Handshake4 Handshake4

INTRODUCTION INTRODUCTION

To Learn or To Unlearn To Learn or To Unlearn

The twelve artists of HANDSHAKE4 The twelve artists of HANDSHAKE4 [HS4] present their year-long [HS4] present their year-long developments in the exhibition developments in the exhibition LEANINGS: Handshake4. LEANINGS: Handshake4.

LEANINGS showcases the work LEANINGS showcases the work from twelve individual jewellery from twelve individual jewellery journeys. During 2017 each artist journeys. During 2017 each artist developed their ideas with the developed their ideas with the support of an appointed mentor. support of an appointed mentor. HANDSHAKE4 artists were selected HANDSHAKE4 artists were selected from a New Zealand-wide open call, from a New Zealand-wide open call, by Dutch jewellery master Ruudt by Dutch jewellery master Ruudt Peters. The HANDSHAKE Project Peters. The HANDSHAKE Project is in its fourth iteration and is the is in its fourth iteration and is the brainchild of Wellington jewellery brainchild of Wellington jewellery activist Peter Deckers. HANDSHAKE activist Peter Deckers. HANDSHAKE is all about experimentation and is all about experimentation and pushing boundaries. Over two years, pushing boundaries. Over two years, HANDSHAKE4 participants learn HANDSHAKE4 participants learn from and in some cases collaborate from and in some cases collaborate with their mentors through a series with their mentors through a series of exhibitions and workshops. New of exhibitions and workshops. New work is developed and made for work is developed and made for each exhibition. LEANINGS is the each exhibition. LEANINGS is the first exhibition in their HS4 journey. first exhibition in their HS4 journey.

To find out more about the To find out more about the HANDSHAKE Project, visit HANDSHAKE Project, visit www.handshakeproject.com www.handshakeproject.com where you can also read about where you can also read about the individual artists and their the individual artists and their mentorship journeys. mentorship journeys.

1. KERI-MEI ZAGROBELNA 1. KERI-MEI ZAGROBELNA

If we could put Wairua (life force energy) into If we could put Wairua (life force energy) into a physical element what would it touch, taste, a physical element what would it touch, taste, smell, look or feel like? And what would be the smell, look or feel like? And what would be the price…… price……

Fig.1 Keri-Mei Zagrobelna, Lost in Translation, Fig.1 Keri-Mei Zagrobelna, Lost in Translation, cassette tape, silver, gold ink, enamel cassette tape, silver, gold ink, enamel

List of Works List of Works

1.a Wairua, 2017, Pendant, Oamaru stone, plastic bags, 1.a Wairua, 2017, Pendant, Oamaru stone, plastic bags, copper, silver, 235x110x70mm copper, silver, 235x110x70mm 1.b Tahutahu, 2017, Pendant, silver, tohora (albatross 1.b Tahutahu, 2017, Pendant, silver, tohora (albatross feathers), clay, enamel, nylon hair, 400x85x35mm feathers), clay, enamel, nylon hair, 400x85x35mm 1.c Help me carry this, 2017, Earring, 1.c Help me carry this, 2017, Earring, compound rock, silver, copper, nylon hair, enamel, compound rock, silver, copper, nylon hair, enamel, 550x300x90mm 550x300x90mm 1.d Lost in Translation, 2017, Brooch, cassette 1.d Lost in Translation, 2017, Brooch, cassette tape, silver, gold ink, enamel, 60x100x10mm tape, silver, gold ink, enamel, 60x100x10mm 1.e Untitled, 2017, Brooch, silver, clay, enamel, 1.e Untitled, 2017, Brooch, silver, clay, enamel, 45x45x15mm 45x45x15mm 1.f Gently does it, 2017, Pendant, mother of pearl, 1.f Gently does it, 2017, Pendant, mother of pearl, silver, clay, kowhai seed, nylon, 200x17x15mm silver, clay, kowhai seed, nylon, 200x17x15mm 1.g Awe, 2017, Pendant, lapis lazuli, silver, 1.g Awe, 2017, Pendant, lapis lazuli, silver, copper, tohora (albatross feathers), nylon hair, copper, tohora (albatross feathers), nylon hair, 400x85x35mm 400x85x35mm Artist Statement Artist Statement

This series of work is my material efforts to translate This series of work is my material efforts to translate my own personal experience with Wairua. It has been my own personal experience with Wairua. It has been made through a process of research and conscious made through a process of research and conscious thought making. Wairua is the maori word for “life thought making. Wairua is the maori word for “life force”, it is a non-tangible, spiritual energy that for force”, it is a non-tangible, spiritual energy that for centuries has been a part of many global indigenous centuries has been a part of many global indigenous cultures from around the world. This energy can also cultures from around the world. This energy can also be transferred or felt across great distances such as be transferred or felt across great distances such as my experience with the Handshake Project in regards my experience with the Handshake Project in regards to communications with an overseas mentor. Some to communications with an overseas mentor. Some individuals describe that they can feel wairua physically. individuals describe that they can feel wairua physically. Each material piece has been specifically chosen to Each material piece has been specifically chosen to describe a “feeling” of wairua, jewellery being the describe a “feeling” of wairua, jewellery being the translating vehicle to wearing this energy whilst other translating vehicle to wearing this energy whilst other pieces are reactionary caused. pieces are reactionary caused.

