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Relationships with Jewellery? How might a collaborative approach between maker and wearer yield sustainable `end-user' relationships with jewellery? Author Poppi, Clare Elizabeth Published 2018-12 Thesis Type Thesis (Masters) School Queensland College of Art DOI https://doi.org/10.25904/1912/489 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/385867 Griffith Research Online https://research-repository.griffith.edu.au How might a collaborative approach between maker and wearer yield sustainable ‘end-user’ relationships with jewellery? Clare Elizabeth Poppi (Bachelor of Fine Art) A thesis submitted in partial fulfilment of the degree of Master of Visual Arts Queensland College of Art Arts, Education and Law Griffith University December 2018 Abstract In recent years, there has been a growing movement within contemporary jewellery that engages notions of sustainability. Part of this movement has involved focusing on the ethical concerns surrounding jewellery manufacture and production, from precious metal mining and gemstone sourcing through to studio techniques, including recycling, chemical reduction, and energy use. While these issues are imperative because of their social and environmental impacts, many jewellers focus solely on the role of the designer in ethical jewellery making. By contrast, my research examines the role of the wearer in accepting responsibility for their consumption habits. This exegesis explores how maker and wearer can collaborate in various ways to create ongoing, sustainable relationships between the wearer and their jewellery. i Statement of Originality: This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. (signed) Name: Clare Poppi ii Acknowledgements I would firstly like to acknowledge my collaborators without whom this research would not have been possible. I thank my principal supervisor Elizabeth Shaw for her ongoing support and mentorship and my associate supervisors Jess Berry and Catherine Large for their assistance. I also wish to thank my editors Eva Rosenorn and Michelle Roberts. iii TABLE OF CONTENTS Abstract ....................................................................................................................................................................................... i Statement of Originality: ..................................................................................................................................................... ii Acknowledgements .............................................................................................................................................................. iii LIST OF IMAGES ...................................................................................................................................................................... v INTRODUCTION ...................................................................................................................................................................... 1 Methodology ........................................................................................................................................................................ 1 Significance .......................................................................................................................................................................... 4 Framework ........................................................................................................................................................................... 5 STUDIO INVESTIGATIONS .................................................................................................................................................. 8 147 Grams, 3 Carats .......................................................................................................................................................... 8 RJM ........................................................................................................................................................................................ 18 Jewellery Box Project .................................................................................................................................................... 25 Renay .............................................................................................................................................................................. 25 Naiara .............................................................................................................................................................................. 27 Beth .................................................................................................................................................................................. 32 Seed Jewels ........................................................................................................................................................................ 40 Seed Bomb Necklaces.................................................................................................................................................... 42 Growing Jewellery .......................................................................................................................................................... 48 CONCLUSION ......................................................................................................................................................................... 54 APPENDIX ............................................................................................................................................................................... 55 BIBLIOGRAPHY .................................................................................................................................................................... 56 iv LIST OF IMAGES Figure 1. Clare Poppi, 147 grams, 3 carats (Leena), 2016. Recycled sterling silver. ............................... 10 Figure 2. Clare Poppi, 147 grams, 3 carats (Camille), 2016. Recycled sterling silver. Instagram post. .. 12 Figure 3. Clare Poppi, 147 grams, 3 carats (Camille), 2016. Recycled sterling silver. ............................ 12 Figure 4. Clare Poppi, 147 grams, 3 carats (Lynden - Being Worn), 2016. Instagram post. .................... 13 Figure 5. Clare Poppi, 147 grams, 3 carats (Lynden), 2016. Sterling silver and Queensland topaz. ........ 13 Figure 6. Clare Poppi, 147 grams, 3 carats, 2016. Installation at Metro Arts, Brisbane. ......................... 14 Figure 7. Clare Poppi, 147 grams, 3 carats, 2016. Installation at CrossArts Projects, Sydney. ............... 16 Figure 8. Clare Poppi, 147 grams, 3 carats (Dana), 2016. Recycled Sterling Silver. .............................. 17 Figure 9. Jivan Astfalck, Laura Bradshaw-Heap, and Rachel Darbourne. Junk: Rubbish to Gold, 2015. Time Lapse Video, 2:22 min...................................................................................................... 19 Figure 10. Radical Jewellery Makeover (Donations), 2016. Donated materials. ...................................... 20 Figure 11. Clare Poppi, Untitled (Radical Jewellery Makeover), 2016. Recycled jewellery components. ................................................................................................................................................... 21 Figure 12. Clare Poppi, Untitled (Radical Jewellery Makeover), 2016. Recycled jewellery components. ................................................................................................................................................... 22 Figure 13. Clare Poppi, Untitled (Radical Jewellery Makeover), 2016. Recycled jewellery components. ................................................................................................................................................... 23 Figure 14. Clare Poppi, Untitled (Radical Jewellery Makeover), 2016. Recycled jewellery components. ................................................................................................................................................... 24 Figure 15. Clare Poppi, Re-made Collection (Renay), 2017. Recycled sterling silver, recycled mixed carat gold, recycled gemstones. ................................................................................................. 26 Figure 16. Jana Brevick Everchanging Ring (selection of rings and album), 2015. 24 carat gold, view from This Infinity Fits in My Hand, Bellevue Arts Museum. .................................................... 27 Figure 17. Clare Poppi, Naiara, 2016. Sterling silver, copper, 9 carat gold. ............................................ 28 Figure 18. Nellie Peoples, Untitled/Self-portrait, 2016. Sterling silver. ................................................... 30 Figure 19. Nellie Peoples, Reformed, 2013. Old alloys, silver alloys, copper. ......................................... 30 Figure 20. Bridget Kennedy, Ocean Jewel – Bleached (Brooch), 2018. Recycled sterling silver, plastic marine debris (Raja Ampat, Indonesia), stainless steel. ............................................................. 32 Figure 21. Clare Poppi, 147 grams, 3 carats (Beth), 2016. Recycled sterling silver, 9 carat gold, Queensland
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