Bodywork Secondary education resource

The celebration of the local, the regional, the private and the personal, and the value of experience and memory, is territory that many contemporary jewellery designers and makers seek to articulate and make real. Jewellers preside over the manipulation of materials and the transformation of their meaning and value. Design involves working on a small scale in relation to the intimate site of the human body and exercising advanced craft skills to bring a variety of materials together as desirable and durable objects. The juxtaposition of materials, the recycling of objects and the subversion of traditions can also bring a new understanding to familiar forms and imbue everyday materials with a poetic presence. This exhibition includes the work of 42 Australian jewellers exploring jewellery from a number of viewpoints within six broad themes: Romanticism, Interpreting the Vernacular, Encapsulating Nature, Technics, Social Message and Sculpture for the Body. All of the works are from the collection of the National Gallery of Australia.

themes Romanticism The romantic tradition of jewellery has been reinterpreted by contemporary jewellers who make historical references, through imagery and narratives; use materials invested with symbolic meanings, such as gold and precious gemstones; or employ meaningful forms, such as lockets, necklaces and rings. Interpreting the Vernacular Working within the intimate scale of jewellery, artists and designers find ways to investigate behaviour, question social constructions and reconsider the value of materials. Jewellers use a range of techniques and materials, from precious metals to recycled plastics, to create new visual effects and rework ordinary and unexpected materials into poetic narratives. Encapsulating Nature The power of Australia’s natural environment is a continuing source of inspiration for jewellery designers, who show how materials can intersect with new ways of considering the environment. Plants, organisms, minerals and metals offer jewellers new ways to interpret the natural world. Social message Jewellery can act as a signifier of status or opinion. Some jewellers use graphic imagery to explore ideas, while others make reference to popular culture to build narrative and visual complexity into their work. By using non–precious materials and fragments of manufactured objects, jewellers consider design in a broader context. Technics Since the 1960s, contemporary studio jewellery practice has engaged with new technologies and experimented with advanced materials. Contemporary jewellers have rewritten the rules about jewellery as a signifier of value through its precious materials, instead exploring the qualities of modern synthetic materials and approaches to design and construction though the use of computer–aided design and digital technologies.

Sculpture for the Body Jewellery is an art form that uses the human body as a point of reference and departure from the expected roles and conventions of ornamentation. Materials such as reflective metals and glass are used by some artists to explore the relationship between light and the body. Some jewellers work to create a contrast between skin and material, while others explore the body’s inner structures and abstract these forms as jewellery. glossary

Titanium Discovered in 1791, titanium is an inert, silver–coloured, corrosion–resistant metal with a high strength–to–weight ratio that can be alloyed with other metals, making it suitable for small objects and jewellery. It can be anodised to produce various colours.

Filigree A jewellery technique by which silver or gold wire is curled, twisted or plaited into lace–like patterns and soldered together to form patterns. Small metal beads can also be incorporated into the designs. Filigree can be open or soldered to another metal surface.

Powdercoat A paint technique for metal by which dry, powdered polymer pigment is applied electrostatically to an object and cured under heat to form a hard finish.

AutoCAD A software application for computer–aided design that allows designers to draw three– dimensional objects on screen.

Fractal A geometric pattern that is repeated at ever smaller scales to produce irregular shapes and surfaces. Fractals can be used in the computer–aided design of irregular patterns and structures in nature.

Polypropylene A lightweight, thermoplastic resin used for making moulded objects.

Detritus Disintegrated, eroded or accumulated material. glossary

925 silver An alloy of 92.5% of silver and 7.5% of other metals, usually copper. Also known as sterling silver.

Polyhedral A solid form with numerous flat faces and straight edges.

Allegory The representation of abstract ideas and concepts in narrative, dramatic or pictorial form.

Anodised The coating of metal, often aluminium, with a protective surface through electrolysis. This coating can be dyed in a wide variety of colours.

Monel A trademarked term for a silvery, corrosive–resistant metal alloy composed of nickel, copper, iron and other elements.

Alloy A composite fused material in which at least one element is metal.

Borosilicate glass A type of glass composed of silica and boron oxide, forming a material that is durable and highly resistant to thermal shock.

Flamework The technique of heating and melting clear and coloured glass rods and tubes with a burner to create small sculptural and functional objects.

Oxidised (silver) A permanent darkening of sterling silver for decorative effect, by immersing the object, or sections of it, in a solution of water and the chemical, liver–of–sulphur. Years 9 and 10: Content descriptions and Content elaborations specific to this resource

10.1 – Conceptualise and develop representations of themes, concepts or subject matter to explore their developing personal style, reflecting on the styles of artists including Aboriginal and Torres Strait Islander artists. 10.1.1 – Developing representations by combining and adapting materials, techniques, technologies and art making processes. 10.1.2 – Exploring and applying ideas inspired by the style of other artists in their own artworks. Considering viewpoints – societies and cultures: For example – Can you understand and explain why the artist has developed their representation in this way? 10.1.5 – Conceptualising how visual conventions can represent ideas in their artwork.

