. Please contact us (or speak to your lecturer) for more details gallery(at)studio2017.com.au.
finally a few moments to upload some snaps from the opening night of Profile ’10 ….a big congratulations to Helen Mok, winner of the emerging category, and Sean O’Connell, winner of the general category – Bridget.
can’t believe it’s February already! 2010 is looking great. Lots of things happening here at 2 Danks. We have ART MONTH coming up in MARCH! Brenda may Gallery will be hosting a film night on Thursday 18th March and all the galleries will be opening late. There will also be another Danks St conversation evening taking place on Wednesday 17th March…..in the mean time…..here at the studio we’re planning for 2011 already.
We’re now calling for submissions for our 2011 Exhibition Program. We’d love to hear from artists, and curators working in the area of contemporary jewellery, object and small scale scultpure. Please contact the gallery for proposal guidelines – our details can be found at www.studio2017.com.au.
What a great turnout to the first exhibition of the year! ‘Evolution’, a Series of hand raised teapots, sugar bowl and cream jug by Radka Passianova…the handles have been fabricated from fused acrylic, with coloured inserts. This woman is talented and knows how to wield a hammer! The work is the final result of 4 years of training at the Design Centre Enmore. Thanks to everyone who turned up and showed your support. Here’s to a great 2010 for us all!…bk
Wow, what a great way to end the year! The gift of the Depot Gallery, a wonderful installation of fabulous, fun and inspiring work, ham and champers and a great crowd of family and friends!
2010 is here and I spent a productive day at the studio earlier this week freshening up the space, painting and cleaning for the year to come. We also have a fresh new face in the studio, Michelle Miller, recently graduated from Enmore Design Centre, will be helping out in the gallery on Tuesdays and Wednesdays…………here’s a few more pics from ‘Feast’. – BK.
Thanks to everyone who attended and to Zoe for curating a fantastic exhibition, it was a great night.
Its been a great year but it’s not over yet.
We have extended our opening hours for the last 4 days before christmas –
Monday 21st till christmas eve – 11am – 6pm.
We close for the Christmas break and re-open Tuesday 12th January 2010.
20th – 24th December 2009
Opening – Sunday 20th December 3 – 6pm
Curated by Zoe Brand – The Depot Gallery – (just up the hallway)
Feast celebrates the predetermied as well as the gloriously spontaneous moments that happen around the christmas feasting table. Bring your christmas cracker humour to the table and Join us for a celebation of jewellery and Objects.
Thanks to everyone for coming and supporting the artists in our new Christmas Showcase. It was a great turnout with lots of people coming back for second looks later in the week. We also had a very successful evening on Wednesday night with the WAGS group from the AGNSW, who enjoyed drinks and canapes provided by The Depot Cafe, lucky door prizes provided by Studio 20/17 and King Leo and a private viewing of all the galleries on the night. – Bridget.
work in progress of some ‘wall booches’ I’ve been working on for the Christmas showcase. I’ve been looking into sacred geometry and having a play. I love the shadows the shapes cast, and the glow reflected from behind by the painted backs….and yes, they can be taken from the wall and worn on the location of ‘body’.
Bridget and I are very excited about a recent editorial in the Australian Art Review. We’re in the November edition that came out yesterday. Its on Page 23 in the aArtlook section and was written by Patricia Anderson. Images of work by Emma Fielden, Sian Edwards and Maureen Faye-Chauhan
I’m so excited! Mel and I feel like kids again…lots of little parcels full of delicious goodies and special treats have been arriving in the gallery! This weekend our Christmas showcase gets setup… unpacked a lovely series of work from Roseanne Bartley this morning. Brooches fabricated from ring pulls, all painted white with striking flouro element in the centre, a sumptuous brooch and an exciting neckpiece with elements of the tops of Macdonalds plastic spoons. Just love it! thought they were little white teeth at first….I sooo need another pair of glasses….Fans of RB’s work are going to be fighting over these pieces!