Mentor: Jasmin Matzakow, Germany/Sweden Mentor: Jasmin Matzakow, Germany/Sweden

KERI-MEI ZAGROBELNA JASMIN MATZAKOW KERI-MEI ZAGROBELNA JASMIN MATZAKOW 2. KIM WHALEN 2. KIM WHALEN

Symbiosis Symbiosis

Silently a flowers blooms, Silently a flowers blooms, In silence it falls away; In silence it falls away; Yet here now, at this moment, at this place, Yet here now, at this moment, at this place, The whole of the flower, the whole The whole of the flower, of the world is blooming. The whole of the world is blooming. This is the talk of the flower, the truth This is the talk of the flower, the truth Of the blossom; Of the blossom; The glory of eternal life is fully shining here. The glory of eternal life is fully shining here. Zenkei Shibayama Zenkei Shibayama

Fig. 2 Kim Whalen, Symbiosis, 2017 Fig. 2 Kim Whalen, Symbiosis, 2017

List of Works List of Works

2.a Symbiosis, 2017, Necklace, mānuka seed pods, 2.a Symbiosis, 2017, Necklace, mānuka, seed pods, harekeke,130m harekeke, 130m 2.b Symbiosis, 2017, Film, 2.52 minutes 2.b Symbiosis, 2017, Film, 2.52 minutes Artist Statement Artist Statement

Symbiosis gestated over a period of seven months Symbiosis gestated over a period of seven months living in a little hut, completely off the grid, in the wild living in a little hut, completely off the grid, in the wild native bush land of Karekare, New Zealand. native bush land of Karekare, New Zealand.

This talisman is offered in a spirit of gratitude—to give This talisman is offered in a spirit of gratitude—to give back to nature. We forget how precious everything is. back to nature. We forget how precious everything is. Life, time, nature. Life, time, nature.

And although we all know that the over-consumption And although we all know that the over-consumption of natural resources is not so slowly but surely laying of natural resources is not so slowly but surely laying waste to this Earth, there is no equilibrium; no giving waste to this Earth, there is no equilibrium; no giving back. We consistently neglect our responsibility to back. We consistently neglect our responsibility to participate lovingly in the living cycles of nature. participate lovingly in the living cycles of nature. Crafted from harakeke and the seed-pods of mānuka, Crafted from harakeke and the seed-pods of mānuka, all of which were found, gathered, drilled, and knotted all of which were found, gathered, drilled, and knotted into a 1300 cm long string of seed beads, Symbiosis into a 1300 cm long string of seed beads, Symbiosis is a talisman to honour not only the healing mānuka, is a talisman to honour not only the healing mānuka, but the very Earth itself. It is a talisman to awaken us but the very Earth itself. It is a talisman to awaken us to the mortality of everything that lives and grows; to the mortality of everything that lives and grows; everything that is borne, sustained, and reclaimed by everything that is borne, sustained, and reclaimed by the earth. the earth.

In fashioning this talisman, the body and its movements In fashioning this talisman, the body and its movements become ritual conduits for spreading the seeds of become ritual conduits for spreading the seeds of new life across the land. Its purpose is not only to new life across the land. Its purpose is not only to honour nature through an act of giving, but ultimately honour nature through an act of giving, but ultimately to inspire people to live more symbiotically with our to inspire people to live more symbiotically with our precious planet. For just as we must return our bodies precious planet. For just as we must return our bodies to the earth upon death, in life our primary lesson is to the earth upon death, in life our primary lesson is to dance in her sacred embrace. to dance in her sacred embrace.

Mentor: Beatrice Brovia, Italy/Sweden Mentor: Beatrice Brovia, Italy/Sweden

KIM WHALEN BEATRICE BROVIA KIM WHALEN BEATRICE BROVIA 3. CAROLINE THOMAS 3. CAROLINE THOMAS

Headful and Handful Headful and Handful

These three dimensional jewellery drawings are These three dimensional jewellery drawings are an attempt to depict our heads and our hands, an attempt to depict our heads and our hands, the original creative tools, in the period of time the original creative tools, in the period of time before our thoughts coalesce and objects get before our thoughts coalesce and objects get made. made.

