Hidden Details

by Frieda Lühl

A few weeks back I stumbled across this exhibition on the internet 'Behind the Brooch' curated by Lorena Angulo. It shows a collection of brooches from all over the world where the backside is as interesting as the front. Have a look at the post I put on my page.

I thought it a brilliant concept and became more aware of how the pieces we make and see look from its more hidden sides. Details only the wearer of a piece will know.

I personally love it when someone picks up my pieces and experiences a moment of surprise or joy by discovering something unexpected, a hidden little detail, a beautiful backside of a piece of jewellery.
Here are a few pieces of our Fine Ounce Goldsmiths that bear these hidden little secrets.

'rutilared quartz & silver leaf neckpiece' - Adi Cloete

'volcano neckpiece' - Adeline Joubert

'underneath lurks quirkiness' - Gela Tölken

'night of the silver bird and red flowers' - Adi Cloete

'coral tree and druses' - Frieda Lühl

'omba and rusted stones' - Frieda Lühl

'night flower' - Adi Cloete

'scuba 1' - Adeline Joubert 

'jade and spears' - Frieda Lühl

'mount everest rock pendant' - Adi Cloete

'desert rocks and leaves' - Frieda Lühl

'silver print and garnets' - Frieda Lühl

'dragons live forever' - Gela Tölken

'tourmaline slice pendant' - Adi Cloete 

'misty morning' - Adeline Joubert 

'copper and diamonds' - Frieda Lühl

Fine Ounce Exhibition Opening

30 Roodebloem Road was a’ hustle and a’ bustle with activity on Wednesday with the opening of the Fine Ounce Exhibition. Many guests came rolling and tumbling, blown in by the Cape Town South Easter, grateful for some shelter and revived by a glass of Jane and Jubi's elixir, a sensational punch (a jug of ‘virgin’ for the upright and a more intoxicating version for those of less than moral standing).

Equally sensational was the treasure chest of jewellery on display. As a fairly recent addition to Fine Ounce and not too familiar with the work of these gifted girrrrls, I was transported to a place of great Beauty surrounded by such exquisitely crafted adornments, each subtly reflecting the person who made it.
 

A treasure chest.....

Multi-dimensional in their abilities, from setting up display tables, lighting and all that practical sort of stuff, to fine tuned organizing and marketing without even a bead of perspiration forming with the effort- not just the jewellery made of metal here! As a more one or two-dimensional person myself challenged by the world of marketing and technology I can only feel gratitude for some who can fill in the gaps. Retaining creative integrity in an environment of mass manufacture and marketing madness is a tightrope walk to all sensitive of beauty and craftsmanship. Some achieve this balancing act with a certain amount of  grace and others, well... it's highwire or haywire.



By Meagan Meredith

Maike- wiring up

Frieda up high

Jane and 'los lappies'

Firepetals- 'birds of a feather'

Girl@WORK/ Giselle

Breath of fire

An investigation of roundness: the underlying concept of my Breath of Fire work

Since the Fine Ounce Goldsmith Collective will launch its 2012/13 exhibition series (entitled Breath of Fire) with the first show at Merchants on Long on the 8^th of November, I would like to share some of the thinking behind my body of work for the exhibition series.

The underlying concept of my current work can be described as an ‘investigation of roundness’.

On a conceptual level, the idea of a circle is most intriguing. A circle (which is mathematically defined as a “simple closed curve” (http://en.wikipedia.org/wiki/Circle)) divides a two-dimensional plane into an interior and an exterior, the latter arguably being defined by the positive space inside, and the former by the negative space around it. Depending on what each space is “filled with” or utilized for, an interesting play of tensions develops: The circle can either be interpreted as a hole (defined by what is not there, i.e. the removal, circumscription or non-existence of material), or as a disk, sphere or convex/concave lens (defined by what is there, i.e. the presence of material), or a ring (where the actual dividing line between negative and positive space harbours the matter or substance). Either possibility of interpreting a circle results in a rich array of further contemplations for me:

Holes might become entry and exit points to something, perhaps allowing travel through time and space by means of a wormhole, or simply acting as a tunnel or funnel – guiding matter (or the absence thereof) between two end points. Since holes are defined by what is not there, they present an insubstantial presence of some sort, and therefore a wonderfully intriguing contradiction. Holes also act as interfaces, mediators and connectors, for they inevitably provide access to, reveal and incorporate what lies beneath, beyond or behind them.

