Q+A with Melissa Cameron

Melbourne based Melissa Cameron shows her exquisitely hand sawn pieces in her first Sydney solo show, Iteration at metalab: November 5 - 26.

How would you describe your work?
Planar patterns. I work with sheet material, steel, silver, the flat surfaces of recycled containers and more recently with stainless steel and titanium. I cut (or in the case of the titanium and stainless steel, have laser cut) patterns into the sheet, and drill holes through which stainless steel cable is strung. So the single sheet is cut into many planes and joined again to make a single, multi-layered piece.


What are your main sources of inspiration?
I find inspiration in other artists, sculptors and multimedia artists as well as architecture, of course, but more from architectural process than physical buildings. Patterns in architecture, from floor plans through to surface coverings and vertical fixings, are always of interest. The overall shapes and forms that I am currently working with resulted from research into great works of architecture and their floor plans. Finding specific shapes I researched these forms and found them used in areas of recreational mathematics. I studied cube nets (the floor plan of an unfolded cube) and manipulated them using the techniques of the pattern-maker. I have an iterative process – so each finished piece I make suggests a change or a tweak that I could make to result in a new piece, so often the ideas in new works have come from the piece(s) before them.

Initially you studied Interior Architecture, how did the progression to jewellery take place?
I started playing with pins, beads and a set of round-nosed pliers in my final year of interior architecture, and started selling work in markets and to friends as a hobby whilst working for an interior design firm in South Perth. One morning I was having trouble getting my head around going to work that day, so my partner and I took the day off and went to the WA Art Gallery. On seeing there Howard Taylor’s retrospective exhibition, I realised that what I really wanted to do was make my art. I soon changed jobs and decided to go back to university to get some more manufacturing training, completing my postgraduate diploma in jewellery production at Curtin in Perth in 2006. I then moved with my partner to Melbourne in 2007 to enrol in a Master of Fine Arts in jewellery and metalsmithing at Monash, from which I graduated this year.

Where is your studio, what is it like?
I work at home on my computer for the drawing part of the process, making patterns in AutoCad. I work next to our dining table, and frequently cover it with papers, and books when I’m researching. After I print the drawings onto adhesive paper, the making process proper begins, in the studio. At this stage I’m still in a borrowed studio, but I’m hoping to set up my own space in the new year.

What kind of jewellery do you wear, how does it differ from what you make?
I wear a gold ring with diamonds in, that was remade from a previous ring that was owned by my mother, my grandmother and which was originally given to her mother – my great grand-mother. I also wear a white gold wedding band that is too big, so is clamped onto my finger by a silver twist ring that I made when I was about 13. These are all traditional precious jewels, and all have personal significance, and differ greatly from my works as I hardly ever make rings.

I also have a set of five engagement rings, but they are currently with the artist Gillian Rainer for repairs. As for other jewellery, I just got a new brooch by Jill Hermans which is exciting as her colourful Shibuichi works inspired me to heat colour my most recent titanium and steel pieces. I am always wearing one of my own pendants or brooches, and I have a tendency to wear prototypes and pieces made from offcuts. Lately I’ve been wearing a bracelet assembled from the misfired laser-cut works I made for this exhibition. I also have, and wear a pair of Carlier Makigawa earrings, and two Brenda Ridgewell brooches. These artists explore similar territory to me – space and line - and they are both from Perth too. Seeing their work early on made me realise the depth and beauty of Australian contemporary jewellery, which strengthened my resolve to effect the career transition I made. They also happen to make beautiful works, which appeal to me a great deal.

Lauren Simeoni and Melinda Young

SATURDAY OCTOBER 24 AT 2pm MELINDA YOUNG TALKS IN THE GALLERY AT METALAB ABOUT UNNATURAL, NATURALLY. ALL WELCOME.

Lauren Simeoni and Melinda Young talk about their collaborative exhibition unnatural, naturally showing at metalab - as well as their individual practices...

you can watch Melinda Young talk about the exhibition on D*Hub http://www.dhub.org/articles/1233

Unnatural naturally explores representations of natural and unnatural through the potential of found objects, how did this subject and consequent collaboration come about?

