Work will be shown on the ground floor of the newly opened Reid Building
Press View: 12 June from 11am
Open to the public from 14 - 21 June 2014
GSA Degree Show returns to Garnethill this year following the opening of the new £30m Reid Building. The award-winning building, which houses the GSA’s Design School disciplines, including Silversmithing & Jewellery, will open its doors to the public for the first time for Degree Show (14 – 21 June 2014).
Designs by Adam Henderson, Ellis Mhairi Cameron, Joy Bonfield Colombara and Morna Darling
This year’s Silversmithing & Jewellery presentations will be on the ground floor of the Reid Building intermingled with work by Textile Design and Fashion Design graduands, tangibly demonstrating the way in which the building encourages interdisciplinary collaboration. The installations will feature work inspired by a wide variety of influences from contrasting lines and perspectives in the structure of botanical glass houses to power pylons, structural repeated elements of fabric, Scottish history - it’s romantic and moody landscapes, the Outer Hebrides, the visual characteristics of post industrial Lanarkshire and traditional relics. Pieces have been created using traditional as well as contemporary techniques including 3D printing and in a range of materials includingfound objects, resin, carvings in wax and wood cast in bronze, silver and precious stones. For further details of the influences and inspirations of the collections and materials used see Notes for Editors. Much of the work presented as part of Degree Show is for sale enabling visitors to acquire a unique piece of jewellery.
Among the former Silversmithing and Jewellery students at GSA are international award-winner Jonathan Boyd (http://www.designweek.co.uk/news/glasgow-school-of-art-team-creates-commonwealth-games-medals/3038272.article) and Travis guitarist, Andy Dunlop.
Degree Show is open to the public from 14 – 21 June 2014. Further information: http://www.gsa.ac.uk/life/gsa-events/events/d/degree-show-2014/
Ends
Further information:
Lesley Booth
0779 941 4474
press@gsa.ac.uk
Notes for Editors
Ellis Mhairi Cameron
My current body of work investigates the feelings related to personal bereavement and the process of grieving. In order to give my research a sense of visual concreteness, I primarily documented the surroundings of my family environment as it triggered particularly strong recollections. I explored a monochrome colour palette to suggest ideas of removal, abstraction and the balance between presence and absence. I focused on the importance of subjective worth, through exclusively combining silver with ‘non-precious’ found elements, such as slate and stone. I have utilised metal work practices such as casting, forging and chasing. I am developing innovative ways of using these time-honoured skills as a way of chronicling states of emotion. These interpretations give a constancy of form to the otherwise intangible; allowing my memories physicality, through my studies of the natural landscape. My collection stands both as a record of loss and as a consideration of the fragility and subjective nature of time.
Catriona Clark
My work explores the visual characteristics of post industrial Lanarkshire, an aesthetic with which I have a strong personal connection. With particular attention to line, pattern and texture, I use compositional photography and drawings to investigate decay within the built environment. The imposing forms and obvious cold connections that are characteristic of industrial structures have a strong influence on the objects I create. Through my use of drawn line and limited colour, I aim to create jewellery which has a subtle but defined personality.
The concept of Place and the importance of the Local and Vernacular are integral to the jewellery I create. I aim to create jewellery which is both aesthetically intriguing to the viewer and wearer while maintaining a personal and emotional importance to me as the maker. I view each piece I make as a small architectural artefact which becomes a permanent portable link to the socio-cultural heritage and geographic location which inspires my work.
Morna Darling
My work is inspired by fabrics and clothing. I am interested in representing the qualities of cloth such as layering, threading, folding and the patterns found within it. Pattern making is hugely important in my process and I am fascinated with the structural repeated elements of fabric and how to emulate these in my jewellery. Repetition is a recurring theme in my designs and drawings and the repeated actions I use to make my pieces, such as piercing out a large number of rectangles on silver. I enjoy the rhythm this can bring to my making.
Using different materials from my source allows playful exploration of how to create aspects of textiles whilst not actually including them in my work. Experimenting with a combination of materials including plastic, silver and patinated copper, my work involves varied processes and I am interested in the combination of precious and non-precious materials.
