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Antarctic Landscapes in the Souvenir and Jewellery a Thesis Submitted In

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Antarctic Landscapes in the Souvenir and Jewellery a Thesis Submitted In ANTARCTIC LANDSCAPES IN THE SOUVENIR AND JEWELLERY A thesis submitted in fulfilment for the requirements for the degree of Doctor of Philosophy Kirsten Haydon Master of Arts by Research – RMIT University Bachelor of Fine Arts – RMIT University School of Art Kirsten Haydon ~ Antarctic landscapes in the souvenir and jewellery ~ 2008 i ii Front matter To RMIT Higher Degrees For Exegesis and Appropriate Durable Record Declaration I hereby declare that the combined exegesis and appropriate durable record for the work entitled Antarctic landscapes in the souvenir and jewellery, as submitted on 25 August 2008 for the qualification of Doctor of Philosophy, represents the work of myself, except where due acknowledgement has been made in the documentation. The work entitled Antarctic landscapes in the souvenir and jewellery has not been submitted, either in whole or in part, for any other academic award. The combined exegesis and appropriate durable record represents the work undertaken during the period of candidature from February 2004 - August 2008, being both full-time and part-time by research. Kirsten Haydon Date Kirsten Haydon ~ Antarctic landscapes in the souvenir and jewellery ~ 2008 iii iv Front matter ACKNOWLEDGEMENTS I would like to gratefully acknowledge the following people and organisations for their generous support during this project Candidature Supervisors Professor Robert Baines and Associate Professor Lesley Duxbury RMIT School of Art Professor Elizabeth Grierson, Dr Sophia Errey, Mark Edgoose, Nicholas Bastin, Robin Bold, Michelle Cangiano, Wayne Guest, Beatrice Schlabowsky, Stephen Gallagher, Kiko Gianocca, Ceri Hann, Bronwyn Hughes, Tina Lee, Melissa Miller, Nina Oikawa, Emma Price, Chris Sanders, Andrew Tetzlaff, Jason Wade and Dr Nicole Jacquard now of Indiana University Design and layout Neal Haslem Photography of Kirsten Haydon’s jewellery and objects Jeremy Dillon (unless otherwise stated in the text) Fellow Antarctic Arts Fellows David Trubridge, Bernadette Hall, Kathryn Madill Galleries and organisations Antarctica New Zealand, Creative New Zealand, Christchurch Art Gallery, Gallery Funaki, The National Gallery of Victoria, The New Dowse, Scott Polar Research Institute, Australian Antarctic Division, Royal Geographic Society, National Library of Australia, State library of New South Wales, State Library of Victoria. Antarctica New Zealand 2004-2008 Natalie Cadenhead, Ewan Patterson, Emma Reid, Ursula Ryan, Lou Sanson, Keith Springer, Julian Tangaere. My family for their continuous love and support Kirsten Haydon ~ Antarctic landscapes in the souvenir and jewellery ~ 2008 v vi Front matter ABSTRACT Antarctic landscapes in the souvenir and jewellery Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica’s discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica’s significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects. Kirsten Haydon, PhD candidate School of Art (Gold and Silversmithing) RMIT University 25 August 2008 Kirsten Haydon ~ Antarctic landscapes in the souvenir and jewellery ~ 2008 vii viii Front matter CONTENTS Chapter 1 Introduction 1.1 Introduction 2 Chapter 2 The souvenir & jewellery background 2.1 What is souvenir? What is the relationship between the souvenir and jewellery? 8 2.2 The souvenir of a person; relic, mourning and remembrance 9 2.3 The natural souvenir 13 2.4 The natural crafted souvenir 14 2.5 The crafted souvenir and jewellery for the tourist 16 2.6 The souvenir of event 19 2.7 The photographic souvenir 20 2.8 The souvenir of landscape 22 Chapter 3 The relationship of photography to the research 3.1 Introduction 26 3.2 Photography and nineteenth century tourism 27 3.3 Photography on hard surfaces 28 3.4 Techniques used in early photography; manipulation of photographs 30 Painted and retouched photographs 30 Composite photographic images 32 Chapter 4 History of Antarctica as it relates to the research 4.1 Introduction 36 4.2 Early representations of Antarctica 37 4.3 Heroic Age of Antarctic exploration 42 4.4 The mechanical and scientific exploration of Antarctica 64 4.5 Antarctic artists programmes 65 Australian and New Zealand experiences 66 Global futures; tourism and climate change 70 Kirsten Haydon ~ Antarctic landscapes in the souvenir and jewellery ~ 2008 ix Chapter 5 Personal experience of Antarctica 5.1 Introduction 74 5.2 Before the trip to Antarctica 75 5.3 Artist to Antarctica—on the ice 76 Saturday 4 December 76 Sunday 5 December 78 Monday 6 December 81 Tuesday 7 December 82 Wednesday 8 December 86 Thursday 9 December 90 Friday 10 December 93 Saturday 11 December 96 Sunday 12 December 98 Monday 13 December 100 Tuesday 14 December 102 5.4 After the ice 104 Chapter 6 Idea development 6.1 Introduction 106 6.2 Drawing from photographs 106 6.3 Photographs from the Heroic Age of Antarctic exploration 108 6.4 Framing the landscape 112 6.5 Geodesic dome 116 6.6 Ice structures 120 6.7 Ice reflections 122 6.8 Human presence in Antarctica 124 6.9 Natural inhabitants of Antarctica 130 6.10 Human heritage in Antarctica 138 6.11 Photographs in jewellery; the composite image and the micro mosaic 140 x Front matter Chapter 7 Contemporary technologies used to interpret historic processes 7.1 Introduction 144 7.2 Enamelling background 145 7.3 Miniature painting on ivory, vellum and enamel 149 7.4 Micromosaics 152 7.5 Experimentation with enamel to interpret historic processes 156 7.6 Observations 157 Chapter 8 Final work and Antarctic installations 8.1 Introduction 166 8.2 Previous use of installations in public spaces 167 8.3 Conceptual concerns and public engagement with the research 168 8.4 Reflections of ice 172 8.5 Room with a view 184 8.6 On the shelf 192 Chapter 9 Conclusion Conclusion 201 Appendices Bibliography 205 List of Figures 213 Catalogues and Reviews 229 Kirsten Haydon Curriculum Vitae 237 Kirsten Haydon ~ Antarctic landscapes in the souvenir and jewellery ~ 2008 xi xii Front matter Chapter 1 INTRODUCTION Kirsten Haydon ~ Antarctic landscapes in the souvenir and jewellery ~ 2008 1 1.1 Introduction This research project sets out to discover if an experience of Antarctica, specifically mine, could be interpreted through the creation of souvenirs and jewellery. Although Antarctica is considered to be a very remote place it has a long and significant history of science and exploration and most recently has become the destination for tourism. However, unlike most tourist destinations Antarctica has not been memorialised through jewellery and souvenirs in the way of historic tourist locations in the world. Throughout Antarctica’s history explorers have painted images and more recently documented it through photography. Whalers and fishermen have made their own representations of this isolated and uninhabited continent, however none of these match the proliferation of souvenirs that have been produced to provide memories and reminders of Europe for example during the times of the Grand Tour or the commonly available souvenirs of popular resorts, sites and locations today. My intention was to investigate and portray Antarctica through my own and others’ personal experiences, through historical examples of jewellery and souvenirs and through experimentation in the
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