After an exhibition opening in which Lauren had showed a new series of work made from florist supplies, Melinda confessed to Lauren that, despite never having seen Lauren’s new work, she had recently been making pieces made from fake fish tank plants and that there was a striking aesthetic similarity. As the night progressed a plan was hatched to have an exhibition together one day playing with these exciting new materials. About a year later at the JMGA Conference in Adelaide over a few South Australian wines, the idea was revived and much excited discussion was had. Soon, a sketchbook had been procured by Lauren, and the first ideas jotted down… before long it was winging its way to Sydney and so the collaboration began in earnest. The sketchbook was swiftly followed by packages of materials going back and forth ranging from Adelaide Central Markets best smelly fake grapes to fine floral arrangements sourced at Reverse Garbage in Marrickville and interstate studio sojourns. The seeds were sewn… and so the project continues, with world domination in its sights.

What were the restrictions or even freedoms to a collaborative exhibition with an artist in another state?

The only restrictions were to include some of the shared materials, however, Mel was conciouse of not using predominantly green and Lauren was conscious of not using pink, but as it happens this did not happen. Whilst the work is in harmony with each other, distinct styles are obvious.
This has been a stimulating conceptual project. Working to a brief that commenced organically, both artists have undertaken a rigorous conceptual examination of the subject manner which has resulted in a very playful and exhibition and enriched professional development.
Melinda Young talks about her work...

You have many facets to your practice, with varied production ranges and exhibition projects - how would you describe your work?

Eclectic is probably a good word! But there are several common threads through the work – similar colours and shapes pop up in different ways and it all tends to be quite strong graphically. My exhibition work although varied in scope, works around ongoing themes to do with the body – its insides, outsides, social perceptions or impositions and its relationship to elements of the landscape and botany. My production ranges despite having varied materials generally tend towards a graphic flatness. Last year you launched your very successful Take a Ball of Thread… project/exhibition where you imposed many restrictions upon your making, how did those restrictions challenge the process of making and has it affected your approach to this exhibition?

I am still working on Take a ball of thread... and some of the works in this exhibition are part of the project. I have found that the restrictions I have imposed on the work for that project liberating in many ways – they have forced me to look at materials and ways of making in a new light. I think one of the results is that my work has become more spontaneous. The work in this exhibition could be seen to comprise a series of ‘sketches’ responding to particular materials and themes. I have also found myself limiting my materials again in this exhibition – all of the brooches are made from the same off-cut from a found sheet of marine ply. I have always enjoyed working with found materials, but I guess that the thread project has really steered me towards a more rigorous and considered approach to their use. Also in this project Lauren and I have been sharing materials which has been fun and also directed the work – we both have tended towards different colour palettes – this happened organically at first without discussion and as the project has progressed we have discussed the colours each is using – I have tended to steer away from green for example as I think of it as being Lauren’s colour and conceptually I am more drawn to fleshy pinks and reds. What are your main sources of inspiration?

I am inspired by so many things! The insides of the body, botany, the landscape, ideas, colour, buildings, materials, personal experiences, cultural theory and history, literature, lyrics, other makers, fabric and wallpaper patterns, travelling and being in the world...
Where is your studio, what is it like?

My studio is up a ladder in the converted attic at my house. It is big, bright, sunny and I love it! The space is split into a making section and a writing/paperwork section with two desks on either side of the space. The making desk is made from a big door blank, it is nice and long and allows me to have several projects laid out and on the go at one time. I also spend a lot of time at this desk drawing; drawing is a big part of my work and something I do outside of my studio as well. Because of the nature of the space and OHS issues I can only do ‘cold’ work in my studio (no soldering) and this has influenced, or is perhaps a result of the work I make. I tend to do a minimal amount of soldering and this is done outside or taken to a friend’s studio to do in batches. I am ably assisted in my studio by my cat, Mansize. She is very helpful, particularly when I am making thread work and likes to sit directly under my desk lamp to supervise me closely in the winter months.

What jewellery do you wear, how does it differ from what you make?

I wear a different collection of my own acrylic production rings everyday – I enjoy waking up and deciding which colour combinations feel right for the day, this is my burst of colour because at the moment I am also wearing a lot of black, oxidised silver jewellery – earrings, brooches and neckpieces. Some of my favourite pieces are by Bridie Lander, Sally Marsland, Sim Luttin, David Neale, Warwick Freeman and of course Lauren Simeoni.

Q+A with Lauren Simeoni...

How would you describe your work?

My practice has two distinct styles – this exhibition is definitely a new direction for me, an experimentation.

I am more known for my two dimensional jewellery and wall pieces using printed aluminium collage.

This exhibition is an exciting shift!



Your love of the ‘fake real’ is seen in both your production and exhibition work, how did this fascination come about?