Disks, spheres or lenses on the other hand grow into the third dimension, and so have the ability to gain a life of their own. A suspended sphere, for example, can mutate into a drop until the precise moment in time when the original sphere is substituted by two smaller, separate spheres. Alternatively, spheres can harbour detail, surprises or even secrets, whilst semi-spheres become bowls or vessels, containing or spilling their contents.

Circles, however, not only have a conceptual, mathematical, geometrical or material aspect to them, but also a symbolic one. As a symbol, the circle often has significant meaning attached to it.

In Japanese, for example, the word for ‘circle’ is ‘Ensō’, which represents both a common object of Japanese calligraphy, as well as a concept strongly associated with Zen. As a Zen symbol the circle signifies absolute enlightenment, strength, elegance, the universe and the void (also called ‘Mu’ in Japanese, meaning negative (http://en.wikipedia.org/wiki/Mu_(negative))). In Zen Buddhist painting, ‘ensō’ is also understood as the moment when the mind is able to let go and simply allow the body/spirit to create. The Zen circle is usually brushed onto silk or rice paper in one flowing movement, expressing the movement of the spirit at that time. Zen Buddhists believe that “the character of the artist is fully exposed in how she or he draws an ‘ensō’. Only a person who is mentally and spiritually complete can draw a true ‘ensō’”. Some artists will practice drawing an ‘ensō’ daily, as a kind of spiritual practice (http://en.wikipedia.org/wiki/Ens%C5%8D).

Some Buddhist artists paint an ‘ensō’ with an opening in the circle, whilst others complete it. For the former, the opening may express various ideas; such as that the ‘ensō’ is not separate, but rather a part of something greater or that imperfection is an essential and inherent aspect of existence. The principle of controlling the balance of composition through asymmetry and irregularity (i.e. the denial of perfection) is an important aspect of the Japanese aesthetic (http://en.wikipedia.org/wiki/Ens%C5%8D).

 

 

Calligraphy by Kanjuro Shibata XX. Enso ca. 2000 (http://en.wikipedia.org/wiki/Ens%C5%8D).

The notion of “denying perfection” in association with a circle (a potentially perfect entity) represents another intriguing apparent paradox for me.

Circles, however, not only represent insight, grace and the universe such as for Zen Buddhists. As something elemental, circles also refer to strength, balance, regularity and rhythm, as well as to eternity, cyclic change, repetition and the recurrence or passing of time. Watches and clocks in the Western world are, for example, fitted with circular faces, hinting at the circular/cyclical passing of time, whilst the traditional Chinese calendar represents another example of cyclical time-passage marking.

    Two Chinese calendars with their two interacting cycles (the 12 animals of the Zodiac interacting with the 5 elements respectively) (http://www.infoplease.com/calendar/chinese-zodiac.html; http://www.china-family-adventure.com/chinese-zodiac.html; http://library.thinkquest.org/05aug/01351/festive.htm).

The symbolic content of a circle (i.e. its reference to enlightenment, elegance, mental/spiritual completeness, eternity, change and the passing of time), combined with the many conceptual notions named at the onset, result in the circle being a fascinating enigma for me. Many facets of both the symbolism and the conceptual content have found their way into a very experimental approach to my current work, consisting entirely of (ear)rings.

