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Edric Ong–a treasury of pandanus

Feb 2nd, 2011
by Kevin Murray.
2 comments
Edric Ong

Edric Ong

Edric Ong combines the role of artist with designer, architect, curator, consultant and president. He works quite closely with UNESCO, advising on their Seal of Excellence for Crafts Program. He has convened the World Eco-Fiber and Textile (WEFT) forum since 1999. And has specialised particularly in the textile crafts of Malaysia, including Sarawak.

For Welcome Signs, he has designed a series of fibre-based jewellery drawing on the traditional craft of pandanus weaving. These draw on important elements of local material culture, such as wedding ceremonies and personal adornment.

Edric Ong, Pandanus pouch necklaces

Edric Ong, Pandanus pouch necklaces


Two string necklaces featuring blue glass beads and hand-crafted pouches made of dyed ‘pandanus’ leaves. These pouches are miniaturized from traditional dowry pouches made by the Malay women of Kota Samarahan , Sarawak, East Malaysia; and were presented during the ‘akad nikah’ or exchange of marriage vows ceremony.
Edric Ong, Pandanus open-plaited necklace and belt

Edric Ong, Pandanus open-plaited necklace and belt

Open plaited pandanus straps were made by the Orang Asli of Carey Island, Selangor, West Malaysia as part of their small pouches for keeping tobacco.

In the necklace and belt featured here, they have been made as components and strung into a cord (the necklace) or added to a rattan belt as accessories.

Artist Statement

This is a series of fashion accessories I developed as part of collection to introduce the use of more natural fibers such as tree-bark, rattan, and pandanus into my work. It started with using tree bark cloth as appliqué on cottons and silks; then using rattan straps as accessories, and then using the pliable pandanus as bustiers, capes and also as ornaments for necklaces and belts.

The pandanus components are made by two groups of craft artists: the Malay women of Kota Samarahan, Sarawak in East Malaysia; and the Orang Asli women of Carey Island, Selangor in West Malaysia.

I hope that these new designs and use of their traditional crafts will inspire them to create a new product line and so generate more income for them.

Original pandanus pouch

Original pandanus pouch

Sang Hee Yun–beware lacquer

Feb 2nd, 2011
by Kevin Murray.
1 comment
Sang Hee Yun

Sang Hee Yun

Sang Hee Yun studied jewellery at Seoul National University, then specialised in The Dept. of Ottchil-Art at PaiChai University. Since then she has exhibited her work in a number of solo and group exhibitions.

Sang Hee Yun has extended the craft of Ottchil to create striking body ornament. Korean culture has developed the art of lacquer to extraordinary sophistication, and Sang Hee Yun demonstrates who it can also be used for artistic purposes.

Her work for Welcome Signs can seem contrary to the ethic of hospitality. It is designed to repel, rather than attract. But as something that offers protection, it indicates the broad range of meanings associated with neck wreaths in the Asia Pacific region.

Sang Hee Yun 'An attack by green horns' Wood, Ottchil, 925silver, gold-plating, gold-leaf, 572 × 249 × 74 mm, 2009

Sang Hee Yun 'An attack by green horns' Wood, Ottchil, 925silver, gold-plating, gold-leaf, 572 × 249 × 74 mm, 2009

Artist Statement

The main concept of this Ottchil Ornament is an image of attack and protection.

In order to manifest it, I took out its materials from nature, inducing a variety of formative experiments by applying Ottchil (Asian lacquer) with the material characteristics of outstanding durability and moth protection to jewelry.

The purpose of this Work is to attempt to provide the women alienated from the society under the extreme circumstances such as threatening situation, horror, and sorrow with power by making accessories to make a use of varnishing with lacquer that has an offensive character and a defensive function; to grope for the new try to search for beauty by giving the experimental characteristics to the positions on which accessories are put in the relationship between the body and accessories as well.

