31 December 2010
Shell from Waychinnicup Bay.
I dived down as deep as I could on one gulp of air, the pressure of the water about as much as I could take. I grabbed this pretty shell.
I wont be able to do that anymore- no sea diving or sky diving. Here's why...
A couple of years ago, I think Esmé was about 1, I punctured my right lung. Nasty business; air leaks out into your chest cavity and gets trapped there, and starts to collapse the lung. At the hospital, an intern pierced my side with a 10mm ø lance to let out the air ( think fat knitting needle). This was done without anaesthetic. Ow.
Later on they stitched me up, I said "do a good job- I'm a chest-and-abs model" They laughed. (A child could have done better stitching- there goes that career.)
I suspect that this injury was caused by work hazards; maybe an inhaled steel particle? Or some acid fumes?
There is no way to find out for sure. In any case, the experience made me really think hard about looking after my body. I was holding little Esmé whilst on the hospital bed with a 10mm tube hanging out of my side. I am not invincible. I once thought of myself as a solid object- but now understand that we are more like a sponge or a cloud- permeable; vulnerable. Everything passes through us. Take care. We need you.
15 December 2010
Seguy insect illustrations; yes they've done the rounds on tumblr, but worth looking at some more- love the way the oblong page becomes a receptacle, and Seguy just piles the bugs in.
And another pile of bugs; wonderful Jizai Okimono from Haruo Mitsuta, - all handwrought in metal, to scale.
The Summer is abuzz with its myriad insects...
3 December 2010
2 December 2010
I admire her necklaces very much. A significant oeuvre.
So simple and straight up, yet rich with nuances and ideas.
Jewellery is not always worn.
It changes when it is worn.
So, what is it when it is not on a body?
One of the unspoken tenants of contemporary jewellery is that the object should stand on its own as a discreet object, equally meritorious when worn, or on the shelf.
This is challenging for the maker, because the forms used in jewellery are very specialised; a brooch for example has some sort of pin. Do you hide that or make it prominent?
I have been critical/bored of contemporary jewellery, in that it tends to shy away from the body- it is 'worn' only by the whitespace of either the gallery or the photograph. (I have been as guilty of this as anyone- so I feel qualified to make this evaluation). Like we are bathing it in milk, or putting it in a snowstorm.
This tends to result in dream-like objects that are probably more like sculptures about jewellery, more than they are actual jewellery, and lets face it, this is a bit weird, especially after we've seen about a million examples of it.
Before you c.j. kids start calling me a spoil-sport... I think Planteijdt negotiates this problem with extraordinary grace and clarity.
The 'on-shelf' arrangement of these necklaces is somehow monolithic, glyphic. Disarmingly simple, like an Agnes Martin painting.
Rather than being duped by an unwearble jewell, we get two-for-one; the shape of the piece becomes something else when suspended from the neck as it is rearranged by gravity.
They are immanently wearable.
Annelies Planteijdt exhibition now showing at Gallery Viceversa.