2020 - Show Us Your Pins (Online Exhibition)
‘Show us Your Pins’ online exhibition is the first of four rolling online exhibitions brought to you by @jmga.queensland. The provocation, “show us your pins” was derived from a jeweller’s perspective: we LOVE brooches and especially the mechanism behind them. Sometimes the wearer is the only one who gets to see the brooch back. This exhibition seeks to bring the brooch and pin back to the forefront, showing the hard work and design choices that went into its construction. The makers in the exhibition took the opportunity to try a new mechanism and treat the back as important as the front.
Exhibiting Artists: Beth von Brae, Carolyn Butler-White, Clare Poppi, Gerhard Herbst, Helen Moriarty, Jandy Pannell, Kate Hunter, Katherine Grocott, Katie Stormonth, Kierra-Jay Power, Kylie Keates, M. Veronica Silva, Mari Hirata, Michelle Stemm, Nellie Peoples, Sinead Buckney and Tina Horton.
For those who are interested in purchasing a brooch please contact us via email at [email protected] the subject line of “show us you pins”
Exhibiting Artists: Beth von Brae, Carolyn Butler-White, Clare Poppi, Gerhard Herbst, Helen Moriarty, Jandy Pannell, Kate Hunter, Katherine Grocott, Katie Stormonth, Kierra-Jay Power, Kylie Keates, M. Veronica Silva, Mari Hirata, Michelle Stemm, Nellie Peoples, Sinead Buckney and Tina Horton.
For those who are interested in purchasing a brooch please contact us via email at [email protected] the subject line of “show us you pins”
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BETH VON BRAE
BIO
Jewellery making has been a release for me in this time of isolation. I have found that, as the days pass, my designs are getting bolder, more elaborate. I feel that the confinement is allowing me to fill the room, the hall, the house, with my own creative energy and it’s starting to yell. I can’t wait to come out of ISO dripping in bling. Jewellery should not be quiet, and neither should you. STATEMENT Who says you can’t dress up to the nines for your 9:30 zoom meeting. Make sure your boss remembers you for the right reasons with a stylish but subtle stick pin. Add it to your lapel, hold your tie in place, or jazz up the collar of your dressing gown. You do you babe, you’ve got this. WORKS 1. Dapper Style Stick Pins 2020 (1cm x 5cm). Recycled sterling silver, grey blue opal. $65. 2. Dapper Style Stick Pins 2020 (1cm x 5cm). Recycled sterling silver, pearl. $65. CONTACT Instagram: @bethvonbrae Facebook: @bethvonbrae |
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CAROLYN BUTLER-WHITE
BIO
My jewellery making journey began about 15 years ago in Hong Kong where, on Saturday mornings, I attended silversmithing classes. In these classes, I also learned beading, wirework and Chinese knotting. As I learned new techniques, I soon fell in love with the processes involved in experimenting and creating. On returning to Australia in 2012, I continued to pursue my jewellery making interests through weekend and holiday courses. At the BIA (Brisbane Institute of Art) I attended short courses in various jewellery making techniques. I also attended metal sculpture classes at this institute and although I thoroughly enjoyed them, I realised my preference for working on small scale pieces. As well as attending the BIA, I also took jewellery making courses at Toowoomba’s Cobb & Co Museum and at the 2018 USQ McGregor Summer Arts Retreat. Currently, I enjoy working with copper, brass and silver, creating shapes and surfaces through experimentation rather than prescription. Thanks go to all of my teachers thus far. With so much more to learn, I look forward to continuing my journey of discovery. STATEMENT I started this work with an oval, cut from a piece of sterling silver sheet. After sawing out the centre, I considered ways of modifying the surface texture. Using the heat from my torch, I manipulated the piece to the point where the metal was molten. The silver shrank and buckled with the force of the flame, while still managing to retain its shape, albeit in a new iteration and with an altered surface texture. Resilience, the name I have given to this piece, speaks of the duress under which the silver has suffered, while yet maintaining its strength, beauty and integrity. WORKS Resilience 2020 (6cm x 5cm). Sterling silver and stainless steel. NFS CONTACT Instagram: @carolynb Facebook: @carolyn.butlerwhite |
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CLARE POPPI
BIO