Fig. 3 Caroline Thomas, Headful, 2017, Object, black Fig. 3 Caroline Thomas, Headful, 2017, Object, black annealed tie wire, pewter, sterling silver, binding annealed tie wire, pewter, sterling silver, binding wire, silver plated wire wire, silver plated wire

List of works: List of works:

3.a Headful, 2017, Object, black annealed tie wire, 3.a Headful, 2017, Object, black annealed tie wire, pewter, sterling silver, binding wire, silver pewter, sterling silver, binding wire, silver plated wire, 110x170x200mm plated wire, 110x170x200mm 3.b Handful, 2017, Objects, Object one - brass 3.b Handful, 2017, Objects, Object one - brass wire 40x50x80mm, Object two - sterling wire 40x50x80mm, Object two - sterling silver, 200x200x1mm silver, 200x200x1mm Artist Statement Artist Statement

My art practice is hugely informed by my many years My art practice is hugely informed by my many years of working as an image researcher in both the UK of working as an image researcher in both the UK and NZ. This job requires a keen and discerning and NZ. This job requires a keen and discerning eye, an excellent visual memory and a whip-smart eye, an excellent visual memory and a whip-smart ability to accurately represent words and ideas with ability to accurately represent words and ideas with pictures. During my making process, I use materials as pictures. During my making process, I use materials as a visual vocabulary. Often the resulting piece reveals a visual vocabulary. Often the resulting piece reveals its meaning at the end; less frequently, an idea leads its meaning at the end; less frequently, an idea leads to the choice of material I employ. In both cases, to the choice of material I employ. In both cases, materiality leads the way and for me, the process of materiality leads the way and for me, the process of making is as important as the end result. making is as important as the end result.

Mentor: Nicolas Cheng, Hong Kong/Sweden Mentor: Nicolas Cheng, Hong Kong/Sweden

http://www.nicolascheng.com http://www.nicolascheng.com

CAROLINE THOMAS NICOLAS CHENG CAROLINE THOMAS NICOLAS CHENG 4. NADINE SMITH 4. NADINE SMITH

Altered States Altered States

Change the way you look at things and the things Change the way you look at things and the things you look at change. you look at change.

Fig. 4 Nadine Smith, Altered States, 2017, Fig. 4 Nadine Smith, Altered States, 2017, photograph photograph

List of Works List of Works

4. Altered states, 2017, Sculpture/Dioramas, recycled 4. Altered states, 2017, Sculpture/Dioramas, recycled paraphernalia including metal from cooling paraphernalia including metal from cooling systems and plumbing, camera, doll and systems and plumbing, camera, doll and mannequin parts and other scavenged mannequin parts and other scavenged stuff; sterling silver, brass and copper tube; stuff; sterling silver, brass and copper tube; electronics, lighting and power supply; electronics, lighting and power supply; Electronics and lighting: Thanks to my partner Electronics and lighting: Thanks to my partner David Jurke David Jurke Artist Statement Artist Statement

We are all learning to live with the tensions wrought We are all learning to live with the tensions wrought by our own technology, over-population and its effects by our own technology, over-population and its effects on our environment. My pieces consider the fragility on our environment. My pieces consider the fragility of life and life supported: the boundary between of life and life supported: the boundary between what’s natural and what isn’t is getting hazier. what’s natural and what isn’t is getting hazier.

In creating dioramas utilising the paraphernalia I In creating dioramas utilising the paraphernalia I have gathered, objects and materials come to life, have gathered, objects and materials come to life, as I superimpose a playful new layer that is open as I superimpose a playful new layer that is open to interpretation. Humour and whimsy often cover to interpretation. Humour and whimsy often cover something darker underneath - as I play with ideas of something darker underneath - as I play with ideas of a mechanised, somewhat dark-looking world, there is a mechanised, somewhat dark-looking world, there is light and we all have a part to play. light and we all have a part to play.

Mentor: Regan Gentry, New Zealand Mentor: Regan Gentry, New Zealand

www.regangentry.com www.regangentry.com www.nadinesmith.co.nz www.nadinesmith.co.nz

NADINE SMITH REGAN GENTRY NADINE SMITH REGAN GENTRY 5. KYLIE SINKOVICH 5. KYLIE SINKOVICH

Within this skin Within this skin

Fig. 5 Kylie Sinkovich, Breastplate #1, 2017, ceramic, Fig. 5 Kylie Sinkovich, Breastplate #1, 2017, ceramic, pewter, stg. silver, muka fibre, jetsam nylon pewter, stg. silver, muka fibre, jetsam nylon

List of Works List of Works

5.a Sway, 2017, Neckpiece; ceramic, stg PMC 5.a Sway, 2017, Neckpiece; ceramic, stg PMC (precious metal clay from reclaimed sources), stg (precious metal clay from reclaimed sources), stg silver, muka fibre, jetsam nylon, stg. silver, silver, muka fibre, jetsam nylon, stg. silver, 135x55x5mm (not including cord) 135x55x5mm (not including cord) 5.b Involution, 2017, Neckpiece; ceramic, stg PMC, 5.b Involution, 2017, Neckpiece; ceramic, stg PMC, muka fibre, jetsam nylon, stg. silver, muka fibre, jetsam nylon, stg. silver, 140x65x70mm (not including cord) 140x65x70mm (not including cord) 5.c Breastplate #1, 2017, Neckpiece, 5.c Breastplate #1, 2017, Neckpiece, ceramic, pewter, stg silver, muka fibre, jetsam nylon ceramic, pewter, stg silver, muka fibre, jetsam nylon 290x170x65mm (not including cord) 290x170x65mm (not including cord) 5.d Breastplate #2, 2017, Neckpiece, 5.d Breastplate #2, 2017, Neckpiece, ceramic,pewter, stg silver, muka fibre, jetsam nylon, ceramic,pewter, stg silver, muka fibre, jetsam nylon, 250x240x45mm (not including cord) 250x240x45mm (not including cord) 5.e Breastplate #3, 2017, Neckpiece, ceramic, 5.e Breastplate #3, 2017, Neckpiece, ceramic, pewter, stg silver, muka fibre, jetsam nylon, pewter, stg silver, muka fibre, jetsam nylon, 270x190x235mm (not including cord) 270x190x235mm (not including cord) Artist Statement Artist Statement What we may perceive as solid or unchanging, is What we may perceive as solid or unchanging, is vacillating all around us. Beyond the seasons, beyond vacillating all around us. Beyond the seasons, beyond our awareness, things are changing faster than we our awareness, things are changing faster than we can perceive. Environmental events that cannot be can perceive. Environmental events that cannot be reversed are influenced by our own action or inaction. reversed are influenced by our own action or inaction.