10.2 – Manipulate materials, techniques, technologies and processes and apply viewpoints to develop and represent their own artistic intentions. 10.2.2 – Using selected techniques, technologies and processes to explore personal representation of a theme, concept or subject matter. 10.2.3 – Experimenting with a variety of techniques and processes when exploring their intentions as artist.

10.3 – Develop and refine use of visual conventions, perceptual and practical skills, and selected techniques, technologies and processes to represent ideas and subject matter. 10.3.1 – Developing technical proficiency in the resolution of designed, fabricated and constructed artworks, using safe and sustainable practices. Considering viewpoints – histories: For example – How has the artist appropriated an artwork from another time?

10.4 – Plan and design artworks that represent artistic intention. 10.4.1– Analysing and documenting the practices of selected visual artists and designers, including their use of materials, technologies, techniques and processes, when developing their art and design intentions for representation. 10.4.2 – Developing an individual focus for a series of artworks based on a given theme, concept or subject matter. Considering viewpoints – forms: For example – If it was made from different material or be produced in a different form, would the meaning of the artwork change? 10.4.3 – Applying their understanding of traditional art, craft and design practices to plan the use of materials, technologies and processes in a contemporary context. 10.4.4 – Being imaginative when applying a personal aesthetic, for example, when planning to manipulate and/or appropriate images, objects and spaces into new contexts and meanings.

10.5.1 – Visiting galleries, art museums and public art displays, in formal and informal settings, to research the role of the curator and the elements of good display/exhibition, which they then apply to their own ideas for an exhibition of their own or others’ artworks. Considering viewpoints – philosophies and ideologies: For example – How does this artwork change your opinion on this issue? What art theory would you use to analyse this work? Considering viewpoints – institutions: For example – Who sponsored this work? If you were commissioned to make an artwork for a commercial business, what would you want to know in order to produce\ what they want? Would you compromise your beliefs to complete a commissioned artwork?

10.6 – Evaluate how reflecting on and refining the connections in representations communicate artistic intentions in artworks they make and view so as to inform their future art making. 10.6.1 – Experimenting with, their own work between viewpoints, materials, techniques, technologies practices and processes. Considering viewpoints – evaluations: For example – Who would you like to judge the success of your artwork? Why? Considering viewpoints – meanings and interpretations: For example – Has the artist used visual metaphors to express meaning and persuasion? What metaphor/s could you use to express your ideas about persuasion?

10.7.1 – Analysing the role of visual arts as a means of challenging prevailing issues of traditional and contemporary relevance, for example, the availability of resources for future generations. 10.7.2 – Identifying how visual arts professionals embed their values and beliefs, and how audiences react and interpret the meaning and intent of their artworks differently. Considering viewpoints – critical theories: For example – Do you agree with the artist’s point of view? Give reasons for your view. 10.7.3 – Considering the responsibilities of visual arts practitioners when making commentaries about social, environmental and sustainability issues. 10.7.4 – Interrogating the cultural and societal roles and responsibilities of arts industries and recognising the power of the visual arts in advocating for, and being a catalyst for, change.

Bodywork Robert Baines Australian Jewellery 1970 –2012 The book, necklace 1976, Melbourne, Victoria 18 carat gold, silver, titanium, ruby 27.2 x 10.8 cm (open) purchased 1984

Robert Baines references ancient Greek and Etruscan metalwork, mid 19th–century Estonian silverware and late 19th–century Chinese jewellery to develop complex jewellery using historical goldsmithing techniques. He uses the past as a link to the future with traditional use of materials and modern intrusions, which he calls ‘interventions’—Coca–Cola bottles, plastic, the odd toy car, filigree and powdercoat. The colour red is a recurring theme. This pendant necklace continues the romantic tradition of the narrative locket, but instead of an inscription, its message is visual. It takes the form of a book that opens to reveal an apocalyptic scene in which a glowing ruby meteor hurtles to the ground on which structures seem to be collapsing against a scorched golden sky.

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DISCUSSION RESEARCH ACTIVITY Robert Baines says: ‘I want Robert Baines’s work is Using images from the past to play with this paradigm of based around historical as a starting point (e.g. what is authentic.’ context. He uses the study of Egyptian, Roman, medieval), The Book fits with this aim archaeometallurgy to make create a double–page extract in many ways—at first the detailed analyses of past from a book telling of a necklace appears old, and jewellery–making techniques modern moment in history that then, on closer inspection, its and materials. Choose one has had an impact on you theme is modern, which sets of the art periods described up all kinds of memories for above and do your own us: it references a myriad of research into the jewellery of complex cultural, social and the time. personal associations. What do some of these mean to you? romanticism