Clare Poppi is an artist who lives and works in South-East Queensland, Australia. Her primary practice is in jewellery and small object making, with a focus on sustainable design and wearables. She uses a combination of recyclable and biodegradable materials, adopting a ‘cradle-to-cradle’ mentality in her exhibition and production work. Clare has recently completed a Master of Visual Art at Griffith University, where she undertook research into collaborations between jewellers and wearers with the aim of fostering meaningful relationships between the wearer and their jewellery collections. Her work critiques the fast fashion model and seeks to examine and improve the sustainability of jewellery production. Clare was a founding member of Bench studio, a collective working space for Brisbane based jewellers that aimed to foster an environment of creativity, support and collaborative practice among members. Bench contributed towards the vibrancy of Brisbane’s creative arts scene and aimed to promote contemporary jewellery within the broader community. With Bench wrapping up in late 2019, Clare has recently moved her studio to a home-based practice in rural Ipswich, where she is making happily with her four chickens and garden occasionally distracting her. STATEMENT Did you notice that during the first rush of panic buying when Australians realised that Covid-19 was going to hit us, that after the toilet paper and hand sanitiser ran out, the next thing to go were plants and seeds? I keep wondering whether this was a last minute pitch at self-sustainability or the realisation that we would finally have some time to spend in the garden. As humans we have an innate need to connect with nature – whether it’s the open wilderness or a manicured garden lawn. However, during our isolation, not everyone had access to nature, particularly those isolated in small apartments. This brooch was made during my Artist@Home residency, funded by Museum of Brisbane. As part of the project, the jewellery made in this time is being sent out to volunteers in Brisbane who will nurture, care for and connect with it. WORKS Growing Brooch 2020 (3cm x 3cm x 1cm) Sterling Silver, Plants and Soil. NFS CONTACT Instagram: @ClarePoppi Facebook: @ClarePoppiJewellery |
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GERHARD HERBST
BIO
Gerhard Herbst uses jewellery and light to create inter-dimensional pieces which explore the relationships and connections between objects and images. Beginning his jewellery making career at age fifteen, Gerhard continued on to study both sculpture and jewellery design at San Diego State University. He subsequently developed a vibrant studio practice, and he became popularly known for his spatial forms and fluid manipulation of metal. Gerhard has exhibited and sold his work extensively throughout Australia and North America. His jewellery has featured at the American Craft Museum, the Gallery of Modern Art (GOMA), and in museum shops at the Smithsonian Institute and the Los Angeles Museum of Art. Today Gerhard continues to develop his jewellery and art working from his studio on the Sunshine Coast. Gerhard finds inspiration from the contemporary Danish metalsmiths of the late1960’s, Pink Floyd and the work of Alexander Calder. STATEMENT I create my pieces as sculptural objects in the form of earrings bangles and pins, then using light I projects these objects as images to create artwork which exist in both two and three dimensions. My work explores the relationship between these two spaces. In particular it questions the image, not as a subject but as a dimension, it investigates the image space as a collective platform to both inform and distort aspects of our physical reality. In life, perception is everything; we inform ourselves by what we see. We commonly assume that the images provide us with an accurate portrayal of reality. However I believe this relationship between image and object is not that simple. My work presents an experience which allows us to explore the relationship between these two spaces. It provides visual insight into the inter-dimensional connections and boundaries, that exist, within our spatial reality. WORKS Neptune and the flying Fish 2020 (9.5x3.5x2cm) Yellow Brass. NFS CONTACT Instagram: gerhard_c_herbst |
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HELEN MORIARTY
BIO