On a formal and technical level I allow myself to be guided entirely by the truly endless number of interpretations and mutations of a basic circle, by the vast possibilities presented by materials, colours and their interplay, and by the resulting changes in the pieces’ expressive qualities. In every piece I play with repetition, contrasts, opposites and tensions in some way, often utilizing an element of surprise to engage the wearer/viewer. Lastly, my use of colour and titles is determined by associations with “fire” and “dragons”, playing on the subtle link between my pre-occupation with circles and the fact that we presently find ourselves in the Year of the Dragon according to the Chinese calendar.

 

Investigating roundness I. Details from Breath of Fire series, 2012 by AnGela.

 

Investigating roundness II. Details from Breath of Fire series, 2012 by AnGela.

 

Investigating roundness III. Details from Breath of Fire series, 2012 by AnGela.

 

By Gela Tölken

 

One year old!

One Year old!!!!

Eight goldsmiths got together just over a year ago and formed “Fine Ounce Goldsmith Collective”.

Our aim is to promote the art of handmade contemporary jewellery and raise awareness for unique design in jewellery and it`s manufacturing process.

Fine Ounce was born and we launched with our first exhibition called 56 RINGS

at the Gold of Africa Barbier Mueller Museum last year in September.

The exhibition then moved to the studio at 30, Roodebloem rd in Woodstock,

to Stellenbosch and Kalk Bay.

Now we celebrate our first anniversary with a new exhibition:

                       “ BREATH OF FIRE”

                      

                     

                   Ring by Gela                    double finger ring by Maike                                  brooch by Jane

To be launched on the 8^th November 2012

At : Merchants on Long     34, Long Street , Cape Town

Watch this space for more information, like us on facebook and subscribe to our blog! J

London Calling - report back on IJL 2012

By Adeline Jubi

The Petals have recently returned from a trip to London and Germany. I was lucky to be sponsored by the DTI (Department of trade and industry) to attend a 4 day International Jewellery Trade Show called  IJL (International Jewellery London) as part of  a South African Pavilion consisting of 15 jewellers.  Each of us got our own showcase on the South African stand to display our work. We received as part of the package, a Plane ticket, hotel accommodation and an Oyster Card for travelling.

I have spent quite some time in London before in the middle 90’s and the accommodation I got used to during that time was, well rather grim. In some of those hostels, you would not dare to take a shower bare feet, as there were alien plants growing in the shower and in most of the teacups as well. This time around, I had my own hotel room in Islington,” nogal”. I had a huge white bed with crisp sheets, no cat or children pushing me to the last 2mm edge of the bed, my own bathroom with hot water, no children barging in and throwing towels on the shower floor = HEAVEN. I did miss the little devils and my husband of course. The atmosphere in London was electric as the Paralympics were on and all the locals and visitors were at their best behaviour and everything was in perfect working order.

Firepetals stand on SA Pavilion; Corola in front of Earls Court Centre; SA Pavilion

The massive Earls Court hall where the IJL show was held had rows upon rows upon rows of bling, watches, stones, beads, tools, jewellers, packaging  and many ,many carats of  fabulous DIAMONDS. Needless to say, it was a jeweller’s dream. The security was extremely tight; it reminded me of something out of James Bond.

The contemporary jewellery section and the bright young things sections were highlights. Displays were innovative and interesting.

IJL Images; Purple orchids lined the hall; Diamond beads (photographs 3 and 4, by 77 Diamonds)

I had the pleasure of meeting Nick Hubbard and seeing his inspirational work on display.

Some exhibitors will do anything to get people onto their stand. Some offer chocolates and popcorn and even free ice cream and then we had the guys from Tresor Paris... They had a chocolate fountain with snacks and beautiful half naked models dressed as a mermaid and King Neptune parading around. The next day the mermaid and Neptune were replaced by equally half naked angels flapping their wings.

The Brits are definitely more Brand conscious than us, building your brand seems like the most important goal to many companies. As for the buyer’s, one would think that workmanship and skills would be more appreciated, in a First world Country, but price and design drives most orders. If it is not cheap enough, they don’t bite, no matter how many hours you spent on the manufacturing process, or how your fingers bled, you might as well just have it manufactured in China or India if it brings the price down. It also seems like the average taste in jewellery is also quite conservative and traditional.