This work had been started from the process of utilizing varnishing with lacquer positively. I used varnishing with lacquer in making accessories not only because I could include an environment-friendly defensive concept along with its perpetuity that could keep accessories from decay and deformation after a long time, but also because the property of matter of varnishing with lacquer was accorded with my concept of making accessories in many ways.

The sizes and colors of accessories had been very important to deliver the offensive and defensive feeling, and so I could solve that with the production techniques of varnishing with lacquer to use light materials such as paper, wood, cloth, and etc.

My jewelry makes the wearers get the strong existential feeling and sexual power from the mutual communication with others through wearing action; desires them to restore their mental tranquility and subjectivity.

I aspire that this could be not only a means to exist as an individual whose own values are not penetrated and but also a cry that the weak existence wounded by the outside can express with his or her body within the diversity in the modern society.

Marian Hosking-a garland of the bush

Feb 2nd, 2011
by Kevin Murray.
No comments yet
Marian Hosking

Marian Hosking

Marian Hosking is a preeminent Australian jeweller, recently designated a ‘living treasure’ for her contribution to the national craft scene. Marian trained in the RMIT Gold & Silversmithing department and following that the Fachhochschule für Gestaltung, Pforzheim. She is currently head of the jewellery department at Monash University, where she is currently acting Head.

Marian’s work explores the artistic quality of silver, using a unique combination of casting and drilling. Using silver as a creative language, she is able to express quite rare forms of Australian nature. Her work attends to the fine detail of flora, rather than the large iconic forms.

Her work for the Welcome Signs exhibition uses the form of the garland to gather elements of Australian bush. For a recent essay about Marian’s work, go here.

Marian Hosking - two silver garlands (Mallee gum buds & Gum nuts chain)

Marian Hosking - two silver garlands (Mallee gum buds & Gum nuts chain)

Niki Hastings-McFall–the new Pacific art of welcome

Feb 2nd, 2011
by Kevin Murray.
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Niki Hastings-McFall

Niki Hastings-McFall

Niki Hastings-McFall was born in Titirangi, West Auckland, NZ. Much of her work is inspired by her Samoan heritage, discovered when she first met her father in 1992. She trained as a jeweller, and has a degree in Visual Arts from the University of Auckland at Manukau School of Visual Arts.  Both her jewellery and her larger assemblage works directly  reference her urban environment whilst maintaining strong connections to Polynesian culture.
 
Much of her earlier work is a response to the stereotyping which so often surrounds the South Pacific. As a Pakehaa / Samoan she uses the iconic to question the myth as a  way of exploring the liminal space which both separates and unites the different cultures that represent her place within a contemporary Pacific context.
 

Niki Hastings-McFall Too Much Shushi Lei

Niki Hastings-McFall Too Much Shushi Lei

Aesthetically speaking some of the work she is presently engaged with is not necessarily overtly Polynesian. However it is still generated by her signature understanding of past and present Pacific material culture twinned with an urban sensibility of post colonial Aotearoa
 
Hastings- McFall has exhibited extensively during the 15 years of her practice both nationally and overseas in Australia, France,  the USA, South America  and the UK. Her work is held in public and private collections in NZ (Auckland Art Gallery,Te Papa Tongarewa, Auckland University,  Chartwell, Victoria University, Auckland Museum etc) and internationally (British Museum UK, Museum fur Volkekund Germany, Queensland Art Gallery Australia, Tjibaou Centre New Caledonia etc)

Niki Hastings-McFall’s work features in the exhibition Welcome Signs.

Gina Narayan–an Indian necklace across the Pacific

Feb 2nd, 2011
by Kevin Murray.
1 comment
Gina Narayan

Gina Narayan

Gina Narayan is a product of the Pacific Indian diaspora. Her forbears arrived in Fiji as indentured labourers for the sugar plantations. Born as a third generation Indian in Fiji, Gina’s family moved to Australia, where she eventually developed a profession as digital marketer. But to re-connect with her past, she has taken to a much more material medium, jewellery.