I got out the studio camera to take some snaps of some of the work that’s been arriving…..but the battery was dead….so stay tuned for images !!
On Wed night we have the AGNSW WAGS group cocktail party at 2 Danks. It’s looking like a big night, with all the galleries open. Our showcase is going to be a feast for their eyes!
A photo of some of Emma Fielden’s beautiful work in the show (photo taken by Emma)
You may have noticed that it’s that time of year again. The department stores have started to play christmas carols and it seems almost everything is covered in glitter and shinny things.
Here at 20/17 we are celebrating Christmas the only way we know how with not one, but two fabulous and exciting Christmas shows.
Firstly we have our annual Christmas Showcase
Exhibiting over 20 Jewellers from across Australia.
Running from the 10th November – 24th December
Drinks Saturday 14th November 4-6pm
Secondly we have FEAST, a satellite show in the Depot Gallery.
Hosting Jewellers from Australia and New Zealand responding to the idea of a FEAST, this exhibition will celebrate the predetermined as well as the gloriously spontaneous moments that happen around the Christmas feasting table.
Running from 20th – 24th December
Drinks and Feasting Sunday 20th December 3-6pm
Check back for updates and some images that i’ll be posting soon, so stay tuned.
Cheers – Zoe
If you’ve visited the gallery on a recent Sunday you may have notice a new face.
Zoe Brand haas been with us for a few months and is a new and welcome addition to Studio 20/17.
Check ot Zoe’s blog to find out more about the person behind the face – mwvbrand.blogspot.com/
We are now calling for expressions of interst for the gallery’s 2009 Christmas showcase. Opening mid November, it provides an excellent opportunity to showcase and sell new work during this busy period.
We are looking for original and contemporary jewellery that demonstrates standards of excellence in both design and manufacture. Ideally, work would able to be restocked if purchased.
Note: Selected artists are required to provide at least 3 works.
For new artists to the gallery, your expression of interest should include:
– Artist Statement (the theme behind the work, inspirations, materials etc)
– List of work you intend to submit (with medium and pricing info – RRP please, please note: Studio 20/17 takes 44% commission on retail price)
– Up to 5 JPEG good resolution images (either of the work you intend to submit, or previous work, with a detailed description of the work you intend to submit). PLEASE keep image sizes under 500kb if sending by email.
30th August 2009 – Expressions of interest due (late applications are unable to be accepted).
4th September 2009 – Selected artists informed.
30th October 2009 – Selected artist’s work required with completed paperwork.
Expressions of Interest are accepted via post, email or in person to:
Bridget Kennedy and Melanie Ihnen
6b/2 Danks St
This time i remembered to take a few photos at the opening….and some of the work too!
wow, it’s been an interesting few days…..the postal gremlins have been extra busy! We had one parcel from New Zealand that took 3 weeks to get to us. Another parcel delivered by courier to the incorrect address (and someone actually signed for it), a courier who kept missing us and not leaving any notes, and an express post parcel that went missing for a few days…..but it all came together today…the last of it arriving late this morning…needless to say, it made the installation an interesting experience…but now it’s all up and looks fabulous for our drinkies tomorrow night!
When we’re not at the bench or in the gallery, Mel and I have been honing our IT skills and we’ve recently completed our new website. On it you can see some of the gorgeous work by our gallery artists as well as more information about the studio and what’s currently happening in the space…..check it out at www.studio2017.com.au
It’s been a busy day in the gallery today with a constant stream of visitors to the ‘paper text’ exhibition. Mel and I are in the process of getting things in place for our next exhibition – our annual brooch show….with a diverse range of work by both Australian and International artists…Alice Potter, Alison Jackson, Anna Davern, Bridie Lander, Cheryl Sills, Christopher Hodges, Claire Mc Alister, Emma Fielden, Jessica Dare, Jo Piper, Ky Curran, Leah Tarlo, Marina Antoniou, Marta Miguel, Melissa Cameron, Natalia Krasnodebska, Peter Deckers, Regine Schwarzer, Roseanne Bartley, Sharon Turner, Sonya Scott, Sorcha Flett and Susan Frisch
Mel and I spent the day installing all the wonderful work we have received. The exhibition displays an intriguing cross section of work from some wonderfullycreative artists. We’re very excited to be able to show the work. Although the Danks St Art complex is closed on Mondays, it was abuzz today with a number of other galleries hanging work for new shows and clearing up after openings. There were a few curious heads popping in to see how the work was looking and we have already had a few keen clients wanting a sneak preview!…..photos of the ‘work in progress’ to follow.
