How Simon Gallup’s Brazen Crazy Bass Sound Gave Me The Reason I Need To Start Using Bronze and Copper: The Cure Play Wembley Arena 1/12/16

I was a huge Cure fan back in the late ’80s, big black and white poster of Robert Smith on my bedroom wall, had all their albums but never went to see them live. The closest I got was going round a friends house to watch “The Cure in Orange” on video. Then 1992 and the Manic Street Preachers happened and stole me away from The Cure. Not much other than occasional listening until my live art collaborator and friend Steve Lawson messaged me on the Monday and asked if I wanted his spare ticket to see The Cure that Thursday. The instant answer was yes and once the usual child related logistics had been sorted out we were on!

Wembley is an arse to get to whether you go by train or car, a stadium and an arena plonked in the middle of an industrial estate with a maze of tiny roads with names like Engineers Way and Fifth Way or even more imaginatively Fourth Way. I managed to meet up with Steve and after some faffing about finding where the tickets actually were (it turned out we were there courtesy of Reeves Gabrels the guitarist, thank you indeed Mr Lawson!) it was straight to our seats and The Cure were on. They played for three hours of fantastic music, loads of hits, pop mixed with the darkness and they rocked way more than I remember from their studio recordings. “Friday I’m in Love” is up there with “Knights of Cydonia” for songs that instantly make me smile but for very different reasons. The Cure really are such a happy band, both defining “Goth” and not being it at all, transcending the genre you helped to carve out has to be the mark of creativity in its purest form.

Having survived Matt Bellamy’s guitar at the Hydro in Glasgow I was getting brave. The mix was towards the bass, drums and keyboards as we were sat next to the stage on the opposite side to the guitars of Robert Smith and Reeves Gabrels. What a sound Simon Gallup makes with that bass of his, truly astounding and gorgeous! When I say brazen crazy I mean in both senses of the word, bronze coloured and bold. It was prominent and folding and bronze/coppery with dark blacks and greys swirling amongst the leaves. Very different to the dark purples, reds and white distortion auras of Chris Wolstenholme of Muse’s playing that appears in my Heavy Bassine series. How an instrument is played has a huge effect on what I see and none more clearly than with bass, the low end usually being dark and liquid. With The Cure not so, extraordinary and cutting bronze like structures.

The live experience of Simon Gallup’s bass playing has given me some interesting food for thought, the drawings I’ve made since have not yet blossomed into the obsessive days of trying to work out shapes and colours that happened after Muse live, not yet. I’m still ruminating and digesting what I’ve heard. I have done some initial sketches which will give a flavour of where I’m heading with this. My Guitar Distortion series which explores the distorted and chaotic sound of Matt Bellamy’s guitar playing is in sterling silver, it is the right material for the colour of his playing, white hot, silver, cracked and twisting. Silver would not work for Reeves Gabrel’s guitar playing which is steely greys, dove greys, with shimmering hints of blues, turquoise and purples and is much more centered in the vanishing point of my synaesthesia. Similarly bronze, brass and copper or mixtures of these materials will be perfect for representing Simon Gallup’s playing in three dimensional form. I will be exploring how I will do this over the coming months. Exciting times…

 

United in Variety: Sieraad International Jewellery Art Fair at the Westergasfabreik, Amsterdam 2016 November 10-13

Fitting my entire display into twenty three kilos of checked baggage to fly to Amsterdam was more liberating than frustrating as I shed unnecessary items and went with the bare essentials to run my stand. On the other hand the choice of bag I packed it all in will require revisiting next time. “The Elephant Bag” (as it is known) saw me through two, year long stays in the USA. Now I remember why I don’t use it very often. While it is capacious it is also unwieldy especially at rush hour on the Tube and especially when they close the doors on the Jubilee line due to overcrowding. Never mind, my flight was delayed anyway not that I knew this as I sweated and cursed my load via Kennington to London City Airport.

There were twenty other jewellers coming from the UK and I met up with seven of them when I arrived for a cab ride to the Westergasfabreik, we needed the largest cab they could find at Schiphol Airport. We spent the rest of the day setting up in the industrial setting of the old gas holder.

SIERAAD 2016 was opened by the Dutch “Princess of Craft” Margarita de Bourbon de Parme who is herself a jeweller, furniture maker and textile artist which set the tone for an incredibly smart and well educated audience. It was a real pleasure to talk to so many knowledgeable buyers, whose excellent English was appreciated by me and the other non-Dutch artists there. It really was a truly international art fair, many nations were well represented from all over Europe with exhibitors coming from as far afield as Australia, USA, Russia, Japan, Brazil, Columbia, Uruguay and South Korea. The fair was by no means dominated by Dutch artists. The variety and standard of work being shown was astounding, the show was entirely dedicated to art jewellery from the precious to the deliberately non-precious with over eighty exhibitors using materials from platinum, gold and gemstones to plastic broom bristles, leather and paint.