Her works draws on the material legacy of her family’s journey. Most of the Indians who arrived in Fiji were illiterate, so the story of their past rested particularly on the material remnants of their previous life. The Rajasthan origins of Gina’s family were most real in the bells that they retained. Gina has developed her own line of jewellery out of her worldly experiences under the label ji – Inspirations of Fiji.

These are her descriptions of work for the exhibition Welcome Signs.

Gina Narayan 'Term Deposit' coral and silver coin

Gina Narayan 'Term Deposit' coral and silver coin

Coral and Silver coin – Red coral symbolises cultures that have come to the shores of Fiji in search of a new life (either by choice or as indentured labours). The Silver coin a significant symbol of the Indian influence in Fiji’s past.

 

 

 

 

 

Gina Narayan 'Dusky Moon' black onyx and shel

Gina Narayan 'Dusky Moon' black onyx and shel

Black Onyx and Shell – Onyx, the core of Fiji with the shell representing & being a significant symbol of its indigenous past. The red corals among the strong Onyx represent other cultures that have come to the shores of Fiji and are now an integral part of Fiji.

Winita Kongpradit’s photo-garland

Feb 2nd, 2011
by Kevin Murray.
1 comment
Winita Kongpradit

Winita Kongpradit

Winita Kongpradit began her art education in Japan and then completed her graduate and post-graduate studies at the College of Fine Art, University of NSW, Australia. Since then she has been working as a jewellery designer in Thailand.

Her phuang malai transforms a floral garland into a contemporary wreath, decorated with a wash of images. The work evokes the stream of images that constitute identity in social networks like Facebook. While on the one hand it can be seen as a celebration of desire and friendship, on the other it seems to reflect an indiscriminate sea of images with which we are now awash.

Winita Kongpradit Other Self Coloured Zinc, Paper, Found Object, Resin, 2010

Winita Kongpradit Other Self Coloured Zinc, Paper, Found Object, Resin, 2010

Artist statement

Jewellery are the most efficient way to accomplish my art work, which is considered a combination of media, drawing and writing. My cultural background is usually reflected through the work. Inspiration came from things happen around me. Images which occur in my works are linked to experiences of the traditional Asian based content of my heritage and the influence of the technology in today’s life.

The world we live is now changing so fast that we miss a lot of things significantly without realizing. This piece is trying to capture my personal memory. It comes out of the need for proof of existence, and proof of identity. They are images of my existing from the past, and represent my desire to create the impossible because these images had now physically disappeared. Each one has an individual narrative story as an outlet self – expression. Objects which I made have came straight out from my memory. They are bounded around the same way as the Thai traditional “Phuang Malai” has been made.

These objects contradicted their survival in today’s world. The continued use of different images represents my sometimes unapproachable memory. It is an illusion of something that is full of happiness, at the same time empty, containing nothing but sadness.

Winita Kongpradit is a participant in the exhibition Welcome Signs.

Palapa–Nusantara reunited as jewellery

Jan 31st, 2011
by Kevin Murray.
2 comments
Anastasia Sulemantoro, Annisa Fardan Nabila, Aulia Amanda Santoso, Emeraldi Kumastyo Paramaeswara and Maria Yosepha

Anastasia Sulemantoro, Annisa Fardan Nabila, Aulia Amanda Santoso, Emeraldi Kumastyo Paramaeswara and Maria Yosepha

Palapa is the joint effort of five product design students from Bandung Institute – Anastasia Sulemantoro, Annisa Fardan Nabila, Aulia Amanda Santoso, Emeraldi Kumastyo Paramaeswara and Maria Yosepha. Their idea of transforming a traditional myth into a gift emerged from the Transforming Tradition Workshop by Mr. Adhi Nugraha in September 2009.