Within whichever skin you reside, what would it Within whichever skin you reside, what would it mean to physically carry one’s own personal material mean to physically carry one’s own personal material responsibility in this world? What if each day we responsibility in this world? What if each day we had to bear ecological fragilities to be made aware had to bear ecological fragilities to be made aware of them? It is significant that these forms have been of them? It is significant that these forms have been moulded on a human body, enabling wearers to moulded on a human body, enabling wearers to walk in the shoes of Mother Earth, feeling the weight walk in the shoes of Mother Earth, feeling the weight of sacrifice and damage she bears in the name of of sacrifice and damage she bears in the name of ‘progress’ and globalisation. ‘progress’ and globalisation.

This current body of work engages with the delicate This current body of work engages with the delicate balance between increasing wandering polar balance between increasing wandering polar jet stream patterns and current global warming jet stream patterns and current global warming ramifications. The act of repair as a catalyst for ramifications. The act of repair as a catalyst for cultivating care converges within this environmental cultivating care converges within this environmental theme. theme.

Mentor: Benjamin Lignel, France Mentor: Benjamin Lignel, France

www.kjsinkovich.nz www.kjsinkovich.nz

KYLIE SINKOVICH BENJAMIN LIGNEL KYLIE SINKOVICH BENJAMIN LIGNEL 6. SANDRA SCHMID 6. SANDRA SCHMID

Shards Shards

Rearranging the shards in a broken world Rearranging the shards in a broken world

Fig. 6 Sandra Schmid, Fractured Moments, Fig. 6 Sandra Schmid, Fractured Moments, 2017, Bracelet, shibiuchi, silk, 2017, Bracelet, shibiuchi, silk,

List of works List of works

6.a Beauty within, 2017, Pendant, shibuichi, silk, 6.a Beauty within, 2017, Pendant, shibuichi, silk, 130x130x45mm 130x130x45mm 6.b Fractured Moments, 2017, Bracelet, shibuichi, silk, 6.b Fractured Moments, 2017, Bracelet, shibuichi, silk, 60x60x60mm 60x60x60mm Artist Statement Artist Statement

While media circles images of terrorism, attacks, While media circles images of terrorism, attacks, tension, disasters, poverty, war and refugees, our tension, disasters, poverty, war and refugees, our micro world might be shattered by death, illness, loss, micro world might be shattered by death, illness, loss, loneliness and pain. Sometimes we cautiously pick up loneliness and pain. Sometimes we cautiously pick up the broken pieces and carefully reassemble the shards. the broken pieces and carefully reassemble the shards. Feeling happiness, moving forward, doesn’t make the Feeling happiness, moving forward, doesn’t make the broken pieces any less cutting. By acknowledging the broken pieces any less cutting. By acknowledging the pain, even in joyful times, we remind ourselves that life pain, even in joyful times, we remind ourselves that life exists in a delicate balance. exists in a delicate balance.

To symbolise the fragility of our micro world and To symbolise the fragility of our micro world and the global situation the pieces hang on a silk string the global situation the pieces hang on a silk string according to a German saying “Die Welt haengt an according to a German saying “Die Welt haengt an einem seidenen Faden” (The world has a silk thread). einem seidenen Faden” (The world has a silk thread).

Mentor: Tanel Veenre, Estonia Mentor: Tanel Veenre, Estonia

www.tanelveenre.com www.tanelveenre.com www.sandraschmid.co.nz www.sandraschmid.co.nz

SANDRA SCHMID TANEL VEENRE SANDRA SCHMID TANEL VEENRE 7. KATIE PASCOE 7. KATIE PASCOE

What About that Pink Volcano? What About that Pink Volcano?