Years ago I started playing with notions of kitsch making souvenir- type jewellery utilizing alternate materials and looking at their ‘values’. Now I see beauty in all sorts of materials and am not so concerned with ‘kitsch’ but looking at the beauty in inanimate objects.

Studio mates Deb Jones and Jess Loughlin who usually work with a minimal aesthetic have enjoyed offering me advice on the possibilities of obscure 'contemporary jewellery'... whilst they mock I have discovered they share a secret fetish for artificial botanica.



You have been commissioned for public art in Adelaide, can you tell us a little about the process of public art and the pieces you have made?

I enjoy researching to a site-specific brief. The main focus of my work is the manipulation of images through collage and layering. Using the cut-up as a point of departure, specific images are transferred onto plastics and aluminium using industrial processes. I re-assemble fragments of images digitally and manually to create patterns, textures and seductive surfaces to create an overall abstract that include small details that may not otherwise be noticed.

Works include pieces for the Adelaide Festival Centre and Wakefield House.

Where is your studio, what is it like?

I’m part of ‘Gate 8’ in Thebarton, Adelaide. It’s a group studio in a big beautiful old Baptist church - lots of inspiring space.
I share with glass artists, sculptures and a graphic designer.
We also welcome artists on short-term projects, from jewellery pieces to large out door public works.



What jewellery do you wear, how does it differ from what you make?
Not much, I go through periods of being attached to one piece. These pieces may be fancy contemporary jewellery, vintage finds, garage sale treasures or family hand-me-downs.

What is next for Lauren Simeoni?
I enjoy alternating between jewellery and larger scale work.
Now I think it’s time to muck about with making some mobiles…yep.

Pennie Jagiello

Pennie Jagiello makes organic forms from very unnatural, man made debris and materials. Her work (currently showing at metalab in Coral Wreath, closing September 24) speaks of the beauty of the ocean, thoughtfully created through the use of materials that are destroying that beauty - such as aluminium cans and fishing wire...

Your work doesn’t use traditional jewelling materials such as gold, silver or gems – do you think your training in visual introduced you to different materials than a design course would?
My background studies in fine art and sculpture have definitely shaped the way in which I work. Not having any formal g & s training has meant that I make in my own way without pre conceptions as to how a jeweller might or should work or if an idea, technique or material is appropriate/ suitable. I hope that through this my work stands out as being uniquely mine.

The decline of the quality of our waters and sea life are obviously the inspiration for your practice, how did this issue in particular become so prevalent to you?

My work has always been inspired by the ocean ; its beauty, diversity, intricate underwater landscapes, its power, the sensitivity of this environment, how it is affected by climate change and general human impact. Like many children I grew up hanging out for holidays at the beach, but I never understood how people could deliberately litter and not care for this amazing environment. When I met my partner he was studying Marine Biology and our chance meeting was consumed by our love of the ocean and before we knew it we were spending time at the beach together… picking up marine debris! Certainly not everyone’s idea of a good time, but we still do it every time we go to the beach.

I am also extremely interested in Aboriginal and Pacific art, jewellery and adornment and their use of the natural environment creating a diversity unique to each indigenous culture.
My concerns are the affects we are imposing on the environment, how coastal communities have and are being affected and what this potentially means for the future.


You work almost exclusively with telephone cable, when did you start using this material and how do you source it?
I began using telephone, computer, and electrical wire during my 2nd year at uni. My Father works in demolition and came across some wire thinking that I could use it. The wire instantly worked for me as I predominately worked with recycled materials and I always had something to say within my work so it became a metaphor for communicating and hoping the cables could once again carry a message.

Over the years materials used within my work are still predominately reclaimed ranging from that which I stumble across in the natural environment to household refuse both my own and that saved for me by my family and friends.

Although my work is about the ocean I have no desire to use natural materials. I reference the environment by choosing to reclaim that which is destroying it; in turn creating a replica, an impostor, an artificial nature.

Where is your studio, what is it like?
It was always important for me to be able to make wherever I go and not rely on heavy tools and machinery. So I always have my little pliers, and a crochet hook and some bundles of wire in my bag and they go everywhere with me . In the car (as a passenger of course!) or on public transport, in the park, on holidays, I like to make good use of my time especially as a mum, making time is precious !

I do have a small studio at home and 4 large green wheely bins full of wire, bottle tops, plastic and aluminium drink, food and general recycled waste.


What jewellery do you wear, how does it differ from what you make?
I wear my own jewellery everyday as it is my way of constantly reminding myself and hopefully others of the desperate state our environment is in. I also wear pieces that my many jeweller friends have made or given to me and these tend to be uniquely beautiful using traditional g & s techniques, mostly silver and therefore very different to my work.