Adam Henderson
My interest lies in different aspects of technology; from the physical make-up of circuit boards to social networking and how individuals interact with mobile technology. I have also explored obsolete formats of technology on to which people have stored memories and are now unable to retrieve them.
My work draws visual and conceptual inspiration from these topics and investigates both traditional bench work and newer making techniques – combining the handmade with the 3D printed. I have also explored the application of industrial finishes and techniques that relate more closely to the construction of circuit boards than traditional jewellery finishes. This work aims to make both the viewer and the wearer aware of their relationship with digital technology and how this technology informs our everyday social interaction.
Lindsay Hill
My work explores and takes inspiration from the perceived value of traditional gemstones and their settings. By considering the structures and facets that draw people to precious gemstones, my work focuses on the beauty to be found within the construction of a faceted stone.
Whereas imperfections are traditionally undesirable in gemstones, my work emphasises the flaws that make each stone unique. By creating pieces that emphasise the idea of inclusions and defects, I transform these imperfections into significant and distinctive features of my work. By referencing larger stones in my pieces, I encourage the wearer to consider where value lies. Are my pieces aesthetically valuable to them because of the bold symmetrical structures I employ, or are they valuable because of the traditionally revered luminescent and light refracting qualities of the stones themselves?
Currently I am exploring the use of kinetic stone setting techniques to create pieces in which the stone appears to be freed from its setting. I use advanced digital technologies throughout the creation of my work to further explore the role of traditional stone setting techniques within contemporary jewellery design.
Ailie Lawson
My work is. I explore the repetition of line and opposing angles in my linear photographs through both drawing and collage, focussing on form and dimension. I am drawn to negative spaces as well as the positive geometric shapes so i like to incorporate both of these elements into my pieces, always considering composition. Inspired by perforated textures apparent in some of my photographs, I translate both my regimented and free flowing drawings into 3d form through the use of silver, acrylic and wood .The technique of laser cutting lends itself well to my layered designs bring my 2d drawings to life in the form of wearable sculptures. I use dyed acrylic to mimic the reflective surfaces of the windows and mirrors within the interior of the glass house, using hints of colour to parallel with the natural surroundings.
Lotte Letch
The focal point of my fourth year work centres on a polymathic material I have consistently enjoyed working with; resin, as it can mould to an organic form and predominantly for its ability to hold colour. The use of natural and man made influence to create contrast is prominent within the body of work; my drawings and photography focus on petal and leaf forms and the bold colours within the natural environment. This is paralleled with the use of synthetic fabrics which I have printed on metal and embedded within colourful resin, which I have hand dyed with pigments. I plan to convey my rough way of making and expressive style by creating a collection which metamorphosis’s resin and mixed metals into organic and feminine pieces as beautiful as the abstract forms and serene colours found in nature.
Kara MacAulay
My inspiration comes from looking at architecture around me. I am drawn to geometric shapes I see in buildings as well as different textures found in the materials used to construct them, and use my own drawings to interpret how I visualise the structures, manipulating and abstracting the forms to give my own version of what I see. I use these drawings to inform my work, which transforms architecture into jewellery by changing scale and shape. By using simple techniques to create texture I can echo what I see in architecture and my drawings and transform these into jewellery practices and pieces. I am drawn to the colour red, perhaps because so many of Glasgow’s buildings are made with red-hued stone, and use this colour to highlight pieces of my work, and add a coloured dimension to my pieces.
Jennifer MacKinlay - Landscapes of the Body
My collection explores the skins of natural objects and the theme of protection inherent in these. This interest has been necessitated through trying to understand the failings of my own skin, and is influenced by man’s historical need to use materials such as animal hides to protect himself, both in physical and talismanic ways. From visits to Iceland and the American Midwest, I have explored extremes of where the human body could not survive without protection. Considering the surfaces of the glaciers and deserts, I see pores in crystal formations, hair in bark, and epidermis layers in rock stratum. I imagine these imposing surfaces as protective second skins that I can use to shelter my own.
Sourcing stones and bark from travels, I use lost wax casting and stone setting to combine these materials with leathers, fur, and silver. Combining the hard and soft materials, I play with the idea of what is protection.