Fig. 7 Katie Pascoe, Atolls, 2017, Earring, Fig. 7 Katie Pascoe, Atolls, 2017, Earring, copper, enamel, sterling silver, copper, enamel, sterling silver,

List of Works List of Works

7.a. Looped, 2017, Necklace, cotton, 540x 7.a. Looped, 2017, Necklace, cotton, 540x 380x30mm 380x30mm 7.b Red Plume, 2017, bracelet, copper, enamel, 7.b Red Plume, 2017, bracelet, copper, enamel, 70x60x55mm 70x60x55mm 7.c Pink and White I, 2017, Necklace, copper, 7.c Pink and White I, 2017, Necklace, copper, enamel, leather, 230x135x1mm enamel, leather, 230x135x1mm 7.d Pink and White II, 2017, Necklace, copper, 7.d Pink and White II, 2017, Necklace, copper, enamel, leather, 300x135x1mm enamel, leather, 300x135x1mm 7.e Atoll 1, 2017, Ring, sterling silver, black pearl, 7.e Atoll 1, 2017, Ring, sterling silver, black pearl, 35x20x12mm 35x20x12mm 7.f Atoll II, 2017, Ring, sterling silver, black pearl, 7.f Atoll II, 2017, Ring, sterling silver, black pearl, 30x20x10mm 30x20x10mm 7.g Lava Coolings, 2017, Earrings, enamel, silver, 7.g Lava Coolings, 2017, Earrings, enamel, silver, 40x90x1mm 40x90x1mm 7.h Co-ordinates, 2017, Earring, copper, enamel and 7.h Co-ordinates, 2017, Earring, copper, enamel and sterling silver, 90x10x1mm sterling silver, 90x10x1mm 7.i Atolls, 2017, Earring, copper, enamel, sterling 7.i Atolls, 2017, Earring, copper, enamel, sterling silver, 70x20x1mm and 85x35x1mm silver, 70x20x1mm and 85x35x1mm 7.j Pink Dust, 2017, Necklace/Object, enamel, brass, 7.j Pink Dust, 2017, Necklace/Object, enamel, brass, 130mm diameter 130mm diameter Artist Statement Artist Statement

This body of work began in a very different place This body of work began in a very different place to where it finished. Moving through different studio to where it finished. Moving through different studio exercises that involved constraints with time, colour, exercises that involved constraints with time, colour, form, and making jewellery with certain people in form, and making jewellery with certain people in mind led me to a variety of materials and techniques. mind led me to a variety of materials and techniques. At some point I started to collect old enamel objects At some point I started to collect old enamel objects that were hammered, cut, and reformed new by heat. that were hammered, cut, and reformed new by heat. The alchemy of enamelling became addictive. Graphic The alchemy of enamelling became addictive. Graphic lines, organic textures and feminine energies began to lines, organic textures and feminine energies began to merge. These pieces are made with the body in mind merge. These pieces are made with the body in mind but locate themselves in some mythical south seas but locate themselves in some mythical south seas where pink volcanoes exist. where pink volcanoes exist.

The Finnish architect Alvar Aalto likened the creative The Finnish architect Alvar Aalto likened the creative process to a fish that starts upstream, matures as it process to a fish that starts upstream, matures as it travels downstream and ends up fully-formed miles travels downstream and ends up fully-formed miles away in a far deeper body of water. The important away in a far deeper body of water. The important part of growing ideas is time. part of growing ideas is time.

Mentor: Francis Upritchard New Zealand/UK Mentor: Francis Upritchard New Zealand/UK

KATIE PASCOE FRANCIS UPRITCHARD KATIE PASCOE FRANCIS UPRITCHARD 8. BRENDON MONSON 8. BRENDON MONSON

Machine Man made Machine Man made

Fig. 8 Pink, 2017, Brooch. satin, polyester cord, brass, Fig. 8 Pink, 2017, Brooch. satin, polyester cord, brass, stainless steel stainless steel

List of Works List of Works

8.a 3000+layers, 2017, Necklace, satin, polyester cord, 8.a 3000+layers, 2017, Necklace, satin, polyester cord, 300x200x25mm 300x200x25mm 8.b Flaccid, 2017, pendant, marble, satin, polyester 8.b Flaccid, 2017, pendant, marble, satin, polyester cord, 3d printed plastic, 90x35x35mm on cord, 3d printed plastic, 90x35x35mm on adjustable cord adjustable cord 8.c Pink, 2017, Brooch, satin, polyester cord, brass, 8.c Pink, 2017, Brooch, satin, polyester cord, brass, stainless steel, 60x65x40mm stainless steel, 60x65x40mm 8.d Blue, 2017, Brooch, satin, polyester cord, brass, 8.d Blue, 2017, Brooch, satin, polyester cord, brass, stainless steel, 45x55x40mm stainless steel, 45x55x40mm 8.e Bust, 2017, Brooch, 3d printed plastic, 8.e Bust, 2017, Brooch, 3d printed plastic, satin,polyester cord, brass, stainless steel, satin,polyester cord, brass, stainless steel, 120x60x30mm 120x60x30mm Artist Statement Artist Statement

3D scanning is now commonly used to document ‘3D scanning is now commonly used to document and archive artifacts from history. Digital scans of and archive artifacts from history. Digital scans of sculpture and architecture have become available in sculpture and architecture have become available in the public domain. With this information and some the public domain. With this information and some imagination the past can become flexible, making it imagination the past can become flexible, making it possible to create new contemporary form from possible to create new contemporary form from antiquity. antiquity.

