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I am pleased to announce the launch of my work into the Craft ACT shop!

For those Canberra locals who haven’t seen or heard of this exciting place — I urge you to visit! Located in Civic Square on London Cct, Craft ACT exhibits some of the region (and Australia’s) most amazing makers. They have an exciting and dynamic exhibition schedule within their two gallery spaces, and have recently launched the new Craft ACT shop! The shop features works from local makers — textiles, glass, ceramics, jewellery, objects and publications. All products are designed by talented craftspeople and handmade, so by buying up you’re supporting independent makers.

I have submitted some teacup rings and wireframe neckpieces, the latter including stainless steel, sterling silver and 24k gold plated brass, all on oxidised sterling silver chain. You can see some examples of this series here, and learn about the teacup rings here.

My works will be in the ‘crucible showcase’ at the entrance to Craft ACT until Saturday 22nd May, at which point they will enter the shop. They are available as “cash and carry” so you can buy one from the display and take it home on the spot! What more could I ask or??

KONFRONTATION, pt. 1 details the background to the project.

I have begun exploring bone and horn as possible materials for my project. 

I purchased a piece of hunting memorabilia – a trophy mount of the antlers of a Roe deer (complete with sawn-off skull fragment) – from the local fleamarket.

After a very confronting trip to the butcher, I purchased some cheap bony cuts, including sliced beef shinbone and pig feet. More confronting was having to handle the pieces themselves (having not touched meat for around six years, it is a very alien concept to me…) and extracting the usable material from the cuts.

First, the pieces are simmered for a long while in water with a bit of detergent. This helps break down the fat, marrow and remaining tissue. For me, the smell was horrendous. It was rich and heavy, and loaded with the artificial citrus of the soap didn’t help. It smelled like an old kitchen. In fact, the whole 32sqm of my flat smells like an old kitchen, despite all the windows being open, and copious amounts of air freshener. A part of me keeps telling me I shouldn’t deny myself the full extent of the experience, but my nausea dictates otherwise…

Scraping off the excess flesh and removing the marrow was also less-than-enjoyable… The marrow became this sloppy, gelatinous mass, which was to be pushed out with a brave finger. Fortunately, it revealed on one piece a stunning area of lacy, porous bone. Less than ideal for traditional carving, perhaps — but something I’d like to exploit.

After boiling away the tissues, the bones are to be sunned for at least a few days. Thitutorial on bone preparation details the rest of the process, which I am yet to complete. This succinct supply and prep list is also really helpful. Luckily, most of the tools can be found on a jeweller’s bench, and I will happily improvise where necessary.

Luckily, I also obtained a small piece of pre-prepared cattle bone to play with. It is a beautiful material, dense and chalky, with subtleties of texture and colour throughout. It polishes beautifully, too. My preference is to use a nail bufffer (the dispoable kind, usually with two emery surfaces and two buffing surfaces adhered to a cushioned board), which is what I often use on my melamine pieces, after initial emery (anything up to 600). 

The smell released from the bone from carving is also pungent (though not as much as the boiling, fortunately). It has the distinct smell of umami – the proteinous aroma present in meat, mushrooms and human semen… 

I’ve included some pictures of this intitial research below, but I should warn you in advance – it’s not so nice to look at. But then, we’re all part of the system, right?

Roe deer trophy mount, sliced

Roe deer trophy mount, sliced

Roe deer trophy mount, sliced

Roe deer trophy mount, sliced, with skull piece

Cattle shinbone, after initial boiling

Cattle shinbone, after initial boiling

Cattle shinbone, in different stages of preparation

Cattle shinbone, in different stages of preparation

Cattle shinbone, after initial boiling

Cattle shinbone, after initial boiling

Pig feet, ready for boiling

Pig feet, ready for boiling

Pig foot, ready for boiling

Pig foot, ready for boiling, knuckle intact.

Tools for working with bone

Tools for working with bone

Roe deer trophy mount, large red deer antler, cattle shinbone

Roe deer trophy mount, large red deer antler, cattle shinbone

{N.B. This post has been edited for clarity.}

 

    

Kareem Rizk is a Melbourne artist/graphismo who makes gorgeous collage and mixed media works, as well as graphic design and some gorgeous photography.

I love the textural, analogue-meets-digital aesthetic of his collage pieces, which translate beautifully online. I’ve had a penchant for that kind of digital lo-fi style since discovering {ths} (Thomas Schostok) and Misprinted Type (Eduardo Recife).

camilla gough
Camilla Gough
Swivel Rings
Photoetched 925 silver and yellow gold

Camilla Gough is a Melbourne based jeweller and sculptor who sells an exhibits in a select few Australian galleries, such as Melbourne’s E.g et al.

Gough’s sleek designs have a strong graphic aethsetic, with lots of layered
metals such as gold, anodsed titanium, brushed stainless steel, and
photoetched silver. The quality of her craftsmanship is impeccable, she
executes perfect geometric forms and organic shapes – such as her ‘liquid
erosions’ – with the kind of slick ease that would make Jensen or Lalique
envious. But make no mistakes – Gough’s work has the kind of street-forward
edge to draw in a fresh, young clientelle.
Graffittiesque photoetched metals and the modernist flavour of her
‘assemblages’ are a clear reference to her urban surroundings.

Seriously, check her site out. I highly, highly, highly recommend it.

Chronicles of Never Chronicles of Never
Gareth Moody
Jewellery from Chronicles of Never
2007

Ex-Ksubi frontman Gareth Moody launched his latest label Chronicles of Never in 2007, a year after distancing himself from the denim-heavy fashion trio. This latest collection represents a darker, more mature shift for the Australian designer; the collection extends from men’s and women’s clothing and shoes into unisex jewellery. Material choices include oxidised silver and brass, with bold geometries and heavy shapes.

The CON website (note the sly acronym) is beautifully designed, with illustrations reminiscent of 19th century botanical drawings which form the navigation for the site, which includes images of the collection, inspiration, and Moody’s own dreamlike musings:

“The children of the Neverland, the 19th letter in the alphabet, an audible vision that sounds of twilight in september and or may resemble a monumental structure, the third eye with green lazer beams, probes and has been probing, only to be met with an apple made from arrows hanging from an ancient/ proud weeping willow tree. (noir)”

Cool Hunting posted an interview with Moody in 2007 about the launch of the label, in which he describes the motivations and inspirations behind his work.

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