British Contemporary Jewellery Artists in Jewellery Unlimited
The group exhibition of contemporary jewellery entitled, 'Jewellery Unlimited' opened on the 16th April 2004 at
The ACJ is a British association that was founded in May 1997 in response to a forum at the 1996 international conference, 'Jewellers' Exchange' held in
'Jewellery Unlimited' is the first exhibition resulting from an open submission of current ACJ members. The jury, composed by experts such as Cynthia Cousens, Sarah James, Elisabeth Turrel, and Karin Walton selected work using the following criteria: boldness of design, concept, materials and techniques. Finally, a heterogeneous group of 97 participants were selected, ranging from internationally renowned jewellery artists such as Jane Adam, Dorothy Hogg, and Jacqueline Mina to early career jewellery artists, artisans, and young designers. Each participant showed three to five pieces. Overall, a wide range of styles could be observed incorporating various materials such as, precious metals, resins, silicone, and unusual objects as in Astfalck's chicken bone necklace, "On Memory and Loss" (photo 1). Her field of research concerns memories and devotional objects. Through the latter, Astfalck tells stories using autobiographical and historical material (photo 2). She states that, 'In all our experience in the world of action there is a general need for personalising what is alien to us in order to understand it, even if it this understanding is ultimately recognised as an illusion'.
Another jewellery artist interested in the ambiguity of expressions is Yoko Izawa. She has attempted to transmit this ambiguity through her beautiful rings (photos 3,4, 5) and mysterious necklace (picture 6). Izawa states, 'that although certainty is often required in modern society, ambiguous expression has been the most distinctive characteristic found in Japanese values and religious beliefs.
'Veiled Jewellery 2' is the emblematic title of Izawa's necklace; its body is composed by a sequence of 39 silver ellipses of differing dimensions bound end to end. The necklace is covered with an olive green elasticated fabric tube that clings perfectly to the contours of the internal silver ellipses. The shrinking and expanding Lycra fabric defines sinuous rhythms, which are intensified by the combination of differing colour saturations and transparencies of netting. The resulting effect is reminiscent of the famous lampshade, 'Lampada Falkland' (1964) by Bruno Munari, in which he exploited a similar technique as a result of research into Japanese lanterns made from paper and bamboo.
Overall, the installation of the exhibition is restrained. The specially selected display cases were constructed from steel and glass; and each contained three shelves with up to six pieces of jewellery that were discretely illuminated. The Minimalist metal structures enable the viewer to observe each work without any distractions. However, considering the precious variety in the works on display one could argue that the absence of dates for each work restricts a precise contextual and historical understanding of the exhibition.
Two further aspects complement the contemporary jewellery and conclude the exhibition; displays on jewellery making techniques and historical jewellery. Both presentations encourage a deeper understanding of jewellery, especially in the novice audience. The techniques of jewellery making are expounded in twenty phases, enabling a sequential explanation of how to make a simple ring. Also on display is a cross section of objects from the historical and ethnographic collection of
In its totality the exhibition stakes a claim to shape the history of British contemporary jewellery. An ambition that will be sustained in the long term by the accompanying fully illustrated 112-page catalogue, with 3-4 pictures of each artist's work and a personal statement. Of course its title is, 'Jewellery Unlimited'.
Roberta Bernabei, June 2004.
Originaly published on Alternatives