Mel and I are having a fun day in the gallery today. it’s the last day for submission entries for our winter brooch exhibition and we also have all the work arriving for the upcoming ‘Paper Text’ exhibition.
We’re excited by the wonderful cross section of work and looking forward to introducing some new artists to the Sydney contemporary jewellery crowd!
Artists exhibiting are:
Alice Potter (AUS)
Annaig Bidan (AUS)
Barbara Ryman (AUS)
Belinda Newick (AUS)
Danielle Butters (AUS)
Eliana Arenas (MEXICO)
Erin Keys (AUS)
Fabrizio Tridenti (ITALY)
Ingeborg Vandamme (NETHERLANDS)
Jessica Dare (AUS)
Lucia-Natalia Nieves Cortes (GERMANY)
Leah Tarlo (AUS)
Lotte De Mey (BELGIUM)
Nicole Polentas (AUS)
Sabrina Meyns (IRELAND)
Tatjana Panyoczki (NZ)
Zoe Jay Vaness (AUS)
Finally, the galleries at 2 Danks St have given in to the overwhelming demand to open Sundays! A nice way to spend a Sunday…. brunch at the Depot Cafe, then a leisurely browse amongst some great art…and of course, some great contemporary jewellery! The complex is open from 11am to 4pm on Sundays and 11am to 6pm Tuesday to Saturday.
We’ve had heaps of emails asking for further details on submitting for our annual Winter Brooch exhibition.
See below for all the information –
We are looking for original contemporary jewellery that demonstrates standards of excellence in design and production.
Your expression of interest should include:
– Artist Statement (the theme behind the work, inspirations, materials etc)
– List of work you intend to submit
– Up to 10 JPEG images (either of the work you intend to submit, or previous work, with a detailed description of the work you intend to submit). Please note: if you’re submitting an application via email, images should be no larger than 200KB each.
– 30th April 2009 Expressions of interest due (late applications are unable to be accepted).
– 4th May 2009 Selected artists informed and exhibition agreements sent.
– 30th May 2009 Selected artist’s work required with completed paperwork.
All Expressions of Interest are accepted via post, email or in person to:
Bridget Kennedy and Melanie Ihnen
6b/2 Danks St
E: firstname.lastname@example.org T: (02) 9698 7999
We had so many applications for the paper and text exhibition – Thank you to everyone who applied.
We have selected around 15 European, Australian and New Zealand makers.
See below for some images
In our 1st year at Danks street the display cabinets housed works by Bridget and myself. Studio 20/17 is now showing a permanent collection of work by other Australian and international jewellery artists.
There are currently 17 different makers. See below for the most recent arrival.
We are currently accepting submissions for an exhibition of work made using paper or text as an element. The exhibition will run from 5th May through 30th May 2009.
Submissions due 30th March 2009
Winter Brooches 2009
We are currently accepting submissions for our annual winter group show. The exhibition will run from 2nd June through 11th July 2009.
Submissions due 30th April 2009
2009 exhibition program
We are currently accepting proposals for our 2009 exhibition program.
Available dates – August – October 2009.