In this way, I wish to create a collection of wearable landscapes. Talismans of protection based on the harsh terrains that informed them.
Nicole McCarron
Power pylons inspire Nicole’s work. She sees these great linear structures in the cityscape as fuel for the modern world. The parallels between power pylons and trees are explored in her designs, by creating her own materials through the process of lost wax casting. Nicole regularly combines the two structures into one piece.
The linear aspects of Nicole’s jewellery are very angular and exposed to express the simplicity of the shapes recognized within structures of power. This, paired with sources inspired by nature, is the basis of each piece she designs. The unique texture of the lost wax casting adds originality to each piece, like a fingerprint, no two pieces are the same.
Kirsty McQueen
My work is inspired by Scottish history, it’s romantic and moody landscapes and the rich folklore that grew from within it. My designs begin with collaging drawing, photographs and natural found objects such as animal teeth and bone, tree branches and non-precious stones. These collages then develop into pieces which are most often carved in wax or wood and then cast in bronze and silver. My heritage, personal connection and self identification with the female character such as the Cailleach Bheur and other witch/goddess characters of Scotland’s folklore means that I design with both them and myself in mind. Designs there for are sensitive to a modern and ancient aesthetic and lifestyle. Their aim is to give the wearer a confidence and empowerment that comes from an ancient instinct and evoke a sense of magic, fantasy and otherworlidness.
Mairi Perston
I have always been fascinated by the natural environment that surroundsme, and have a particular interest in birds. I am most in my element whilst outdoors and use this as an opportunity to collect source material such as leaves, branches, feathers and even the occasional dead bird! I also enjoy observing birds in their natural environment and recording this through the medium of photography.
My jewellery focuses on the particular features and characteristics of various species of local birds. This gives me the opportunity to research not only the physical characteristics of the birds themselves, but also to experience them in their natural habitat. Field research such as this plays a huge role my creative process and highly influences the jewellery I make.
Because of the delicate scale of the creatures I observe, I use casting to capture the intricate details of, for example, a sparrow’s foot. I take pleasure in manipulating something which is perceived as a grotesque or ugly feature into something that is valued and aestically pleasing.
Hannah Grace Ryan
Things Left Behind – Reliquaries Re-imagined
As a jeweller I am drawn to ornamentation. I consider a successful piece to be one which delights the wearer, intrigues the viewer and satisfies the maker. I like my finished pieces to appear substantial and wearable, without compromising the concept behind the design.
My work is very much inspired and informed by my interest in history. By examining the past and the events which came before us, we learn how the world has changed. This inspires me to take ancient techniques and aesthetics, and attempt to modernise them. I find beauty in precision and favour order over chaos.
Throughout the Middle Ages it was common practice to venerate relics. Extravagant portable reliquaries evolved to become status symbols and romantic gifts. I am interested in re-imagining these objects to develop a modern take on this ancient tradition.
Ciara Bláth Stapleton
My jewellery longs to be held, worn and continued; partly missing and somehow incomplete…
The contrasting materials and processes act as tools to analyse and consolidate both my memory and understanding. Through the forming and reforming of my objects the familiar becomes obscured. Polarized fragments become a testament, in a tangible yet temporary weave, to the inaccessible, witnessed by film, text and touch.
Highlighted are the transient miniature details as you are plunged into an entire other world, asking you to pay attention through the almost invisible moments of time and notation – relentlessly attempting to engage and disport once again.
Jordane Symington
My work is inspired by the remote environment of the Outer Hebrides, in the far north west of Scotland. This area has influenced both the work I produce and the materials that I use. My jewellery considers my personal connection to this isolated and visually diverse atmosphere from the flat marshes to the hillsides, and the coastline. I record and reflect on the natural patterns, textures and growths that occur.
Studying in Glasgow, where I am removed from the location, I gather objects that have a strong visual representation and relation to the islands, which allow me to explore the source when distanced from it
My practice is process led, with each piece being an exploration of the themes and visuals surrounding the environment. I hope that when people see my pieces; they can make their own associations about the landscape and generate a memory of another remote and beautiful land.