Pennie is developing an exciting new project for which she is looking for participants. If you would like to partake in Pennie's next project please email her at penniejagiello(at)hotmail(dot)com for more information.

Jane Pollard, exhibiting her work in pollinate until September 24.

How would you describe your work?

Now that’s a challenging question…..mmm Here’s what comes to mind when I think of my work:
- Found bits and pieces carefully assembled to create unique wearable objects
- Small plastic colourful sculptures dangling from Czech glass beads
- Vintage flavour with a contemporary feel made for people who appreciate quality and the hand made
- Careful construction that considers all aspects of the piece whether it’s the clasp, the medallion, the strand of beads etc. I think I’m a bit of a perfectionist and I love a well finished piece
- A versatile adornment that can be interpreted by the wearer. Many of my pieces can be worn in a variety of ways i.e. short or long neckpiece, as a sash or belt or you can remove the brooch and just wear that. -My pieces seem to make people happy as they come to life on the body.



You are a self taught maker, what inspired you to teach yourself and become a jeweller?
I have always been a maker. As I kid I made constantly: hook rugs, knitting nancy, finger knitting, simple tapestries, weaving, pop poms, patchwork etc. I still remember the thrill of successfully following my first knitting pattern and creating a knitted teddy. I loved (and still do) crochet. I made a great crocheted rug, which I kept until my mid 20’s (unfortunately it got nicked from the back of my car) using wool that my mum gave me from unravelled jumpers that she collected from opp shops.

I studied home economics (gee that makes me sound old - I guess this falls under Design and Technology now) until Year 12 so I learnt to sew, and also did some basic pattern drafting. I have always had access to or owned a sewing machine, and as a uni student I was constantly ‘renovating’ and dying second hand and vintage clothes, along side other making ‘projects’ that including a hair braiding market stall (what was I thinking?)

In the mid 1980’s I accepted a teaching job at Belyuen, on a small Aboriginal community in the Northern Territory. This was a life changing experience as I made good friends, and learnt so much from many generous people. I had a four-wheel drive so I became the driver for my neighbour and her extended family. We spent any spare time fishing, camping, collecting bush foods and plants to make and dye string used to weave dilly bags. The maker in my got very excited as I followed Marjorie (my neighbour) as she showed me which plants to collect, how to harvest and prepare the fibre, dye it and weave a bag. I think my keenness and patience surprised Marjorie, her family and friends as I sat with them for many hours determined to finish my first bag.

Now to the jewellery……. After leaving the Northern Territory I really wanted to continue with the string making, as it’s such a fantastic material to work with, and I found ‘Agave’ around Brisbane so I was able to continue harvesting it. I started to make simple neckpieces by hanging found objects from the hand-spun string. In the early 1990’s I was running an art market at a café in West End Brisbane. One of the stallholders, a fashion designer gave me a tube of vintage buttons which begun my vintage button and buckle journey. I couldn’t stop making jewellery, and people were attracted to it so I started giving it away to friends and then started to sell it. Another friend encouraged me to have an exhibition at Ric’s Café in the Valley Brisbane (for anyone who knows the infamous Ric’s, it and the Valley for that matter was a very different place in the early 1990’s), which her partner was running at the time. The show was a sell out…….

Since then I have never not made jewellery, I sell it nationally through gallery stores and high-end boutiques, and have participated in many group exhibitions. I continue to teach myself techniques, make things up, pick other jewellers brains and have attended a wee short course. I still have so much to learn and love the exploratory nature of my practice.



Is the increase in using recycling materials making it harder to source vintage buttons and buckles or do you find that there are now more avenues for you to source materials.

Sourcing quality vintage buttons and buckles is getting a little harder and more expensive as they have certainly become more popular since I started using them, and of course supply will diminish. Sourcing is a large part of my practice, and I source a variety of vintage, recycled and new objects to use in my work. I have a keen eye for a good vintage or quirky object that I can transform, which is the foundation to my practice as the objects I find often direct my designs. As my practice develops I have been experimenting with new materials and techniques and a larger array of found objects so I have not experienced any problem with finding new materials to work with.