2010 exhibition program
Expressions of interest are being accepted for our 2010 exhibition program
Available dates – March – May 2010, August – September 2010
Bridget Kennedy – Food for thought- 18ct yellow gold, rice
Melanie Ihnen – De-construct series – Sterling silver, Porcelain, 18ct yellow gold
Melanie Ihnen – De-construct series – Mild steel, porcelain, 18ct yellow gold
One of the pieces in our current exhibition. From a series I’m working on titled ‘food for thought’. We’re looking forward to an exciting year ahead. Alot of our energy was spent last year setting up the space and getting our head around all the admin bits and pieces that are required for running a gallery/studio. This year we’ll be stocking work by some fantastic contemporary jewellery artists and focusing on bringing lots of exciting new work into the gallery. Here’s to a great 2009!
Bridget and I have been flat out working get our pieces ready for our exhibition that opens next Wednesday (21st Jan 2009). The email invite will go out tonight see the link below if your not on our mailing list and send is an email if you’d like to be added to the list – email@example.com
For those who might have been into the space recently, there’s been a new face. It’s Tim, a high school student from Annandale who is interested in studying Jewellery and Object Design. He approached us to do some work experience a few weeks ago. He’s been busy helping us and making some of his own work. Tim picked a good week (or two) to come in as there is the wonderful JOD exhibition in DEPOT I and DEPOT II – consisting of work by students from all three stages of the Jewellery and Object Design course at the Design Centre, Enmore. A great course (Mel and I both studied there)! So, it’s well worth a vist to 2 Danks St this week for a chance to see more than 700 pieces of contemporary jewellery in one place. The exhibition finishes this Saturday….and of course, there’s also the Christmas Showcase in our studio space to check out.
People started arriving at 6pm. Photo taken by Sean O’Connell – thanks Sean!
We’ve had a wonderful response and lots of people into the space buying their handmade gifts for those special people in their life.
Finally found some time to take a (poor) snap of some new work. Based on snow melting around new Spring shoots, these limited edition series were inspired from the one off brooches made for our Winter brooch exhibition earlier in the year. Most are oxidised silver and cold enamel. I also made an 18ct yellow pair with white enamel……we’ve been busy in the studio recently……Mel and I have been getting lots of parcels of goodies in the post – the opening of our Christmas Showcase is getting close and all the wonderful work has been arriving. It’s great to see what everyone’s been up to and we’re looking forward to sharing a glass of bubbly with everyone!
Artisan day involves a couple or person designing and making their own piece of jewellery. Bridget and I offer this opportunity in the studio and we recently had a beautiful couple, Kate & Mark design and make their own engagement ring.
The project usually runs on Sunday for 6 hours but this can vary depending on the design process. We held the recent day over 2 Sundays as the design required we outsource the casting process. Kate and mark designed the ring, Kate came up with the idea to have mark to tie a piece of string around her finger and then have the string element cast in gold, a wonderful concept. The 1st Sunday we had a great time with hot wax and string and arrived at the final piece! The second Sunday Kate and mark Soldered and polished the engagement ring. Below is an image of the finished ring set with Cognac diamonds.
It looks great and they were so happy with the outcome. Kate wrote a beautiful email about the day, my favourite part is below –
“We soldered, we polished, we filed, we punched (out the metal)… We had such a wonderful time and, without getting too sappy about it, every time I look at my ring I think of the near hysterics we were in, Mark nearly burning my hand with a hair-dryer, losing a piece and all four of us on all fours scouring the floor for it, and the delicious treats the girls provided for the busy craftscouple. My ring is already loaded with memories and it’s only been on my finger for two days. Bridget and Melanie, you went above and beyond, thank you so much for helping us make something so special.”