We know the nutmeg as a spice that drew the Dutch to Indonesia and provided the Dutch East Indies company with much of its wealth, at the cost of many lives. Using carved rosewood, these young designers have now recovered the nutmeg as a symbol of Indonesian unity.

Palapa by Anastasia Sulemantoro, Annisa Fardan Nabila, Aulia Amanda Santoso, Emeraldi Kumastyo Paramaeswara and Maria Yosepha (etched brass is made by Kriya Nusantara) rosewood and brass, 2010

Palapa by Anastasia Sulemantoro, Annisa Fardan Nabila, Aulia Amanda Santoso, Emeraldi Kumastyo Paramaeswara and Maria Yosepha (etched brass is made by Kriya Nusantara) rosewood and brass, 2010

Their statement

PALAPA begins with the concept of "giving" as it is an Indonesian people nature to give. It is reflected in many Indonesian tradition and lifestyle, from daily activities, to ritual and religious ceremony. Furthermore, it is a common thing for Indonesian to bring gift for closest people, like family and friends after their trip to foreign places.

We choose jewelry as a gift object to be developed, as jewelry is a product designed for exposing itself, and has an ability to create interaction between the user and others using its attractive visual appearance.

The basic form of PALAPA is a sphere sliced into eight pieces. Since sphere has neither front nor backside, dominant wouldn’t exist as all sides are equal.

The eight amount itself comes from eastern spiritual philosophy based on eight wind direction, which also represents eight ethnic group existing in Indonesia based on isle groups and islands in Indonesia; Sumatra, Java, Borneo, Celebes, Nusa Tenggara, Bali, Moluccan, and Papua. Each piece expresses the uniqueness of every ethnic group in every island, which is visually represented by its traditional decorative pattern.

As we collected images of Indonesia from all provinces, a combination of brown and golden shade dominate, which underlies us to make the choice of material; rosewood and golden metal.

Traditional pattern metal attached to wooden piece represents every ethnic group is unique, special and has their own characters. This pattern variation will enable people to choose which one represents them best.

Back to the main concept of giving, here every piece is meant to be given to closest persons as a gift from one who has bought PALAPA from Indonesia. Here, the act of giving will make a personal expression in both of the giver and the given one.

The basic structure of PALAPA is to unite all the pieces in one unity, which is a metaphor to Indonesia motto; Bhinneka Tunggal Ika (Instead of the differences, stay the unity). Every single piece represents uniqueness and diversity, whereas all the eight pieces are combined, a solid sphere will be formed. It represents unity, since a solid sphere wouldn’t be formed when apiece is missed.

PALAPA pieces are made from rosewood with the traditional pattern shaped metal attached on it. When apiece stands alone, adornment beauty shimmers with sparkle of the metal, yet a sweet humble brown appears when all the pieces are combined, philosophizing; to form a unity one have to forbear one’s ego to accept others.

It is all connected with the naming of PALAPA itself. The word PALAPA comes from Sumpah Palapa from Patih (vice regent) Gadjah Mada who has swore not to eat palapa fruit (nutmeg) before he could unite Nusantara – a term used by Indonesian people to define Indonesian archipelago.

Briefly, PALAPA isn’t only about a gift, or jewelry, but a message for Indonesia and world that together we should advance unity despite of our egos.

Palapa is part of the Welcome Signs exhibition. It reflects the way in which jewellery in the Asia Pacific is drawing inspiration from traditions involving organic materials.

Regine Schwarzer creates Royal Jewels unique to Australia

Jan 28th, 2011
by Kevin Murray.
1 comment
Regine Schwarzer

Regine Schwarzer

Born 1961 in Germany, Schwarzer grew up in Bavaria, training in jewellery making and metalwork at the Zeichenakademie Hanau one of the oldest training institutions in Europe. In 1993 she moved to Australia where she lives and works in the Adelaide Hills.

In the Australian outback she discovered her passion for the abundant gems and minerals she loves collecting on field trips. Inspired by the colours and structures of these minerals, she learned how to shape them and uses them often in her work.