I am a recent graduate from the Jewellery and Small Objects school at Queensland College of Art, earning a Bachelor of Fine Art from Griffith University. I have actively participated exhibiting my work since beginning my fine art studies, and I have participated in many group shows both here in Australia and overseas. My work was shown in the Greensmith exhibition. A group show curated by Artisan and Christine Dhine which was shown both here in Australia and in California. I was selected as a finalist in the online exhibition, “So Fresh, So Clean”, run by the international group Ethicial Metalsmiths. I continue to research ways to make my practise more clean and green. In my practice, I am focused on the exploration of the landscape and our impact as humans on it. I have a love of the diverse natural environments we are so privileged to encounter here in Australia. It is from observations and reflections on the detail and diversity of these experiences, that I draw a continuing source of inspiration for my jewellery practice. STATEMENT I was inspired to create this piece by the shadows and patterns on the sand under the banksia trees of the wallum . The name wallum is derived from the KabiKabi word for the wallum banksia (Banksia aemula), and it is widely used in Queensland to describe this eco system. Wallum is for me a personal place of regeneration and contemplation in the liminal space between land and sea. For this piece, I cut the initial shape from copper then fold formed it before enamelling. There are five layers of enamel, fired to give the depth and variety of greens and browns . I made the pin for this piece as another element to echo the zig zag of the leaf edges to create more shadows and spaces between the shapes. WORKS Wallum V (8cm x 4cm) Vitreous enamel on copper, nickel silver. $75 CONTACT Instagram: helenmjewellery Facebook: Helen Moriarty |
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JANDY PANNELL
BIO
I have been making contemporary jewellery professionally for about 30 years, and during these years have had many influences on my work - it has taken me to many places, from Niijima to Timbuktu. By nature a curious collector, a picker-upperer, experiencing the tropics and cyclones, diving and beach-combing. Living, exhibiting, and studying in both large cities and third world countries has allowed me many opportunities to find unexpected “treasures” (both people and objects) that have been an influence, or a base, or an embellishment for a work. Trained in hot glass and metalsmithing in local and international workshops and residencies, I now have refined my practice to include predominantly recycled and found objects and metal, and most recently, plastic bags. Through this, I hope to raise awareness of sustainability, and the negative impact of thoughtless consumerism. Currently living and working in Brisbane, my work can be found there at QAGOMA and Artisan. STATEMENT Is a lighthearted work (pin) pertinent to the global situation - covid19 – that we are currently experiencing. They can be worn on opposite lapels suggesting safe distancing. WORKS Covid x 2 2020 (6cm x 3.5cm x 0.5cm) Recycled and reused argentium silver, sterling silver (pin), found waxed linen thread. $125 (pair) CONTACT Website: www.jandypannell.com |
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KATE HUNTER
BIO
I live on the edge of a tidal mangrove estuary and love quietly watching all the little creatures going about their existence. My observations of these fragile existences drive an ecological narrative in my work. Making for me celebrates the details in life and my fascination with the connectedness of the wearer. The transformative magic of jewellery. I have a Bachelor of Design in Jewellery and Metalsmithing and make in sterling silver, copper, brass and bronze, with accents of gold. I really enjoy all different sorts of materials and how they can be combined. I love the challenge of exploring new materials and how I can use them in my work to convey my ideas. I am currently experimenting with embedding into concrete, cold connecting aluminium, surface treatments of reticulation and fusing. I also like the sleek industrial finish of powder coating. I construct each piece by hand. I enjoy this methodic process of exploring my ideas in metals and other materials. I often work in series to investigate an idea thoroughly. STATEMENT Combining my love of metal smithing and clay has developed into my new Wallflower series, designed to be enjoyed on and off the body. The Heliconia is hollow hand constructed in copper, brass and sterling silver, and the wall display arch with vase is a mid-fired white clay with sgraffito detail on grey slip. The pin is easily removed from its vase to be worn and has a place to live and be enjoyed when not worn. WORKS Heliconia Wallflower 2020 (18 x 15.5 cms) Copper, Brass, Sterling silver, stainless steel pin, mid-fired white clay. NFS CONTACT Instagram: @khdjewellery |
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KATHERINE GROCOTT
BIO
