Water Vessel with Two Coastal Cushion Bush Neckpieces
I have re-worked some of my own silversmithing pieces combining a watery vessel with two coastal cushion bush neckpieces, I have powder-coated one red for this new audience. Jewellery has a privileged intimate association with the human body and has the capacity to signify more than the maker intended through its progressive passing from one person to another. I start with a close exanimation of plants always aware of shifting understanding and reading of nature as aligned with changing attitudes to Australian identity and the development of motifs that represent Australia. I express a specific vision and interpretation of the qualities of Australian light and landscape in my preferred medium silver.
Kelvin J. Birk
Sand cast freeform ring with prongs in 18ct yellow gold with Iolite, Peridot, 3 Tourmaline, Rubellite and Spinell attached on top.
After welding steel with different quantities of carbon content, twisting and folding repeatedly to form into laminated steel, I weld two pieces of laminated steel into a wider surface and forge it into a form of a container. The special pattern on the surface of the container becomes obvious after the surface has acid-washing. Then the decoration of natural lacquer makes the complicated and natural texture of the laminated steel appear and at the same time it becomes a colorful container or vase.
The five-petal flower in “Blossomy Series” is transformed from the artist’s childhood memory of Chinese Hawthorn-plum cakes in the Chinese medicine store. Chinese Hawthorn is a kind of plant with a saucy and sweet taste. It is often used to reduce bitterness of Chinese medicine. It seems like little happiness in hand in our life. The lights of colored glaze and silver reflect each other in the artwork. The pink orange bubbles in the colored glaze and the silver lines lead audience to feel freshness of dawn, mild wind, and fragrance. Those beautiful and precious childhood memories are like the flowers blossoming in the garden, satisfying its artists and audience. It shows a beautiful desire of returning to the origin of life.
Hand in Hand
We can be different (the composition of lines).
We take efforts in every moment of life (the serious producing procedure).
We involve ourselves in showing what we can (relaxation and balance between lines, without tension).
We release what we have individually. (compatibility of lines, metamorphosis).
Classical Elegance ( 3 Pendants)
Lih-Luen Aaron Jou
I am attracted by metal craft art due to its cold and solid tactile quality that can reflect lights, and its exquisite and refined structure, which cannot be shown by other materials. I like to compose my artworks with simple and abstract forms, and change the texture by different devices. I like the color of ancient silver dealt with vulcanization, for it can create a classical beauty to modern artworks.
The variation of the surface texture of the three artworks is made from the process of flame burning, filing and polishing. Different textures express their characteristics through their contours individually. After vulcanization, the original contrast effect is unified into a unitary color. Although there are only square, circle, and spindle shown in the artwork and without any discernible traditional Chinese style, it is full of the oriental color.
Folding Landscape - April
“Folding Landscape” series employs the form of traditional Chinese gold and silver vessels. Through anodizing, dyeing and painting aluminum, the works depict the artist’s imaginary landscapes.
“Interdependent” is a series of artworks. The combination of silver and wood symbolizing the symbiosis of different mediums in nature. Gold, wood, water, fire, and soil are in a relation of mutual generation and constraining just like the interdependence of the wooden surface and silvery inside of the artwork. Tea is made by fire and tea leaves are brewed in the silver pot. The temperature of the tea is kept by the wooden outer of the pot, which makes our colorful dreams come true.
The body of the silver pot is forged integrally by the metal; the whole silver pot is made slowly. The cover of the pot is manufactured by the metal shrinkage method. The handle of the pot uses the combination to mediums design to combine wood and metal together. The wooden outer of the pot is made by the woodworking lathe. I spent more than one month to paint layers of raw lacquer to serve its function. The wooden outer seamlessly fits in the body of the silver. Integration of wood and silver creates this artwork.
The artwork is inspired by peony. By using metal craft art, I try to present the blossoming of peony: the stages of budding, cutesy, and blossoming.