Visual uniqueness gives value to common materials that are often overlooked or disregarded. By slicing into the materials I discover structures, patterns and colours, traces of their geological history hidden in the layers.

GeoMorphing, her latest body of work, is inspired by the crystalline formations of minerals which grow in a variety of different systems. By designing and constructing both jewellery and objects that reference and utilize gems and minerals she investigates the term precious as it is often attributed to certain materials.

Schwarzer holds a Masters Degree in Visual Arts and Design. She exhibits widely nationally and internationally, her work is included in many private collections and has been published in Crafts Arts International as well as 1000 rings, 500 Gemstone Jewels and 500 Silver Jewelry Designs by Lark books.

Regine Schwarzer 'Royal Jewels' Necklace, Royal Jewels, chabazite in basalt, cubic zirconia, sterling silver, 2008, 23 x 23 x 1.4 cm

Regine Schwarzer 'Royal Jewels' Necklace, Royal Jewels, chabazite in basalt, cubic zirconia, sterling silver, 2008, 23 x 23 x 1.4 cm

Here is the statement about her work:

The minerals on which I base the design and construction of my work are sourced from the Australian outback; the raw materials are a rich inspiration for exploring the nature of what is deemed precious.

I value visual uniqueness and thus devised the piece The Royal Jewels.

The rocks used are inexpensive yet I consider their uniqueness and expressivity far exceeds the commercial worth of classical gem material such as diamonds, rubies and sapphires. This combination of the known, cubic zirconia as diamond simulants and the unknown, chabazite in basalt and the deliberate juxtaposition and obscuring of materials are used to question commonly held assumptions about preciousness.

This neckpiece was conceived as a piece that could be suitable for Royalty, appearing to be expensive yet using gems that have a relatively low market value. The chabazite in basalt has volcanic origin and was mined in NSW. The crystal clusters, zeolite, which are nestled inside the rock, inspired me to add large sparkling gems of cubic zirconia which simulate diamonds: the precious placed next to the worthless.

Contemporary Australian Art practice is informed by our unique geography and the complex interplay of European settlement, more recent regional development and our role as 21st century global citizens.

In The Royal Jewels I mine this rich lode to present a garland featuring material often overlooked or discarded, referencing both the ephemeral nature of laurel wreath / floral garland and the spectacular pieces in precious stones and metals by which they have often been replaced.

Curator’s note: In the history of jewellery, wealth has been most often symbolised in diamonds and gold. While for a country like Australia, much of its wealth is derived from much cruder materials, such as iron and coal. Regine Schwarzer’s necklace helps us appreciate the materials that underpin preciousness. Her work has parallels with the Queensland jeweller Ari Athans, whose rings include the quartz characteristic of gold fields.

Regine Schwarzer’s work is part of the exhibition Welcome Signs.

 

Grees Manupassa–Welcome to Indonesia

Jan 25th, 2011
by Kevin Murray.
1 comment
Grees Manupassa

Grees Manupassa

Rr. Grees Manupassa S. Sn. – usually called as ‘Grees’ – was born thirty years ago in middle part of Java, Indonesia. While she graduated from the Indonesian Art Institute in 2004, she has been involved in other art events and exhibitions, such as the Yogyakarta Art Festival (2001), Inacraft (Jakarta 2007 and 2008), Visual Art Exhibition EXPOSIGNS (Yogyakarta, 2009). In 2007, she received the award for the best contemporary work in the Mutumanikam Nusantara Jewellery Exhibition (Jakarta).

Her use of filigree in the work especially made for Welcome Signs demonstrates the capacity of silver to reflect the flowing organic forms of nature.