I have been interested in jewellery design since she took it as a minor subject in her Fashion Degree. I took the plunge to focus on jewellery design in 2014. My work is quite visually strong and graphic featuring clean lines and contemporary, modern design. I appreciate minimalism and this features prominently in her work. Over the years, my commitment to environmental sustainability has influenced my design process. Recycled and found objects feature in my work, and I source recycled metals as much as possible. The materials I use are varied, including silver and titanium, acrylic, plexiglass and plastic. Gemstones are a new addition to my repertoire. In terms of found objects, I have made jewellery utilising x-rays, vintage serving platters, plastic tubing, tea infusers, venetian blinds, and perfume sample bottles amongst other materials. I believe that jewellery offers a perspective of the wearer, an opportunity to express oneself. Jewellery can be an expression of creativity, with both the wearer and the maker gaining pleasure from a piece. A piece of jewellery can tell a story or act as a memory. Jewellery can also be a wonderful conversation starter. STATEMENT Learning to read people is difficult at the best of times. Body language, ethnicity, religious background, gender issues, socio-economic backgrounds and upbringing all play a part in how we communicate and understand others. People don’t come with manuals nor are they open books. This brooch speaks into the problems and limitations that all people have interacting with others. It is a fully functioning book form, utilising double needle Coptic binding, acknowledging the reality that people are not as easy to read as books. The use of x-rays as the pages, references the irony that we have the ability to see inside people’s physical bodies, but we have very little that shows accurately how human beings feel, love, desire, or hope. The way that the pages force the book to spread questions the wisdom of being an ‘open book’. Learning to communicate effectively really is an ‘art form’! WORKS Internal Dialogue 2019 (7.5 x 6.5 x 4 cm) X-Ray Film, Boxboard, Neodymium Magnet, Linen Thread, Bookcloth. $195 CONTACT Instagram: @katherinegrocott Facebook: Katherine Grocott |
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KATIE STORMONTH
BIO
Katie Stormonth is a contemporary jeweller based in Brisbane, Australia and was one of the founding members of Bench (a collective jewellery studio, 2012-2019). She completed a Bachelor of Fine Art with Honours in 2011 and currently works as the technical officer at Queensland College of Art, Griffith University. As an early career artist, she participates regularly in exhibitions locally and nationally. Her practice aims to expand the boundaries of wearable body adornment through experimentation of materials and forms. She constructs alluring arrangements of repetitious forms and painted surfaces, highlighting the patterns of bold and decorative chased line work, aiming to provoke the wearer to both see and feel the pieces. STATEMENT Use What You’ve Got Pins¸ were made in response to the Covid-19 Pandemic. During this time, we have all had to limit our access to items we need or people that matter to us, whether by necessity or enforcement. Interactions with people were limited as well as mundane daily tasks such as shopping and working. We saw a shortage in products which prompted conversations of need versus want. This led me to consider making this series of pins from materials that I already had access to. We all accumulate so much over time that these items lay unused, dormant, just waiting for an opportunity to be used. The want to give these materials a purpose directed the construction of these pins. This series of pins are constructed from a range of components such as laser cut walnut, painted aluminum forms, plastic beads and stainless-steel pins. WORKS Use What You’ve Got Pins 2020 (10cm x 4cm x 2.5cm) Aluminum, copper, stainless steel, walnut, paint, plastic beads. $60 each CONTACT Instagram: @katiestormonth |
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KIERRA-JAY POWER
BIO