I source constantly from a range of places including opp shops, markets, antique shops through to online, and my studio is full of many objects that I have incorporated into my work or have yet to use including old zippers, braid, ribbon, silk velvet off cuts, satin ribbon rose buds, bags of bags of vintage glass beads, draws of coloured coded buttons and buckles, 1950’s magazines and more………

My work has also inspired people to give me buttons and buckles that they have hung onto but have never know what to do with. Some people have ordered commissions incorporating buttons/buckles which hold special significance (often inherited from their Mother’s or Grandmother’s button box) I have also received buttons/buckles anonymously and found bags of them hanging on my front door and in my letterbox.

I’m a strong advocate of re-use and am thrilled to see the growing use of recycled materials in a range of art forms.

Your work is underpinned by an interest in nostalgia, passion and stories, is it difficult to let go of a piece once you have added to its life story?

When I first started making jewellery it was for myself, and my friends so I would see it regularly. As my practice grew of course the pieces would journey further a field. I don’t recall finding it difficult to let go of a piece, however when I do happen to see a piece again they are like an old friend as I put a lot of time into each piece and always remember where I sourced the materials from.

I love to see my pieces come to life on the body, so I’m very happy to farewell my pieces as they start a new journey as an adornment for others. People who buy work usually have a great appreciation for the components used so I feel confident that the stories will be cared for and provoke new ones.

Recently you started experimenting with melted plastic, how did your exposure to this material and its experimentation come about?

In my previous studio building there was a lamp maker - http://electricfirefly.com.au/ who uses sheets of polypropylene (original sheets are made from 30-40% recycled materials) as the base material for his lamps. He had all these fantastic brightly coloured opaque and translucent off cuts that I kept spying and thinking I’m sure I could use, he kindly gave me some to play with.

I started by cutting shapes and applying heat, as I wanted smooth edges. The plastic responded well to heat, curling and shaping to create unique shapes. One of the first shapes I cut was a flower. My early work with these plastic flowers was exhibited in a group show at Pablo Fanque in late 2008. I have continued to work with floral shapes which has culminated in my solo show ‘pollinate’ currently showing at Metalab .

Where is your studio, what is it like?

I have a fabulous studio on the top floor of a heritage listed building on Broadway, not far from the main UTS tower. I have my own space at one end of the building and another jeweller, George Plionis http://georgeplionis.com.au/ and a shoe-maker Chrissy Hammond http://www.marsuhomme.com/about.html share the other end of the building. There is a young fashion designer downstairs. I’m very lucky as my space is about 30sqm. Although it’s a pretty large space for a jeweller I manage to use every last bit of it as I usually have at least 5-10 pieces (and ideas!) on the go at once. The way I work also requires the space to layout the objects, which I usually revisit a few times before constructing. At the moment my floor is covered in work, as all other surfaces are full.





It a great community that provides the opportunity for sharing ideas, skills, techniques, and of the course the occasional Friday night drink. The studio is open my appointment. www.janepollard.com




What kind of jewellery do you wear, is it different from what you make? I have a favourite sterling silver ring made by Jane Bowring that I have not taken off since receiving it. Jane and I both had a market stall at Young Blood at the Powerhouse a few years ago and at the end of the weekend we did a jewellery swap. I was drawn to the ring, as it features a cast vintage button. I’m also a big fan of the brooch and at the moment depending on what I’m wearing I’ll usually go for my own white plastic flower or my Betty Jo lino bird. If I’m up dressing up I’ll wear one of my extra long wrap neckpieces as they do such a good job of dressing up any outfit.

Sabine Pagan

Sabine Pagan's architecturally inspired work shows alongside Cesar Cueva's in Siting the Circle showing at metalab, closing tomorrow.


How would you describe your work?
Mmmmhh…essentially my work revolves around the idea of designing pieces that evoke a machine look but are partially or entirely handmade. At first glance the work always appears simple; as you look closer at the object, it reveals details that prompt you to consider how the different elements hold together. The manner in which objects are made- where the boundaries between craft and engineering become blurred- has always fascinated me, particularly in larger works such as buildings and bridges.

On one hand I have an admiration for skeletal structures that reveal the engineering behind the functional object (I could blame my exposure to the Swiss watch industry for this or perhaps my father who was a mechanical engineer?!); on the other hand, I am also interested in minimal aesthetic that often conceals the object’s structural aspects.
In this body of work, I have deliberately fulfilled both aspects of my interest by creating minimal forms using a combination of materials that reveals the making process.

Another important element of the pieces showcased in Siting the Circle is that they were designed with a focus on wearability. The hand became an integral part of the study, where I set myself the brief of designing rings that consider the space around the finger to which the shank is anchored. By doing so, I consider the hand as a landscape in which to ground the object, drawing parallels to the role of site in architecture.

