Jewellery Shops Macarthur Square – Two exhibits show a generational shift is taking place in Australian jewelry making. Lisa Furno, 2012 (details), Mother’s dress (fabric, silk laces, sterling silver). Emma Furno
Two exciting jewelery exhibitions opened at the same time last week, one in Sydney and one in Adelaide. The show features two young Australian jewelers who create very different pieces, both conceptually and visually.
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In her solo exhibition in Sydney, Building Jewelery, Jessamy Pollock draws inspiration from Australian architecture, the built environment and patterns found in nature, using aluminum and precious metals.
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And in Adelaide Lisa Furno, who makes jewelry from scrap and found materials, is for the first time sole curator of a jewelry exhibition by a New Zealand artist, entitled Unstoppable Explosion of the imagination.
The work of these two young jewelers represents a generational shift, marked by the development of Australia’s visual arts heritage, including jewellery.
In this context, folklore means rejecting clichéd Australians – references to the bush and beaches, for example – and engaging more directly with aspects of urban and suburban life: art and design reflect our everyday lives and domestic concerns.
Jessamy Pollock (2015) Miniature World Series (anodised aluminum, sterling silver, blown glass, acrylic, rare earth magnets, inner dome structure).
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The Pollock wearable figurine demonstrates a level of planning, discipline, and careful attention to form and line. He produces fine works that sit comfortably within the visual arts paradigm.
On the other hand, like a rainbow, Lisa Furno uses trash and scrap to create ironic works by melting plastic and incorporating other accumulated detritus. Furno alchemically transforms these volatile raw materials into colorful and flamboyant wearable collages that look like little wonders that cross the boundaries of fine art/popular culture.
In contrast, Jessamy Pollock’s artwork purposefully refers to patterns and repetitions that occur naturally, such as beehives, as well as geometric designs in some Australian architecture:
I started looking at Federation Square for aesthetic inspiration a few years ago, which I started reading essays about the design philosophy behind the building.
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In this he was inspired by the work of Donald Bates, the lead designer of the redesign of Federation Square, who has written about the philosophy behind his group practice LAB Architecture Studio in the following terms:
Our belief as architects is that the social aspect of space lies in its ability to be realized and conceptualized through new and ever-changing spatial arrangements.
Jessamy Pollock’s jewelery practice was heavily influenced by the architectural philosophy of Bates et al. In his own words, he explains the basic principles that underpin his practice, which derive from that source, the first of which are:
Everything must have two purposes. This can generally mean that the building is both a shelter and a statue. In terms of jewelry, it should be wearable but also, away from the body, it must be a statue
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Pollock’s statues also bear witness to Australia’s cities and suburbs, and the interconnected world in which we now live.
The traditional notion of jewelry speaks to a hierarchical regime in a status-conscious society, producing strong personalities with heavy jewellery. This fits perfectly with Australia’s tough self-image of justice.
Jessamy Pollock (2015) World Series Miniature Triangle Fold (gold, anodized aluminum, sterling silver, blown glass, acrylic, rare earth magnets, stainless steel pins). Photo by Grant Hancock
While the idea that Australians as a whole avoid power, fame and status is nothing but self-deception, we have overcome enough of our collective cultural crisis to appreciate the nation’s power in life and the arts. This further informs our growing taste in the visual arts, including body jewelry.
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Many of Pollock’s bright and eye-catching badges and other work of wearable art are quirky, quirky and subtle models of Melbourne’s Federation Square architecture, each badge taking on a distinct shape from the perspective of the area.
This includes not only conceptual abilities but Pollock’s work always displays a high level of technical mastery. At the same time the design elements underlying these wearable statues make use of what might be considered a distinctly Australian social and architectural zeitgeist.
Considering the benefits of Federation Square means considering how effectively these public public areas connect with culture.
Jessamy Pollock, who is also involved in “play culture,” doesn’t just design and manufacture brooches and maquette earrings with Federation Square. In his Sydney exhibition, Building Jewelery, he has created a range of wearable art in a custom made glass dome, which in itself is a way of imagining Australian culture in a different way. At the same time each individual work that is in this small house of culture is completely readable as body decoration.
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Lisa Furno’s modus operandi is completely different, but no less related to the time and place in which we live.
Furno’s specialty lies in his uncanny ability to turn waste, especially plastic, into consumables. To quote Australian poet Kenneth Slessor in a completely different context: “It’s ugly to you, it’s beautiful to me.”
Lisa Furno in her studio at Gray Street Workshop, Adelaide. Aspire South Australia magazine was first published. photo courtesy of Andre Castellucci.
Furno is the modern Australian jewelery Recycling Queen. Through his practice, he indirectly and lightly refers to our common social concern about industrial waste, the environment, and the future of the place we share today.
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Furno describes his approach to the wild, highly dramatic and hyperreal works of art he creates, the antithesis of conventional jewellery, as follows:
I take a playful, cheerful and whimsical outlook on life and I like to express this approach in my work. I build my practice carefully but I don’t want the concept to be too serious. Being a relentless collector my studio is full of objects found from different branches to faraway places that inspire me. Traveling the world is central to the heart of my practice and allows me to gather the spirit of places, people and cultures. Since I used an “unusual” material, a viewer might not immediately guess that the “beautiful” necklace they saw was actually a dildo. Lately textiles seem to be more and more into my routine. Snow I love color, repetition and movement and I believe that jewelry should be enjoyed, lived, talked about and worn.
In the case of these young jewelers, who lived in NSW and the US at different times, this evolution of Australian jewelery took place without resorting to art for the clichés of the past, and also without a hint of nationalism. .
Furno and Pollock are part of a creative continuum, based in part on the subconscious recognition that most Australians are urban dwellers, or that we live on the outskirts. It’s no longer about bushes and beaches, or about the cultural practices of other people living in faraway places and times.
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Both artists are “at home” in this place, and at this time in Australian history. Today, this also means being at home in the world, and being knowledgeable about it. Their works speak well of this.
This shows that there are similarities in Australians’ experiences of the built environment, and in our shared concern for environmental issues in general.
This creative development is seen through the work of Pollock and Furno, although this is not preaching: first and foremost, they are artists, not preachers. MacArthur Central is a modern three storey shopping mall in the heart of Brisbane’s CBD, on the corner of Edward and Queen Streets right next to Queen Street Mall.
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