Kierra-Jay Power is an emerging artist studying a BFA Honours at the Queensland College of Art. Her work engages with curiosity and natural history through experimentation with digital fabrication and kinetic sculpture. She likes to make things other people want to play with. Her work has been featured in group exhibitions locally and internationally, as well as held in private collections. In 2017 she received a Research Bursary from the Griffith Honours College to travel to the Gallery of Comparative Anatomy in Paris and create a body of work inspired by Paris Natural History Museum specimens. She currently has a home studio in Brisbane full of pitcher plants, unidentified sandpaper grits, and bones. STATEMENT Like many others, I have spent a lot of time at home with my small army of small objects. These past months have provided the opportunity for me as a maker to mine my own studio for inspiration. This pin is a small object which has been resolved into a brooch through tension and play. WORKS STICKpin 2020 Recycled sterling silver. NFS CONTACT Instagram: @kj.power |
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KYLIE KEATES
BIO
In 2016, I founded Biografi Design as a contemporary outlet for my work, taking its inspiration from nature, my surround sings, and life’s stories along with modern design from the 60s to today. Pieces inspired by the timeless elegance of the 1920s and 30s cannot be ruled out either. Completely moved by the works of Vivianna Torun (Swedish), I travelled to Biot, where Torun had lived and created for several years. Biot is a hilltop community of artisans, overlooking the Mediterranean in the Alpes-Maritimes department of the Provence-Alpes-Côte d'Azur region in southeastern France and I cannot wait to return and commune there! I am a Brisbane-based metalsmith, specialising in sterling silver jewellery and objects often set with semi-precious stones in either raw/rough, polished, or faceted form. I also work in copper, brass and occasionally gold. Metalsmithing has been a surprising but most welcome new adventure after more than 30 years spent in spreadsheets and databases. Having a piece of jewellery or an object handmade as part of an experience, a memory, or a celebration resonates strongly with me. The experience may be an event, memories of a loved one, or good times shared, or anything that allows you feel emotion when it is worn or even just admired. Being asked to work on commissioned pieces is an absolute privilege especially when re-purposing treasured elements from the past. STATEMENT My brooch pin “Life’s Cycles” was inspired by the request from a very dear friend to make a brooch similar to the design of pendants I have previously made. The five circles of recycled sterling silver can represent anything the wearer holds dear. Maybe you see family, health, community, spirituality and sustainability, or swap something to embrace peace, finance, career, connections, and fitness and so on. Just like life, the circles are imperfect, but all very connected. The five finer circles sit atop a heavier sterling silver foundation circle to which the brooch mechanism is attached. All hand made in my Brisbane studio in sterling silver, the tube that holds the stainless steel wire was hand forged and drawn from a flat sheet, and the ‘catch’ for the sharp ends of the pin encompasses them so that they are held securely and in a way to protect the wearer. WORKS Life’s Cycles 2020 (4.5cm diameter) Sterling silver with stainless steel for pin. $165 CONTACT Instagram: @biografidesign Facebook: Biografi design |
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M. VERONICA SILVA
BIO
I am an artist, illustrator and jewellery maker/designer from Brisbane, QLD, Australia. I have a B of Communication Design, a Major in Jewellery and Small Objects and I am a trade qualified bench jeweller/ manufacturing jeweller. I'm passionate about the arts and crafts, always keeping my hands busy making or repairing or creating in one way or another. My personal projects tend to speak on social issues, cultural issues or women's issues; I use my work as a voice to express my thoughts, observations, ideas and experiences on this turbulent little planet as a member of the contradictory, creative and oftentimes, illogical human race. My personal and artistic statement: Experiences are lessons in living. Through these lessons we learn of the fragile, evolving and transient nature of our existence. STATEMENT Through this piece, I want to express my thoughts on the COVID-19 Coronavirus pandemic and how it has affected people's lives and, specifically, mental health. The artwork consists of a large sterling silver, double-pin brooch, with elements representing a cityscape, a window or isolating room, the horizon and a small branching structure (called a "spike glycoprotein") that protrudes from the main spherical body of the Coronavirus, as depicted in media. The brooch was designed around a partial spherical shape, representing the earth and the shape of the Coronavirus. I have used texture as a way to show the feeling of separation and ‘other’ felt by people during the pandemic. Isolation, loneliness, alienation, the fear of the crowds... these are the themes I want to touch on through my piece as the world experiences one of the most turbulent and polarising events of the 21st century. WORKS Isolate, Alienate 2020 (9cm x 3.5cm x 0.8cm). Sterling silver, stainless steel. $780 CONTACT Instagram: @em_vee_es Facebook: MVSilvaArts |