I was so busy it was tricky to get a moment to look round the show, as a jewellery lover myself I really did not want to miss the opportunity to see so much incredible work in one place. Gallery Ra, one of the original Amsterdam galleries to dedicate its space to art jewellery was celebrating forty years of success, owner Paul Derrez had a selection of works on display from his personal collection that included some classics that I had only seen in books before now.

Of all the fantastical work there two artists stood out for me. Christoph Ziegler a German jewellery and performance artist whose inspiration comes from the humble domestic sphere and uses found objects and shining plastic broom bristles to great effect in his brooches which encapsulate grandeur and humour. He calls his performances “Möbeling” which roughly translates as “Furnituring” but it sounds way better in German!

The second artist was Russian Ksenia Vokhmentseva whose crocheted forms where a pure abstract interpretation of her emotions. She has explored her depth of feeling through shape after her mother was diagnosed with cancer. “Sometimes It Doesn’t Hurt” is a compelling body of work both dark and poignant. Unsettling but fascinating her work reminded me of how Alexander McQueen approached his self expression.

In amongst the contemporary jewellers was an exhibition of ethnic jewellery from around the world by a collaboration of Dutch Museums. Stunning antique pieces, that the work of all exhibitors had to hold their own against. They reminded us where we came from and that some functions of jewellery have never changed. SIERAAD Art Fair was a very positive experience for me, my work was well received and it enabled me to see it in an international context in amongst the work of artists from all over the world. Whether you go as a visitor or exhibitor to SIERAAD it is worth taking the time to appreciate it as a rare gathering of jewellery art.

Down to the Waterline – “Stain-Less” in Sheffield

They like their fountains in Sheffield.  The first thing that greets you on leaving the railway station is a wonderful cascade of water.  I walked across the city centre to my hotel and the peace gardens had fabulous fountains and children leaping around them, it seemed every courtyard was running water for the newly warming Springtime.

Fountains outside Sheffield Station

Fountains outside Sheffield Station

This watery theme was appropriate as the reason I was in Sheffield was to attend the opening of The Association for Contemporary Jewellery’s 2013 members exhibition “Stain-Less” at the Sheffield Institute for Arts Gallery as part of Sheffield’s annual Galvanise Festival of Contemporary Metalwork.  2013 is the centenary of the invention of stainless steel and you will have read about my designs for the show in my previous post.  My two pieces were now complete and installed in the gallery, and I was excited to see the company my work was in.

The other exhibiting members of the ACJ had produced some fabulous work using just about every interpretation of “Stain-Less” from the deadly serious work of Maria Hanson “How Many Years Without Bloodstain?” reflecting on the few years between 1913 and 2013 that the UK has not had armed forces engaged in conflict to the light hearted “Ultimate Stainless Tie” by Jodie Hook.    There was work by Dauvit Alexander “Empire State Human” highlighting the moment when Sheffield lost it’s steel industry, pieces by Chris Boland, Gill Forsbrook, Nicola Turnbull and Zoe Robertson focusing on the internal chemical make up of stainless steel or its production and work by Rachel Colley and Grace Page extolling the stain removal properties of soap.

My two pieces were based on the Songs of Innocence and Experience by William Blake.  Experience – The Lily is the sharper looking of the two and incorporates some stainless steel dinner knives, a familiar domestic form of the metal.  Innocence – Bubbling Brook mimics the innocent action of swishing your hand in a stream.  The ink inlays refer to Blake’s pen dipped in the water staining it to write “…songs that every child may joy to hear.”

Song of Experience - The Lily

Song of Experience – The Lily

Song of Experience - The Lily

Song of Experience – The Lily

Song Of Innocence - Bubbling Brook

Song Of Innocence – Bubbling Brook

Song Of Innocence - Bubbling Brook

Song Of Innocence – Bubbling Brook

Of course half the fun of going to an event like this is not just the pieces on display but the people you meet and the jewellery they wear.  There were several ACJ members there; our chairman Terry Hunt who was wearing an interesting brooch depicting an x-ray of the stainless steel pins and plates mending the show photographer’s broken ankle, Annette Petch, Tam Saville, Chris Boland (whose “Flux Rings” were amongst my favourites at the show), new board member Jo Garner and outgoing editior of Findings Muriel Wilson who was wearing Maria Hanson’s “Order and Chaos” 1997 armpiece and a lovely little Ute Decker Brooch.  The Lord Mayor of Sheffield and the Master Cutler where also resplendent in their gold chains of office.

Visitors enjoying the exhibition

Visitors enjoying the exhibition

The exhibition runs until 31st May, details here but if you can’t make it the catalogue is available from the ACJ by contacting enquiries@acj.org.uk

Selected for the Association for Contemporary Jewellery’s 2013 Stain-less exhibition

The Association for Contemporary Jewellery’s 2013 exhibition will be on the theme of Stain-less.  It will be held in Sheffield later in the year as part of the City’s Galvanize festival and  part of the centenary of the invention of stainless steel.   The email came through this week that I’ve made it through the rigorous selection panel and have been selected as an exhibitor.

