05 November 2011 - 24 January 2012
Sherril Jennings' "Ladies a Plate" installation combines seemingly incongruent fragments from the past and integrates them into the present. Through the repurposing of remnants which provide the primary material for "Ladies a Plate", disparate parts have been unified, creating an assemblage of women reflecting past generations.
04 November 2011 - 23 November 2011
"There is always a reason to make a ring.
But I can also make a ring without a reason."
Karl Fritsch has been primarily making rings since 1992, apart from an occasional other piece of jewellery in between. He works on dozens of rings simultaneously, moving between them, starting a new ring whenever a fresh idea appears. Fritsch likes the format, the ability to try a ring on and see it immediately as he is working on it. "It's made with your hands and worn on your hands," he says. "It's so close to how it's produced."
23 September 2011 - 02 November 2011
The three pieces of furniture in Kennedy Brown's Pacific Allsorts installation continue his exploration of the relationship between the traditional and modern in New Zealand furniture design. This most recent investigation, created for Objectspace, focuses on the blending of traditional Pacific construction methods with contemporary furniture design.
22 August 2011 - 21 September 2011
The enamel brooches and objects by Jasmine Watson in the exhibition Subsequence relate to her ongoing interest in pattern and symmetry. Watson states, "My work is inspired by ornamental patterns and complex detail based on mathematical principles. I am interested in geometry and tessellations; interlocking shapes that can assemble into elaborate ornamental sequences, repeating to infinity."
09 July 2011 - 06 August 2011
The Wunderkammer, or cabinet of curiosities popularised in Renaissance Europe, was a place for extraordinary natural and manmade objects whose categorical boundaries were yet to be defined. As a precursor to the modern museum, which gave form to accepted taxonomies of natural and manmade things, the Wunderkammer was viewed as a microcosm or theatre of the world.
Utilising Objectspace's Window Gallery to create a present-day Wunderkammer, Hannah Bremner presents her curiosities in this public setting. Rather than being displayed in a private cabinet for the viewing pleasure of a privileged few, Bremner stages her work in full view of a busy pedestrian thoroughfare.
11 June 2011 - 07 July 2011
A memento or token of remembrance, perhaps of a person, place or event; souvenirs are originally a fragment of context, but over time become emblemic of this context. Lynn Kelly gathers and combines objects from past and present, acknowledging a diversity of influences within her jewellery practice.
Inspired by New Zealand plants and historical botanical drawings, with the assistance of Creative New Zealand Lynn Kelly travelled to London's Natural History Museum in 2008 to view and examine plant specimens collected by Joseph Banks and Daniel Solander in 1769, during the first scientific investigation of New Zealand's natural history. While there, Lynn Kelly also researched British nineteenth century metal objects and jewellery at the Victoria and Albert Museum. This time in London was significant in influencing the recent direction of her practice. "My new body of work views historical New Zealand - in particular colonial influences - through a contemporary lens," Lynn Kelly states.
06 May 2011 - 08 June 2011
The idea of making do with what's available is a fitting analogy for Pauline Bern's jewellery practice. Bern has always utilised locally sourced materials that are connected to her in some way and worked to transform them into something new. In this instance, a selection of plants from her Devonport garden provided the primary material. 'I want the works to elicit curiosity, intrigue, surprise, humour and perhaps nostalgia,' Bern says. 'I am not attempting to emulate botanical forms, rather to appropriate the extraordinary, unexpected, and often un-noticed details in nature, into a contemporary jewellery context.'
01 April 2011 - 04 May 2011
Deborah Crowe has long been fascinated with textiles and embroidery. Once a practice that involved embroiderers spending untold hours hunched over doing 'fancywork', embroidery has of course entered the twenty first century. As an artist, Crowe has something interesting to say about these two fields and over the last few years has created hundreds of witty, observational works that showcase her obsession with textile samplers in combination with machine embroidery.
01 March 2011 - 30 March 2011
In this installation, Wellington based object maker and contemporary jeweller, Vaune Mason, elevates the remnants of non-human lives. She says that a tendency to focus on minute things has led her to imagine "a whole world of memories untold in the lost lives of common insects, birds and animals." The viewer is encouraged to see these constructions as Mason does; not as macabre constructions, but as testament to the innumerable, yet precious, untold lives of small animals everywhere.
29 January 2011 - 27 February 2011
'Touch, Pause, Engage' was originally intended to offer the Australian community a glimpse into the Contemporary Jewellery scene in Aotearoa, New Zealand, and to reset the trans-Tasman rivalry between our rugby-loving brothers and sisters. Known primarily as the call the referee shouts before two rugby teams lock into a scrum, 'Touch, Pause, Engage', re-presented at Objectspace as 'The Art of Engagement', has now become an invitation for artists to converse through jewellery, as well as a call to audiences to interact with the work in both its physical and conceptual manifestations.