Overall the show was an amazing experience for the many inspirational things we saw and people we met. It is almost like being in an art museum, after a while you get to a saturation point when it is difficult to take in more detail. It was also lovely to be in London again and to see Cologne in Germany and visit old and dear friends. To top it all, It did not even rain once while we were there

The amazing work of Michael Michaud were on display

The Art Nouveau Period (1880 to 1915 :) by Giselle

René Lalique, French, 1860 - 1945
Dragonfly woman corsage ornament, 1897 - 1898
gold, enamel, chrysoprase, moonstones, and diamonds, 23 x 26.5 (9 x 10 3/8)

ELLA NAPER 1886-1972 Lily-pad Hair Combs  Green-tinted horn, with moonstone dewdrops
Length: 9 cm Width: 6.8 cm
English. Circa 1906

Art Nouveau ("New Art") was one of the first departures from classical art and design, towards a new modernism and it took placefrom the 1880s until world War I . This avant-garde movement was centred in Western Europe and occurred in France during what was known as the "La Belle Epoque" period, or "beautiful era" of the late 19th and 20th centuries. In Germany the Art Nouveau movement was known as the " Jugendstil," or :"youth style" arts and crafts movement, in Spain the movement was called Modermismo and in Austria Sezessionstil. It was a reaction against the historical and academic emphasis of the19^th century although it did not survive World War I.

JUGENDSTIL
Buckle Silver Chalcedony
German, c.1900

Art Nouveau was not only a style but it was a thought of modern society and and the various production methods. It was an effort to define the significance and temperament of the work of art.

Artworks by Gustav Klimt and Aubrey Beardsley

Art Nouveau stressed hand crafting as divergent to mechanized form of production. This decorative art movement placed emphasis on the idea of functional art and encouraged making everyday items into artwork.



European Art Nouveau architecture

Art Nouveau was considered a “total style” as it influenced a broad spectrum of design: these included architecture, interior design, decorative arts, textiles, printing and illustration, lighting, painting,household silverware ,furniture, jewellery as well as a wide range of other visual arts.

The specific ornamental characteristics of Art Nouveau included organic figures, and curved , asymetrical, undulating lines, that were often taking the form of flower stalks and buds, insect wings, vine tendrils and other sinuous and delicate natural objects. Floral patterns and leaves were also widely used. Some of the floral motifs that were used were borrowed from English artist William Morris, founder of the “Art and Crafts Movement” of the late Victorian era. Other common themes included stylized, curvaceous and graceful images of women, sometimes depicted as mermaids, nymphs and fairies complete with long manes of twisting hair. . Animals and birds, bees, butterflies, dragonflies also made an appearance in the movement's imagery and often these creatures were incorporated into jewellery pieces such as necklaces and brooches. The colours used were often bright and clearly defined.

 

 

Wallpaper and sketch by William Morris

What the designers of this period had in common was an interest in finding a new artistic vocabulary that could best describe and express the modern world. They found their greatest inspiration in nature – not necessarily nature's beauty - but instead it's never changing life cycle of birth, life, decay and death.
 

 René Lalique, French, 1860 - 1945

Jewellery was one of the purest, and most successful expressions of Art Nouveau style, using sensuous lines and organic forms to create a vast range of exceptional beauty and inventiveness. The Art Nouveau jewellers experimented with new forms, materials and techniques focusing more on the originality and beauty of the piece not only the intrinsic value of the materials used. Jewellery made from wood, bone, and brass became popular and enamelling was was extensively used. The best examples of Art Nouveau jewellery in my opinion would be the pieces created by Rene Lalique who was recognized as one of France's foremost Art nouveau jewellery designers and went onto be the most famous in his field, his name synonymous with creativity and quality.