Grees Manupassa ‘Mighty Simplicity’ sterling silver 925 and circon (technic: joining and filigree; finishing: polishing), 2010

Grees Manupassa ‘Mighty Simplicity’ sterling silver 925 and circon (technic: joining and filigree; finishing: polishing), 2010

In her words:

‘The Mighty Simplicity’ is inspired by the well-known local wisdom of Indonesia with its friendly, pleasant and warm characteristics along with beauty of landscapes, cultures and traditions.

Floral arrangements such as jasmines and orchids are often used as welcome signs apart from being used as ornaments in many traditional rituals. This is why I chose these two flowers for my work; they have rare beauty, exotic look also as the icon of Indonesia’ natural wealth.

Within the whole production process that takes about one month long, I find out my own challenge in dealing with complicated yet exciting details. The traditional filigree technique was combined with some other techniques to bring out strong traditional elements in modern look.

I personally wish ‘The Mighty Simplicity’ could represent the civilization, beauty and warmth of Indonesia which is presented to those who are longing to visit Indonesia.

Yuri Kawanabe–weaving an Asian welcome in metal

Dec 23rd, 2010
by Kevin Murray.
1 comment
Yuri Kawanabe 'Whirly halo neckpiece' (aluminium, silver 40 x 49 x 9 cm, 2004)

Yuri Kawanabe 'Whirly halo neckpiece' (aluminium, silver 40 x 49 x 9 cm, 2004)

Yuri Kawanabe constructing her work

Yuri Kawanabe constructing her work

I have always been fascinated by ceremonial displays of decorations handcrafted as though by magic. In my childhood, growing up in suburban Tokyo in the 1960s, I could still witness with excitement seasonal festivities with traditional decorations made from perishable materials like paper, straw, bamboo and other fresh plants. Over the years I have recognized that the aesthetic that I have been seeking through my art was actually rooted in these ephemeral creations.

In recent years, I have travelled to various regions in Asia and the Pacific including Tonga, Bali, China, Burma, Thailand, Vietnam, and India. There, I have encountered many ephemeral decorations made by locals for religious and seasonal occasions. I found a strong similarity to my own designs in those often modest, but meticulously crafted, ornaments. It is great to know that the skills to make these kinds of decorations have been passed from generation to generation and still survive today.

Ephemeral materials symbolically present a short-lived beauty of youth, purity and devotion. Fresh materials in vivid colours also retain (and conceal) tensions in their own forms. Thus in the early days (or hours) of a display, these perishable ornaments keep their strength within and make a striking impact on their viewers.

Yuri Kawanabe's photo from Bundi

Yuri Kawanabe's photo from Bundi

Intense contrasting colours dazzled me everywhere in India. At weddings, and in Hindu temples and festivals, everything and everyone seems to dress in almost iridescent hues. They look astonishingly beautiful and lively. The desire to adorn using the bright colours has been commonplace in many cultures worldwide, but no other culture than India seems to have such an eagerness to open the floodgates of colour.

I made the “Garland” series of anodised aluminium jewellery after an artist-in-residence stay in India. It was my attempt to generate a sort of visual “magnetism” by activating a field using bright contrasting colours. As in depictions of various idols, which are glorified with bright halos around them, the “Whirly Halo” neckpiece is designed to circle around a wearer’s head.

In a small northern town called Bundi, I was one of a few lucky tourists who happened to be there on the day of town’s annual festival. As a guest invited to the ceremony at the start of procession, I was presented with a beautiful garland. When the soft, fragrant string of flowers was placed around my neck by a young girl, I suddenly realised how honoured I felt. It was a gesture of welcome.

Yuri Kawanabe was born in Tokyo and completed a Master of Arts in ‘chokin’ (metalwork) at Tokyo University of Fine Arts. She moved to Australia in 1987, but retains strong ties to Japan and is involved in many exchange projects. Her works have been collected by museums including the National Museum of Modern Art, Tokyo, the Powerhouse Museum, Sydney, and Queensland Art Gallery, Brisbane.

Yuri Kawanabe is a participating artist in the Welcome Signs exhibition.

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