I have always been intrigued with digital manufacturing. I have always been intrigued with digital manufacturing. I am interested in how these digital tools can be used I am interested in how these digital tools can be used with a craftsman’s sensibility. By merging traditional with a craftsman’s sensibility. By merging traditional jewellery techniques with the processes of 3D jewellery techniques with the processes of 3D printing and laser cutting I bring into question my role printing and laser cutting I bring into question my role as a maker. as a maker.

Mentor: Aaron Decker, United States Mentor: Aaron Decker, United States

BRENDON MONSON AARON DECKER BRENDON MONSON AARON DECKER 9. JENNIFER LARACY 9. JENNIFER LARACY

We Make Sacrifices Here We Make Sacrifices Here

This work is part confession, part celebration of This work is part confession, part celebration of my rural experience as a maker my rural experience as a maker

Fig. 9 Jennifer Laracy, Spring tide, 2017, Necklace, paua, Fig. 9 Jennifer Laracy, Spring tide, 2017, Necklace, paua, plastic, 600 x 90 x 48mm Slink run, 2017, Brooches, plastic, 600 x 90 x 48mm Slink run, 2017, Brooches, bakelite, sterling silver, steel, 105 x 79 x 3mm., bakelite, sterling silver, steel, 105 x 79 x 3mm.,

List of Works List of Works

9.a Spring tide, 2017, Necklace, paua, plastic, 9.a Spring tide, 2017, Necklace, paua, plastic, 600x93x48mm 600x93x48mm 9.b Dividend, 2017, Pendant, paua chip, resin, stg silver, 9.b Dividend, 2017, Pendant, paua chip, resin, stg silver, steel nylon cord, 160x13x4mm. steel nylon cord, 160x13x4mm. 9.c Great wave, 2017, Brooch, bale wrap, steel, 9.c Great wave, 2017, Brooch, bale wrap, steel, 200x190x32mm. 200x190x32mm. 9.d Succession plan, 2017, brooch, bale wrap, steel 9.d Succession plan, 2017, brooch, bale wrap, steel brass, 48x93x50mm. brass, 48x93x50mm. 9.e Burn out, 2017, Pendant, bale wrap, brass, 8x 9.e Burn out, 2017, Pendant, bale wrap, brass, 8x 26x66mm. 26x66mm. 9.f Local basket case, 2017, Necklace, wicker, flax 9.f Local basket case, 2017, Necklace, wicker, flax cord, 1000x48x30mm. cord, 1000x48x30mm. 9.g Reluctant housewife, 2017, Brooch, potato, stg silver, 9.g Reluctant housewife, 2017, Brooch, potato, stg silver, steel, 31x35x43mm. steel, 31x35x43mm 9.h Anchor chain, 2017, Chain, plastic, heat shrink, 9.h Anchor chain, 2017, Chain, plastic, heat shrink, 3200x40x7mm 3200x40x7mm 9.i Slink run, 2017, Brooches, bakelite, stg silver, steel, 9.i Slink run, 2017, Brooches, bakelite, stg silver, steel, 160x79x3mm 160x79x3mm 9.j Squid ring, 2017, Ring, marine plastic 135x59x5mm 9.j Squid ring, 2017, Ring, marine plastic 135x59x5mm 9.k Cast iron provenance, 2017, Brooch, Oaonui factory 9.k Cast iron provenance, 2017, Brooch, Oaonui factory remnants, stg silver, steel, 66x42x17mm remnants, stg silver, steel, 66x42x17mm List of works continued List of works continued

9.l Father was a grafter worked his fingers to the 9.l Father was a grafter worked his fingers to the bone, 2017, Brooch, fossil specimen, beach bone, 2017, Brooch, fossil specimen, beach pebble, stg silver and steel, 58x51x18mm pebble, stg silver and steel, 58x51x18mm 9.m Short forecast, 2017, Brooch, black coral remnant, 9.m Short forecast, 2017, Brooch, black coral remnant, stg silver, steel, 70x26x12mm stg silver, steel, 70x26x12mm 9.n Desperate measure, 2017, Brooch, aluminum, 9.n Desperate measure, 2017, Brooch, aluminum, 85x 65x50mm 85x 65x50mm 9.o Mortal coil, 2017, Bracelet, aluminum, 9.o Mortal coil, 2017, Bracelet, aluminum, 60x80x15mm 60x80x15mm 9.p Just because your out numbered doesn’t mean 9.p Just because your out numbered doesn’t mean you’re wrong, 2017, pendant, coral, stg silver, you’re wrong, 2017, pendant, coral, stg silver, 57x 45x17mm 57x 45x17mm 9.q Wasteland, 2017, pendant, stg silver, 9.q Wasteland, 2017, pendant, stg silver, 49x30x 2mm 49x30x 2mm 9.r Fix yourself up girl, 2017, Wish Object, cow hair 9.r Fix yourself up girl, 2017, Wish Object, cow hair embroidery cotton 63x52x50mm embroidery cotton 63x52x50mm 9.s Home kill, 2017, Pendant, pig tusk, silver, 9.s Home kill, 2017, Pendant, pig tusk, silver, 128x25 x17mm 128x25 x17mm

Artist Statement Artist Statement

Using materials gathered from my local environment Using materials gathered from my local environment and a provincial vernacular ‘We make Sacrifices and a provincial vernacular ‘We make Sacrifices here’ speaks about toil, isolation and making do. The here’ speaks about toil, isolation and making do. The development of this work has been cathartic and development of this work has been cathartic and signifies for me a personal transition into a new signifies for me a personal transition into a new contemporary jewellery landscape. contemporary jewellery landscape.