My head is continually messed up by the making of limited edition work vs one-off exhibition pieces. I quite enjoy the repetitive element of making the same thing over and over, and then suddenly, it just does my head (and heart) in and I feel like a little factory…don’t get me wrong I still love the process of it all … I love the exploration, challenges, play and freedom that comes with exhibition and more conceptual work…and that it allows me to communicate ideas and concerns that I have… but (at this stage) it’s difficult to feed the small mouths in the nest at home with this kind of making (although it feeds my soul)…and often there isn’t the time and head space to work on ‘larger’ projects. I’ve just started some ideas of some limited production work based on the brooches I made for the ‘Winter Brooches’ exhibition, which I think will incorporate some of the joy of creating the one-off work. They still allow for some freedom and play through paint, colour and construction, although are not quite so labour intensive (allowing them to be in a price range that might actually sell)!! In the originals, the jump rings were all hand soldered but I have scaled them down and had a mould made. Below are the original one-offs….stay tuned for the limited edition versions.
Mel and I have been busy looking through all the wonderful submissions of georgous work! We were initially worried that we may not have many…and then, in the last 48 hours, phew…..well let’s say, it’s interesting to see how people timetable their lives. Me, I’m not a last minute girl- it’d stress me out too much – I need to know I have some breathing space in case it all turns pear shaped. Other people thrive on the last minute dash. Mel, well she tends to give herself a lot more thinking time, and then gets it all done with minutes to spare….Anyway, as the submission date came to a close, we had a few hard decisions to make, as there was only so much work we could squeeze into our intimate space! A big thank you to everyone who took the time to submit an application. Mel and I are sure there will be other opportunities for exhibitions at the space in the future. We’ve accepted a total of 17 artists (from Sydney, Japan and Melbourne) and when I have a bit more time, I’ll put up some more info and some images.
The next big event for our little studio, is the Danks St Festival. We’re busy working out how we’re going to make the best opportunity from the estimated 25,000 people that are supposed to come through the complex on Sunday 25th October. It sounds like a great (if possibly exhausting) day!
and not the gems we expected to find. Mel and I spent Monday cruising the exhibition halls at Darling harbour, overwhelmed by glitz and, and……searching for something different, a new exciting tool, some great display options….something…..and here’s what we discovered……a handy hint passed on to us by an exhibitor, told to him by an ancient jeweller….if ever you need a tiny stainless steel spring (for those days when you just HAVE to make a parrot clasp – eesh)…then use part of the ‘E’ string from a guitar. Not sure what the ‘E’ string is, or whether an ‘A’ string would work as well but sounded like a potentially useful bit of info….We were also shown a really neat contemporary ring band – beautifully made (German?) with a tiny dimple in it that you press with a pen to open a hidden hinge – allowing the ring to open fully….for people with arthritis….and lastly, we found a supplier (Euromount) for sterling silver pin ends (those little bullet things)….there was a moment of weakness at Ajit, where we came away with a string of sparkly gems to play with….and then it was all over.
Mel has been working hard since she came back from her trip. She has a some beautiful new designs in the studio and we are getting more people through the space…it’s funny….sometimes it’s just so quiet and we wonder where everyone has gone and whether we will ever hear footsteps coming down the hall again (all you can hear is the sound of emery paper and rhythmic sawing)….the great thing about the space, is that during the quiet times we can make, make, make…..and chat, chat, chat……AND THEN we’ll have a day where someone will just walk in and purchase a few pieces all at once, or a complete series of work, or a wall piece…and it all seems a bit surreal….so up and down…. There just doesn’t seem to be any pattern to it….the weather doesn’t seem to make a difference that we can see, and occasionally we’ve put our little kiddy chalkboard out at the end of the corridor (kindly leant to us by one of the other gallery owners) and maybe that makes a difference, it’s hard to tell…….while travelling to work each day, there is that little sense of anticipation and excitement of what might unfold during the coming day at the studio….
Mel and I are getting organised for our Christmas showcase month…So, we are calling for expressions of interest from practitioners. Due date is 12th September 2008 and selected artists will be informed by 16th September. Please send us an email and we can forward more details.