Site #3, Sabine Pagan, 2008

How do you think your training at the renowned Ecole d’Arts Appliqués de la Chaux-de-Fonds has shaped your practice?
In Switzerland- where I trained, you have two common pathways to become a jeweller: one is to enrol in a 4-year jewellery program at an Haute Ecole – the equivalent of a School of Art within University. The alternative option- the one I opted for- is to undertake a 4-year apprenticeship while attending the Haute Ecole on a regular basis.

The Ecole d’Arts Appliqués in La Chaux-de-Fonds has undoubtedly contributed positively to my practice; basically this is where I learnt about design, art history, watch making etc…at the same time my experience as an apprentice has been formative in terms of technical and business skills.

It is worth noting that the apprenticeship training system in Switzerland is much more integrated with the industry than in Australia. This is evident from the selective process where apprentices undertake exams before successful applicants are chosen by employers. Once employed, apprentices attend Art School on a weekly basis for their design training and again every three months for a period of 4-6 weeks. This is to ensure that the training they get at their workplace is fair and suitable for an award as a Jewellery maker, a benchmark assessed by the institution. In this way firms, industry bodies and educational institutions cooperatively develop the profession.

Haute Ecole d’Arts Appliqués ARC, La Chaux-de-Fonds, Switzerland

In Siting the Circle, currently showing at metalab, you explore your love of architecture, what are the main aspects of architecture that have inspired this body of work?
Most of the pieces are made around the cube form; in my initial investigation, the cube was used as the key reference to make the link between architecture and jewellery. For me the cube is a shorthand identifier for the built environment, ie: cityscape. In Siting the Circle, the cube became a point for reflection that I kept revisiting to make it an integral part of each work.

At this stage reference to architecture lies in the exploration of space. Visual interest between inner and outer is created by connecting the outside of the piece and the cavities and gaps that are revealed within it.

This relationship between inside and outside is apparent in many architectural works. Works by Max Bill and Mario Botta featured below are good examples of this.
I have always admired Max Bill as a multidisciplinary artist; I have drawn on his abilities to switch from one medium to another, adapting scale to the function of the object.

For me Botta’s two-tone buildings also triggered a wish to explore the combination of materials.

Another aspect of architecture that interests me is the unexpected way buildings portray visual weight. I saw the building below whilst visiting the Milan Design Fair in 2007; it really astonished me; it was like being confronted by a giant cockroach! The body is much more substantial than the feet that support it. It gives the building a unique presence.

Entrance of the 2007 Milan Design Fair

Annexe Series explore a similar concept of ‘balance’ between elements.

Annexe Series; Sabine Pagan, 2008

You’ve collaborated with maker Cesar Cueva in Siting the Circle, take us through the process of collaborating with a maker in another city.
Well… this was definitely an interesting process but I feel that we have yet a long way to go to fully explore the idea of collaboration. The hurdle that we had to overcome was to work around our already busy working lives, Cesar as the creative director at Metalab and I as a full-time Lecturer. This has definitely impacted on pursuing our initial concept of collaboration.

What was interesting though is that we kept experimenting on our own, not really knowing what the other person would come up with and then discovering that the outcomes are in fact very close to each other.

Cesar and I apply quite different methodologies to achieve what we do. I tend to become absorbed by 1-3 work(s) at the time whereas Cesar starts by making dozens of components and then sorting out compositions adequate for rings or bangles.

The distance was not such an issue; we met on a few occasions in Canberra and Sydney; e-mails quickly became the essential tool for communicating.

The highlight for me in terms the collaboration was to design and make a new piece incorporating one of Cesar’s components. I think that the outcome clearly underlines the collaborative process; the work is quite remote from what we do individually. I would never have come up with such a design without Cesar’s input.

Where is your studio, what is it like?
I am lucky enough to have two at the moment! I have set up my own studio at home; my partner and I were discussing the use of the spare room as a bedroom or dining room….it ended up being my studio; we eat in the kitchen and guests sleep on a mattress in the lounge room; it’s all about priorities isn’t it?!

I am very fond of that space. What makes it comfortable for me is my hand-made wooden bench (a present from my parents when I graduated), the proximity of my bookshelf filled with design, jewellery and architecture books and a pin board full of inspirational photographs. It is a very nice space to be in, except when deadlines are approaching and it becomes an absolute chaos! It is small but that’s fine for what I do. If I need to use bigger equipment, then I have the luxury of being able to access the Jewellery studios at Charles Sturt University where I work.