My thanks goes to Judy for her support throughout My thanks goes to Judy for her support throughout this journey. this journey.

Mentor: Judy Darragh, New Zealand. Mentor: Judy Darragh, New Zealand.

JENNIFER LARACY JUDY DARRAGH JENNIFER LARACY JUDY DARRAGH 10. MANDY FLOOD 10. MANDY FLOOD

Hot off the Bench Hot off the Bench

I can’t believe this is an issue I can’t believe this is an issue

Fig. 10 Mandy Flood, Hibakusha Survivor, 2017, handwear, Fig. 10 Mandy Flood, Hibakusha Survivor, 2017, handwear, brass, enamel, copper, fine silver, brass, enamel, copper, fine silver, 08:15hrs, 2017, enamel, mother of pearl, 08:15hrs, 2017, enamel, mother of pearl, copper, fine silver, copper, fine silver,

List of Works List of Works

10.a Permanent Shadow, 2017, Hand wear, 10.a Permanent Shadow, 2017, Hand wear, wood, copper, enamel, silver, brass, 60x30x15mm. wood, copper, enamel, silver, brass, 60x30x15mm. 10.b Black Rain, 2017, Hand wear, enamel, copper, 10.b Black Rain, 2017, Hand wear, enamel, copper, silver, 55x33x20mm. silver, 55x33x20mm. 10.c Enola Gay, 2017, Hand wear, wood, copper, enamel, 10.c Enola Gay, 2017, Hand wear, wood, copper, enamel, silver, 38x20x20mm. silver, 38x20x20mm. 10.d Little Boy, 2017, Hand wear, wood, copper, 10.d Little Boy, 2017, Hand wear, wood, copper, enamel, silver, 50x20x20mm. enamel, silver, 50x20x20mm. 10.e 12,500 ton load, 2017, Hand wear, wood, silver, 10.e 12,500 ton load, 2017, Hand wear, wood, silver, 32x25x20mm. 32x25x20mm. 10.f 08:15hrs, 2017, Hand wear, enamel, mother of 10.f 08:15hrs, 2017, Hand wear, enamel, mother of pearl, copper, brass, fine silver, 65x10mm pearl, copper, brass, fine silver, 65x10mm 10.g Hibakusha Survivor. 2017, Hand wear, brass, 10.g Hibakusha Survivor. 2017, Hand wear, brass, enamel, copper, fine silver, 50x60mm enamel, copper, fine silver, 50x60mm Artist Statement Artist Statement

Seventy-two years after Hiroshima was devastated Seventy-two years after Hiroshima was devastated by a nuclear bomb, the world still lives under the by a nuclear bomb, the world still lives under the shadow of the bomb. Permanent shadows were left shadow of the bomb. Permanent shadows were left throughout the city after ‘Little Boy’ unleashed its throughout the city after ‘Little Boy’ unleashed its 12,500 ton pay load. The beauty of a shadow is its 12,500 ton pay load. The beauty of a shadow is its intangible, transient nature. The reality of permanent intangible, transient nature. The reality of permanent shadows haunts this collection of work. shadows haunts this collection of work.

Mentor: Volker Atrops, Germany. Mentor: Volker Atrops, Germany.

MANDY FLOOD VOLKER ATROPS MANDY FLOOD VOLKER ATROPS 11. NIK HANTON 11. NIK HANTON

Placebo Effect Placebo Effect

A beneficial outcome from inert treatment A beneficial outcome from inert treatment

Fig. 11 Nik Hanton, Spell, 2017, Brooch, Fig. 11 Nik Hanton, Spell, 2017, Brooch, hardened leather, wood hardened leather, wood

List of Works List of Works

11. 20 x Placebos, 2017 Brooches, hardened 11. 20 x Placebos, 2017 Brooches, hardened leather, wood, 70x70x20mm -90x90x50mm leather, wood, 70x70x20mm -90x90x50mm Artist Statement Artist Statement

The placebo effect is a beneficial outcome from an The placebo effect is a beneficial outcome from an inert treatment. The individual believes it is functional inert treatment. The individual believes it is functional but it is, in fact, their acceptance of its efficacy that but it is, in fact, their acceptance of its efficacy that creates the improvement in condition. Although we creates the improvement in condition. Although we all react differently to its influence, none of us are all react differently to its influence, none of us are immune from its effects. immune from its effects.

Mentor: Vincent Pontillo-Verrastro, United States Mentor: Vincent Pontillo-Verrastro, United States

www.nikhanton.com www.nikhanton.com www.vincentpontilloverrastro.com www.vincentpontilloverrastro.com

NIK HANTON VINCENT PONTILLO-VERRASTRO NIK HANTON VINCENT PONTILLO-VERRASTRO 12. VIVIEN ATKINSON 12. VIVIEN ATKINSON

Confabulation Confabulation

Familiar but not quite right. Familiar but not quite right.