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MARI HIRATA
BIO
Mari Hirata is a visual artist + silversmith based in Brisbane. Since completing her MAVA at Queensland College of Art, Mari has exhibited in venues throughout Australia and overseas. Her practice over the years has revolved around photography, sculpture, installation, and silversmithing, and her works are housed in collections including the National Gallery of Australia (Canberra), HOTA (Gold Coast), and UTS (Sydney). Mari has received ongoing mentorship under renowned Gold & Silversmith Sel Pilgrim since 2014, and has progressed onto developing a distinct style that responds to her surroundings and relational concepts, while reflecting the aesthetics and sensibilities of her Japanese cultural heritage. Her wearable art pieces are currently stocked at the Museum Of Brisbane, Artisan, and Lorraine Pilgrim + Studio 87 (Gold Coast). STATEMENT Playing with ideas of manipulating and transforming a hard, flat surface into something that looks soft and full of air, Puff is a one of a kind piece of wearable art that is formed by hand. On the reverse, a single needle pin with a twist (literally) extends and accentuates the circular gesture of the piece, and can be secured by tucking the pin into the attached guiding chenier. WORKS Puff 2020 (Diameter: 40mm, Depth: 22mm) Brass, Stainless Steel. $260 CONTACT Instagram: mari.hirata.artist Facebook: Mari Hirata |
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MICHELLE STEMM
BIO
Michelle Stemm works as an artisanal jeweller from a small studio in Brisbane, Australia. Stemm is an advocate for responsible sourcing of materials and the ethical production of metals and gemstones in her profession. Stemm’s design practice is led by a desire for versatile, innovative and functional jewellery that reveres the story of origin. In this way she explores connections both in the technical functionality of a piece, and emotionally, between maker and wearer. For Stemm, connections create opportunity and dynamism, bringing form, function and personal histories together in endlessly interesting ways. Stemm has worked in local politics and education before finding her creative direction. She has university qualifications in International relations, Community Development and Education as well as Visual Arts. She is interested in combining her passions of Community Development and jewellery making and has recently returned from a trip to Madagascar working with underprivileged women. STATEMENT It is my intention to connect my making with meaning. Finding my way along trails and creek beds on Mt CoothTha during Covid lockdown is an exercise in perception. My lived experience of wayfinding in the larger world. Making decisions, adjusting my course, stopping, listening, absorbing, moving in response to my senses. I have been exploring my entanglement with matter and how it absorbs and releases meaning. In the creation of these works my body remembers. WORKS West Ithaca Creek 2020 (50mmx50mm) Copper, Sterling Silver, Stainless Steel. NFS CONTACT Instagram: @TwoPlumsDesign Facebook: TwoPlumsDesign |
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NELLIE PEOPLES
BIO
Nellie’s is based in jewellery and small metals. She is based in Brisbane, Australia. At the core of her practice is the exploration of the connections made between objects and people; and how the object itself plays into those connections by representing on-going narratives. A thread that runs through her body of work is that cherished objects, in particular jewellery, have the potential to act as a souvenir, an aides de mémoires, of a special event, beloved person, or a particular place. She has a Bachelor of Design Arts with First Class Honours from the Australian National University (ANU), School of Art (2013). Whilst undertaking a graduate residency at the ANU’s Gold and Silversmithing Workshop, she completed a graduate certificate in Visual Anthropology at ANU (2014). She also has a Bachelor of Architecture and Applied Science from the University of Canberra (2007). STATEMENT In these recent times our world has shrunk to the confines of home and if you’re lucky a backyard. With access to my normal inspirations limited I looked towards home to find my