What kind of jewellery do you wear, is it different from what you make?
This is a really interesting question, something that I am actually looking at as part of my current research. Overall it is actually quite different from my own work; the jewellery I wear is often colourful, organic and quirky at times. Saying that, I am particularly fond of Beresford White’s jewellery; he uses steel (my favourite material), his designs are simple but very beautiful; it is the sort of jewellery that I find myself wearing the most; it is part of my daily life and I am a little lost without it… whereas I tend to wear the other pieces on special occasions or not at all, giving them a special place in my collection.

Peta Kruger Q+A

Peta Kruger's exhibition Lost and Found runs from August 7-29 at metalab as part of the Sydney Design 09 Festival.

Here she gives us a sneak peak into her studio in Adelaide, as well as her previous studio in London and shares her approach to jewellery and illustration.

How would you describe your work?
Futurist-inspired, patterned, fictive, handcrafted. Imperfect.

Brooch, oxidised silver
(Click on images for larger view)

What are your main sources of inspiration?
I am interested in jewellery and other types of body adornment that alludes to a previous wearer - pieces that can be found in museums or antique stores, for example. Knowing a fragment of its history, or envisaging what might have been, is very appealing to me. Working between illustration and jewellery sparks in me new ideas - drawing and creating imagery seems to be a constructive intermediary stage for making jewellery. When designing the most recent collection, I found inspiration from moth-wing patterns, early plastic jewellery and kitchenware, Futurist graphics, and holographic papers.

Illustrations from 2008

Before jewellery you obtained a Graphic Design degree, how did the move into jewellery take place?
It was mostly a desire to work with my hands. I have always found enjoyment in craft and making, and in graphic design I tend to distance myself from a computer, to hand draw nearly every project I work on. Jewellery seems to sit somewhere amongst fashion, art, craft and industry, and I enjoy having that range of possibilities available. I continue to work as an illustrator. I really appreciate being able to work in both fields, it keeps things engaging for me and the skills and influences cross over a lot of the time.


In 2007 you worked in London, tell us about the studio you worked for and the pieces you made.
I worked primarily with Scott Wilson, and also with Jane Adam and Ana Verdun. I had made contact with Scott before I left Adelaide as I had admired images of his work that I had seen published in fashion magazines. When I arrived he was very busy with a commission for New York fashion week, so I started working pretty much straight away full-time. My first job was to make several sequinned bangles for Matthew Williamson. Later in the year they were photographed for Elle and Harpers Bazaar, and in early 2008 were on display in the London Design Museum for Williamson's retrospective. I found that the international audiences and the fast turn-arounds made the London fashion industry an exciting place to be.

In the studio

Matthew Williamson - NY Fashion Week 07, Elle UK

Predominately I worked on Scott’s collections stocked at Liberty, Harvey Nichols, Colette and various other boutiques. It provided me with an experience of how products can be made locally, for an international audience, which I admire greatly. By the end of the year I felt I had a familiarity with Cockpit Arts Studios, the Hatton Garden jewellery district, and had made friends with a number of other emerging jewellers associated with Scott Wilson's studio. With Jane Adam I assisted with her collections of anodised aluminium and silver and gold for stock in shops and for the Origin, Dazzle and IJL Fairs.

Scott Wilson collections, SS 08 in the Sunday Times UK, Vogue Italia.

Jane Adam, anodised aluminium neckpieces

You are now a Metal Design Associate at the JamFactory in Adelaide, what kind of projects are you working on in the studio?
At the moment I'm playing around with gold plating, scratching into it and oxidising the metal. I like the ancient feeling of working with gold, and the very modern designs I am inscribing into them look quite sci-fi. I am also currently working with a metal spinner to create a set of aluminium and acrylic bowls as kitchenware for an exhibition in Adelaide.

As part of the Metal Design Studio team I am assisting with production of several trophies, as well as a stainless steel alter piece for a recently built church.

Metal Design Studio team

What kind of jewellery do you wear, is it different from what you make?
My jewellery collection is largely made up of my own and friends' work, and also vintage finds. I enjoy finding costume jewellery that has been cleverly and effectively assembled, especially materials that can shimmer or catch the light, like marcasite and aluminium. I acquire pieces to take inspiration for my own work, so I guess the aesthetics between what I wear and make are very similar.

My most prized jewellery possession is a magnificent necklace from Papua New Guinea. It has 20 or so hand cut pieces of rock crystal, set in tree resin on a chain that is made from woven orchid hemp. It has a wonderful presence, when looking at it you can imagine the hands that crafted it. I can also smell the jungle when I wear it - it's fantastic!