Fig. 12 Vivien Aitkinson, Confabulation 1, 2017, vintage Fig. 12 Vivien Aitkinson, Confabulation 1, 2017, vintage baking tin, vintage EPNS candelabra parts, epoxy, brass, baking tin, vintage EPNS candelabra parts, epoxy, brass,

List of Works List of Works

12.a Confabulation 1, 2017, vintage baking tin, vintage 12.a Confabulation 1, 2017, vintage baking tin, vintage EPNS candelabra parts, epoxy, brass, 185x280 EPNS candelabra parts, epoxy, brass, 185x280 x205mm x205mm 12.b Confabulation 2, 2017, vintage EPNS dish, vintage 12.b Confabulation 2, 2017, vintage EPNS dish, vintage chrome plate, brass, 235x320x140mm chrome plate, brass, 235x320x140mm 12.c Confabulation 3, 2017, vintage baking tin, vintage 12.c Confabulation 3, 2017, vintage baking tin, vintage EPNS, sterling silver, 305x320x140mm EPNS, sterling silver, 305x320x140mm 12.d Confabulation 4, 2017, vintage EPNS tray, vintage 12.d Confabulation 4, 2017, vintage EPNS tray, vintage brass, copper, 360mm dia. x 6mm brass, copper, 360mm dia. x 6mm 12.e Confabulation 5, 2017, chromed brass, brass 12.e Confabulation 5, 2017, chromed brass, brass 310x250x90mm 310x250x90mm Artist Statement Artist Statement

There was a time when the family’s gleaming silver- There was a time when the family’s gleaming silver- plate was proudly displayed in the china cabinet. plate was proudly displayed in the china cabinet. Aspirational objects in their time they inflected special Aspirational objects in their time they inflected special celebrations and high holidays with a sense of being celebrations and high holidays with a sense of being lifted above the everyday. lifted above the everyday.

I have retrieved silver plate from a metal recycler who I have retrieved silver plate from a metal recycler who piles it into an oily 44 gallon drum – from a kind of piles it into an oily 44 gallon drum – from a kind of sublime to another kind of ridiculous. sublime to another kind of ridiculous.

I have called the pieces confabulations – making I have called the pieces confabulations – making reference to the use of the term in psychiatry –bizarre reference to the use of the term in psychiatry –bizarre fabrications made unknowlingly and sincerely from the fabrications made unknowlingly and sincerely from the jumbled memories and experiences of the past. jumbled memories and experiences of the past.

confabulation (verb: confabulate) is a disturbance confabulation (verb: confabulate) is a disturbance of memory, defined as the production of fabricated, of memory, defined as the production of fabricated, distorted, or misinterpreted memories about oneself distorted, or misinterpreted memories about oneself or the world, without the conscious intention to or the world, without the conscious intention to deceive. [1] People who confabulate present incorrect deceive. [1] People who confabulate present incorrect memories ranging from “subtle alterations to bizarre memories ranging from “subtle alterations to bizarre fabrications.” [2] fabrications.” [2]

1. Fotopoulou A.; Conway M. A.; Solms M. (2007). 1. Fotopoulou A.; Conway M. A.; Solms M. (2007). ‘Confabulation: Motivated reality ‘Confabulation: Motivated reality monitoring’. Neuropsychologia. 45 (10): 2180–90. monitoring’. Neuropsychologia. 45 (10): 2180–90. PMID 17428509. PMID 17428509. doi:10.1016/j.neuropsychologia.2007.03.003. doi:10.1016/j.neuropsychologia.2007.03.003. 2. ‘Truth about Confabulation’ 2. ‘Truth about Confabulation’ http://www.memorylossonline.com/pastissues/ http://www.memorylossonline.com/pastissues/ summer2000/confabulation.html summer2000/confabulation.html

Mentor: Benjamin Lignel, France Mentor: Benjamin Lignel, France

VIVIEN ATKINSON BENJAMIN LIGNEL VIVIEN ATKINSON BENJAMIN LIGNEL Acknowldegements Acknowldegements

‘Leanings’ is the first exhibition for HS4, a group of ‘Leanings’ is the first exhibition for HS4, a group of individuals who have come together as part of this individuals who have come together as part of this unique project, created and led by Peter Deckers. It is unique project, created and led by Peter Deckers. It is through the generosity of support from the jewellery through the generosity of support from the jewellery community, both in New Zealand and abroad, that community, both in New Zealand and abroad, that this mentorship initiative has been able to thrive. this mentorship initiative has been able to thrive. The financial support the project has received from The financial support the project has received from Creative New Zealand is very much appreciated Creative New Zealand is very much appreciated and without the additional support of family, friends, and without the additional support of family, friends, mentors and galleries we would not be at the mentors and galleries we would not be at the beginning of this journey. beginning of this journey. Thank you. Thank you. www.handshakeproject.com www.handshakeproject.com