While Mel’s been away, I’ve continued working on the piece to add to my ongoing ‘deadwood’ series, for exhibition in re:re(a)d re:visited, a group show. Other artists in the show are Nicolette Scobier, Carlie Henderson, Sian Edwards, Brooke Johnston, Jane Reynolds, Linda Blair and Christina Adamson. The exhibition opens Thursday night 31st July and runs until August 12th.
I also started another body of work yesterday. Have been discussing the raised and formed objects in the gallery space with people that wander through….and just had to start making objects straight way, based on vessels… …….with a working title of ‘half empty (I want to fill you up)’…..it continues an underlying personal narrative that exists in much of my exhibition work….I imagine the end result to be a room full of rows and rows of vessels (carrying on the mild obsession I have with the comfort of the repetitive), mainly made from beeswax (continuing with my love of beeswax and all things honey) and any other materials I find in my day to day existance.
Mel has gone! Travelling around the outback of Australia, driving and camping through the Northern Territory exploring this great Nation of ours. Can’t wait to see how the trip influences her next body of work. In the meantime I’ve put my Chichu Art Museum book on the counter in the gallery and am raving about Japan to any poor soul that shows the slightest interest…and……I’m spreading out all over Mel’s desk – more space yeah!!! Have about 3 projects on the go. My ‘diary’ series based on found objects during my travels….some ‘bread and butter’ work, and work for the upcoming group show at Gaffa end of July.
Here’s a little bit of it….I’m continuing my exploration of the ‘deadwood’ concept that I started last year….the plan is that it will be a floor work…..to go with existing pieces in the same body of work.
and to the right is one of the diary pieces in progress…these were found washed up on a beach on Naoshima Island. They look kind of evil and beautiful at the same time (ahh….the Chichu Art Museum…too difficult to describe – you’ve just got to go there!!!) I discovered Tadeo Ando, the mega Japanese Architect – wow! what an AMAZING man – I am a mega adoring fan!
Rui took Luke and I to meet the students at the school at the Itami arts and crafts museum (Rui had recently completed her studies there). The charismatic ‘Juicy’ Jurio was teaching them casting on this day. He then took us to lunch at a local restaurant. The Museum of Arts and Crafts ITAMI is located in a beautifully restored Sake factory and merchants house.
Fumiko Tsubo, outside her studio with Rui and Luke. We had tea in her jewellery workshop, where she also teachers, before heading off to Itami.
Not only did I bump into Lisa Furno, but on our last day Luke and I caught up with the talented Shirley Cho who is on a 3 year scholarship, studying her masters at Tokyo University – what a lucky girl! She seems to have settled in and seems right at home. She looks a bit spaced out here – she’d just finished a Japanese language exam! I’m looking forward to seeing the work she produces over there!
Bridget here – in Japan. I LOVE IT! was cruising the fish markets tasting lots of yummy food and checking out the knife shops while waiting to get into a sushi restaurant that had been recommended to me when who do I bump into??? LISA FURNO from Enmore! Lisa is a practitioner, recently graduated from the Design Centre, who after spending some time working in the tool store, is currently travelling the world! ummm….what’s the population of yokyo?? I think 10 million! yep, it’s a small world…………in Kyoto today and off to visit Rui (another great contemporary jeweller) and to meet Fumiko
Tsubo who is an instrumental figure in the jewellery community in the Kansai region….and then we’ll take the train to Itami and see the school and the Japan Jewellery Competition exhibition at the Museum of Arts and Crafts…….then tomorrow night we’ll be sleeping on the ‘Art Island’, Naoshima….
0ur new exhibition opened on Tuesday night. Titled ‘winter brooches’ the show features work by 12 makers including Bridget and myself. Thank you to all the makers –
We’ve had great feedback and the beautiful work is what makes the show.
This week, we had a few forced days off due to unexpected building renovations in the complex. We temporarily located back to our home studios, and I took the opportunity to do some gardening and plant out a winter veggie patch (the weather was too lovely to be stuck inside). Mels made some gorgeous ‘sketch’ brooches for the exhibition that opens on Tuesday night and yesterday and today we spent the day changing the space over for the new ‘winter brooches’ exhibition opening on Tuesday night.