Lan Nguyen - Hoan Q+A

Currently showing at metalab , emerging jeweller, filmaker, interactive artist Lan Nguyen -Hoan gives us a peak into her studio...


In 2008 you engaged in a residency at the University of Applied Sciences at Dusseldorf, tell us a about the cultural experience and how it has informed your work.
The residency in Germany informed my work in ways that I would never have expected. The premise of the residency was to work on a project that was interdisciplinary – my work sought to fuse contemporary jewellery with animation. Prior to my time in Germany my process involved making kinetic/articulated jewellery, which I would then stop-motion animate. At the University of Applied Sciences Duesseldorf, I worked with professors and lecturers who encouraged me to consider alternative processes, whereby I ended up making an animation on which the jewellery was then based upon.

Your work has an air of performance, what makers/designers/artists are you inspired by?
I guess the performance part of my work is more of a bi-product of the animation aspect. I’m really inspired by things like Japanese anime as well as other cartoons, comics and street art. Actually while I was working on the project in Duesseldorf I looked at the work of fashion designer Hussein Chalayan and design collaborative LucyandBart, both of which do some really interesting work.

http://www.husseinchalayan.com/
http://www.lucyandbart.blogspot.com/

Where is your studio, what’s it like?
My studio is in Queanbeyan, NSW just outside the ACT. I started it up with my friend Alison Jackson who I met at uni, we named it ‘Pocket Studio’ although we have yet to put up any signs. I love it, I think its cosy and a great place to work which is really important considering I’m a bit of a night owl and tend to work in the wee hours of the morning. Check out the bottles of V on my bench!


What project are you working towards at the moment? (aside from the metalab show?)
At the moment I’m art directing a short film called ‘The Occupants’, which has been awarded funding from Arts ACT. It’s quite an exciting project (although stressful), and it’s been interesting to work on a collaborative project, especially when jewellery/object making can be quite an individual process. Once we finish shooting the film, I’d like to start working on my own website – Lanimation.com.au.

Installation of Inhale/Exhale at metalab, prints, jewellery and Interactive Breathing Contraption to the left, animation projection and headphones, centre.

What is your aesthetic for the jewellery you wear, is it different from what you make?
It’s funny, I used to wear jewellery a lot more when I wasn’t making it, now I hardly wear it at all. In fact my favourite/most worn pieces are thin black hair ties and red rubber bands worn around my wrist. I occasionally wear some of my own jewellery and I own a couple of Cinnamon Lee pieces. So I guess you could say the jewellery that I wear has a fairly simple and clean aesthetic.

Inhale/Exhale print

Tell us about your Inhale/Exhale exhibition.
In 2008 I was awarded a grant through the Inter-Arts Office of the Australia Council for the Arts to undertake a self-initiated Artist’s Residency at the Design Department of the University of Applied Sciences Duesseldorf, Germany. Inhale/Exhale was initially an exhibition of the body of work that I developed over the four-month period of the residency.

The project was an investigation into the possibilities of fusing animation with jewellery. In looking at the meaning of the word ‘animation’ and its variations, one can interpret the term ‘to animate’ as ‘to give life’. And with life comes breath. The project was an exploration into the concept of ‘breathing jewellery’. I began my work by looking at ways in which breathing could be mapped or contained. My investigations led me to make an animation that was based on breathing in and out of paper bags. The processes that I used allowed me to experiment with sound as an art form within the animation. In the end, the final animation was cut and composed based on both sound and image.

The jewellery side of the project carried on the idea of the containment of breath. I made ‘breathing bags’ from a material called Tyvek, a plastic membrane that perhaps can be loosely described as a cross between paper and fabric. I combined the Tyvek bags with silver components in order to allow them to become wearable objects. The concept behind the jewellery is that each piece can become animated by/with the wearer as they hold the piece up to their mouth and inhale and exhale causing the breathing bag to inflate and deflate perhaps like an external lung.

Having returned to Australia, I have continued to develop my concepts behind the first Inhale/Exhale. Building upon the series created in Germany through further exploration, the new work is an installation. The Tyvek form represents the internal structure of a lung, and is interactive. The piece allows the audience to dictate the breathing pattern of the Tyvek lung by pulling on two separate cords – one cord will cause the lung to inflate while the other will cause it to deflate. Like the jewellery, the installation becomes animated with the audience but without the involvement of one’s mouth.

Lan, right with Interactive Breathing Contraption in the background.