I submitted two proposals interpreting the theme of Stain-less, sister pieces based on two passages from William Blake’s “Songs of Innocence and Experience”.  I’m hoping this is not foolhardy given the time I now have to make them before the deadline!  The two passages I have chosen both refer to staining, I am intending the pieces to be somewhat ambiguous and explore questions as to what should be considered “a stain”.

From “Songs of Innocence”

“And I made a rural pen, And I stain’d the water clear, And I wrote my happy songs, Every child may joy to hear.”

From “Songs of Experience”

While the Lilly white shall in Love delight, nor a thorn nor a threat stain her beauty bright.”

Stain-less Proposal 1

Stain-less Proposal 1 – “Songs of Innocence – The Water Clear”

Stainless Proposal 2

Stainless Proposal 2 -”Songs of Experience – The Lilly”

Unexpected Pleasures – The Design Museum 05 December 2012– 03 March 2013

Is this the right room? Oh yes, I think so – a bit hard to tell.  On entering Unexpected Pleasures the visitor is confronted with an array of beautifully designed and clearly very expensive but otherwise blank table cabinets.  They are black and round with three massive domed bolts holding the glass down (they are real I couldn’t resist a tiny unscrew of one!).  Inside sorted into collections of about six pieces per cabinet is the jewellery displayed on black foam.  I found myself peering down these wells trying to decipher what I was looking at and when looking at any piece that was also coloured black (there are several) I was reminded of Douglas Adam’s spaceship with “weird black controls, which are labeled in black on a black background, a small black light lights up in black to let you know you’ve done it…”.  The lighting was not helping matters either.  I felt the display did not show the jewellery off to is best which is a shame. For example Steinhaufen by Karl Fritsch, 2004 so prominently displayed in a glorious colour image on the Design Museum website was tucked away in a cabinet so it was hard to tell what colour it was or even that it was a ring.   I suspect the design of the cabinets was intended to make the visitor feel as if they were discovering those promised “Unexpected Pleasures”.

The exhibition was in four sections, smaller works in table cabinets at the front, a room-like historical section in the middle, behind that large neckpieces, then the “Worn Out” photography section at the back, a slide show of images people wearing jewellery and a video wall which seemed to be people wearing contemporary jewellery at a party (the wine was flowing at least!) which attempted to address the conundrum of displaying jewellery without being worn.

The range of contemporary jewellery was excellent in an important exhibition that is the first of its kind at the Design Museum.  As an introduction to artist made jewellery it really tried hard. The pieces were collected together in loose themes and came from artists all over the world, were there enough from the UK? Does that matter in an international art form?  There was also a section on the earliest emergence of contemporary art jewellery in the 1940s – 1960s.

The lack of human context so apparent in the front of the gallery suddenly changed once you had circumnavigated the “historical room”.  Here at eye level was an array of big necklaces from famous names such as Marjorie Schick, David Watkins, Caroline Broadhead and Lucy Sarneel.  Behind them was a wall of images showing pieces being worn or photography by jewellery artists that were purely two-dimensional works.  Maisie Broadhead’s “Keep Them Sweet” is a gorgeous image but a problematic one in the context of this exhibition, its claim on being jewellery was a sweetie necklace used as a prop.

A personal tradition before leaving an exhibition I like to select the piece I would most like to take home with me.  This time it is Sari Liimatta’s “Phoenix” 2010.  A piece that, for me, embodies what artist made jewellery should; interesting technique, arresting beauty, expressing an intense emotion, with an undeniable ambiguity, exquisite craftsmanship and most importantly wearable.

I bought the exhibition catalogue which you can buy online here it is a little pricey at £35  but is a lovely hardback book with essays and lush images.  As usual I found some other great books in the shop On Jewellery – a compendium of international art jewellery by Liesbth den Besten and Collect Contemporary Jewellery by Joanna Hardy a guide intended for the novice collector but useful for a maker from the other side of the fence too.

“Unexpected Pleasures” was an excellent start if somewhat disappointing in its display, I hope the Design Museum will continue to champion contemporary jewellery and help raise its profile with the general public.

I took a few shots at the exhibition as visual notes for writing this review included below to give a flavour of the display, however, if you want fabulous images of what was at the exhibition I’d get the catalogue if I were you these were just shot on my iPhone!

The full review will appear in ACJ Findings Magazine spring 2013 edition.

 

Camilla Prasch Mega 1/7 2009

Camilla Prasch Mega 1/7 2009

Cabinet at Unexpected Pleasures 2013

Cabinet at Unexpected Pleasures 2013

Peter Chang Bracelet 2007/08

Peter Chang Bracelet 2007/08