muse. A constant within the bubble of home has been my dear dog, Mac. She is a sundog – she follows the rays of the sun through the backyard, telling the time of day far more effectively than any watch. This brooch is an ode to her, the ever ingenious dog that is able to find a spot in the sun to nap: whether on the top step in first light, in the newly dug garden bed, or even squeezed onto the outdoor armchair. I have learnt that it is best to leave her napping than wake her. It is not worth receiving the begrudging glare and slow stand, only for her to plop down with a loud sigh, in another spot in the sun. WORKS Let Sleeping Dogs Lie 2020 (9 x 5.5 x 1cm) Sterling silver, rare earth magnet, reclaimed steel sign, stainless steel. $315 CONTACT Instagram: nellie_peoples Facebook: nelliepeoplesstudio |
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SINEAD BUCKNEY
BIO
I studied my jewellery design degree in my home town of Dundee, Scotland, graduating in 2005. I first came to Australia in 2007 and have since lived in Bangladesh and Sri Lanka for several years before returning to Australia in 2017. My linear designs show influences of Scottish Celtic designs and ornate Asian traditional designs. Line, open and repeating shapes are a recurring theme in my work. I sketch simple linear ideas then quickly move into metal, preferring to design and play with the silver and how it moves. Studying Gemmology further ignited my passion for the beautiful unusual and natural gemstones I was then able to collect on my travels. Sustainability is a central part of my life and work, I am always considering the lifetime of a piece. I believe in buying less, but buying quality pieces you love and looking after what you have. Educating people on how to fix and look after what they have and buying better to begin with. Jewellery is for expressing ourselves, telling our stories, and remembering special moments. No matter what the piece, jewellery always has meaning and a story to the wearer. STATEMENT Inspired by traditional Celtic Pennannular brooches, I wanted to make a modern twist on the simple but clever mechanism. The design is inspired by the gently curved paisley loops I often use in my work, and the flowing organic lines of Art Noveau. The open spaces of the loops meet closing the circle and the pin becomes part of the design. The brooch is able to be worn in several different positions, creating different designs. To fasten this brooch, the pin goes behind the material and then you twist the pin around the circle to secure. It can be used on scarves, through large weave fabrics and even in the hair. WORKS Paisley Splash Brooch 2020 (8 x 10cm) Sterling silver. $420 CONTACT Instagram: @sineadbuckney Facebook: sineadbuckneyjewellery |
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TINA HORTON
BIO
A born and breed Queenslander, my jewellery studio is currently set on acreage overlooking the beautiful Moreton Bay. I like to think of my style as naturally organic, I draw much of my inspiration from nature and as such endeavour to ensure all of my work practices are sustainable. Nearly all my pieces have organic cast elements to them, I am truly fascinated by this process as it allows me to keep my practices sustainable. What I love most about organic casting is that no matter what you do every piece is as unique as a fingerprint. I love creating pieces that have a story, a history, pieces that allows the viewer/wearer to perceive the piece however it has meaning to them. I like to keep it real, keep it ethical, keep it sustainable and keep it as unique as you are! STATEMENT Rosarium in Tempo was created using 100% recycled sterling silver melted by fire and reborn through the century old technique of water casting. As an artist in this every changing world, I wanted to create a piece that represented not only the beauty of nature and how important it is to be adaptable to any occasion. I created this pin in three parts; the pin (beautiful yet functional), the “bonus element” (adding dimension and depth) and the pin end cap (safe, functional and yet compelling). In creating this pin in parts I have allowed for the pin to be more versatile, it can be worn as a simple statement rose pin or you can weave the pin stick through the bonus element to create a statement. Rosarium in Tempo is representative of the strength and beauty found within a single rose and its ability to transform to its surroundings. WORKS Rosarium in Tempo 2020 (3.8cm x 10cm x 1.8cm) Sterling Silver. $195 CONTACT Instagram: @tlhinspired Facebook: @tlhinspired |
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