Yesterday, my daughter Tegan spent the day with me in the workshop instead of in her year 3 class, due to a teacher’s strike. We spent some time at the AGNSW in the morning, shared a piece of cake and browsed art books while sipping on a coffee and hot chocolate, then off to the studio to do some work and keep Mel company. Mel gave Tegan all her reject anodised aluminium pieces (see posts below) and here’s an image of the neckpiece that was made – Tig loves to use the flexi…she’s pretty good at drilling holes…. then used pliers to thread little bits of silver wire and twist the ends. She displayed the end result in the bottom drawer of our cabinets in the gallery. I’ve been proudly showing it off to anyone who’s interested!
Worked back late tonight after the space closed so that I could get stuck into my winter brooches. Soldered the findings on the back and then had fun doing the first step of painting them…but have run out of white paint!!……now they need to dry for a while before the next stage. For the opening, I thought I could freeze them in thin blocks of ice, then pin them to the wall and have them drip, drip dripping, like melting snow…..but Mel wasn’t so keen on that idea…….
Now for my exciting current project! I am learning the joys of Anodised aluminium.
My last lot of work came back from the anodisers with surface pitting, I was told it was the metal, although the previous pieces I had anodised were from the same sheet and they worked perfectly.
Supposedly there can be variations in the metal in the one sheet, this being the case my pieces have a random chance of working!
I did do some research today and found a site that recommended a bath of caustic soda and warm water to strip back an anodised surface. I tried the bath on the pitted versions. It worked great, I was hoping to clean them up and have them anodised again but the pitting is too deep in each one.
We’ve got some wonderful images coming in of the work that is going to be in the Winter Brooch exhibition. We have 11 artists all up who will be exhibiting work (including us). I can’t wait to show it all to the fascinating people who visit the Danks Street complex…..(had someone come in the other day who just totally ‘got’ my coal/beeswax and silver neckpiece – it was so great – made my day)…..the work coming in has such a wonderful array of materials, processes and concepts – woo hoo!!
Spent the day in the studio with Mel (yes, it WAS both our days off) – we were both very focussed on making work for the Hope St markets, although I kept getting distracted with the brooches that I’m making for the show. Am having fun playing and not being too precious with ‘precise technical making’ (Mel would be horrified with the amount of solder I’m using and the sloshing around that is going on). Am experimenting with ‘painting’ with the metal and being a bit free-er with the whole soldering thing…then I’m going to use paint with a few other materials mixed in…not sure how it’s going to work out – but that’s where the fun is. Mel says they should be wearable (argh) – and I suppose they should – but I’m looking at making them ‘wall brooches’, a kind of little installation.
We officially launched the space last Wednesday night, along with opening night drinks for Emma Fielden’s exhibition of beautiful work! It was a great night and Mel and I both spent the next few days justing getting over the whole thing. It wasn’t until after it was ll over that we realised how exhausted we both were……One of the things we learnt, was that our tiny space doesn’t hold alot of people at one time!
Sunday – we met Emma at the studio to setup her work (and totally reorganise the studio at the same time!!). The sun was shining – we’d forgotton what it looked like!!! Here she is putting up her gorgeous ‘Pin sketch’ works, made from buffalo horn, ebony and gold. While at my bench, my little miss Tilly, who turned 4 recently, focusses all her attention on filing on a piece of perspex.
We outsourced the separate components for our new display drawer units….. a few dramas….but they arrived on Friday. Friday night and Saturday and Saturday night, and early Sunday morning was spent painting them….. Alot of painting was needed. MANY THANKS to Nick and Luke for their tireless efforts – it was a bit of a marathon!
Here they are being installed into the studio space. We’ll be able to display alot more work now – and won’t have to tackle with so much dust on the work!