Bodywork julie Blyfield Australian Jewellery 1970 –2012 Brooch 1995, Adelaide, South Australia sterling silver, copper 7.6 x 5.8 x 1.1 cm purchased 1995

Julie Blyfield’s aesthetic has crystallised over many years of jewellery making. Her work has a strong organic element, inspired by botanical references and, in her words, is playful at times. In technique she extends the traditions of 19th–century Australian gold and silversmithing. Apart from being influenced by forms in nature, she also explores the role of jewellery in relation to memory, commemoration and our history of collecting things, such as the pressed flower album, the preserved botanical specimen and the traditions of embroidery. In this brooch, by investigating the intimate tradition of 19th–century memorial lockets encapsulating the woven hair of loved ones, she has reconstructed such delicate material in silver, another natural, but more permanent material. The strands of ‘hair’ are fused into a graphic, heart–shaped ornament, no longer encased in a locket but to be worn in the manner of contemporary commemorative ribbons.

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DISCUSSION RESEARCH ACTIVITY This brooch by Julie Blyfield Examine how the colonial and Collect an example from references colonial and gold gold rush periods in Australian nature. Either draw it or rush periods of Australian history created a new genre photograph it. Isolate a small history and the idea of of designs and motifs to detail of interest and enlarge lockets, but much of her express the growing interest in that detail to become your other work has as its subject an Australian identity. finished work in a medium of Australian flora and natural your choice forms that she delicately works with minute detail.

Do you think that there is a common element of playfulness across her subject matter? romanticism

Bodywork melissa cameron Australian Jewellery 1970 –2012 Infinity affinity III, brooch and pie dish 2011, Melbourne, Victoria plated mild steel, stainless steel, 925 silver: Autocad design, saw–pierced 7 x 9 x 2 cm purchased 2013

Melissa Cameron’s work is integrated with the tenets of an ordered, analytical Cartesian geometry. Geometry and the beauty of pattern, both natural and human– engineered, underpin all her work. She says: ‘In geometry I trust.’ She thinks deeply about her materials and the wider impact of their use. The recycled objects that she uses are cut out and re–assembled to create something individual and new. There remains a delicate interdependence with the original. This brooch is based on the Koch snowflake, one of the earliest fractals, in the form of the symbol for infinity. This reference relates to the life and work of Ethel Harriet Raybould, who lectured in domestic science in the 1920s to fund her later university studies in mathematics. In homage to Raybould’s achievements in areas from domestic science to pure mathematics, Cameron has cut this brooch from a steel baking dish.

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DISCUSSION RESEARCH ACTIVITY Melissa Cameron’s Infinity Melissa Cameron’s love of Design and create your own affinity lll brooch and pie dish geometry began as a young fractal or fractals using a implies a deeper meaning. student and eventually led medium of your choice. e.g. What do you think she is to her being influenced by lino print, paper cut out, trying to make us think about the work of Rene Descartes, painting, drawing. by using this title for her work? Ethel Harriet Raybould and Do the two elements of this fractals in her jewellery work exist cohesively? practice. Expand on how they influenced her work.

Interpreting the Vernacular

Bodywork Christel van der laan Australian Jewellery 1970 –2012 Cut price red, bangle 2011, Perth, Western Australia painted silver, polypropylene 11 x 11 x 3 cm purchased 2011

Christel van der Laan works with a variety of found materials. She has always been interested in collecting, arranging and making things from materials sourced from second–hand shops, roadside vendors and the detritus of cultures. This interest evolved as a result of growing up in the rich and varied environments of the Netherlands, South Africa and Australia. She selects and masses the ubiquitous polypropylene price tags, ring–pulls and other ‘worthless’ materials of everyday life, setting them in precise frames and mounts to transform them into precious distillations of the contemporary world of functional materials. This bangle’s use of massed plastic price tag holders suggests the translucency and flexibility of marine organisms, or the tendrils of young plants.

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DISCUSSION RESEARCH ACTIVITY Christel van der Laan says In 2008, van der Laan Borrowing on her idea of that there is a humour, discovered a new and using found materials, e.g. sadness and even guilt in exciting material, which had price tags, ring–pulls etc, some of her work, while other been sitting, right under her create an art work or body works are a celebration of the nose, on the soldering bench. adornment using your own beauty of individual elements It was a ceramic honeycomb collection of similar items. transformed into a new block, used to distribute heat setting. Which approach is during soldering. She became she using with Cut price red, captivated by its possibilities bangle, and how does this and started using it widely in title inform our understanding her jewellery making. Find out of her work? what this material looks like. What modern art style does it remind you of? Explore how artists find inspiration for their work. Interpreting the Vernacular

Bodywork helen Britton Australian Jewellery 1970 –2012 Brooch 2011, Munich, Germany 925 silver, paint 11.4 x 9.5 x 2.2 cm purchased 2012

Helen Britton draws inspiration from the industrial detritus that crowds urban life, using found manufactured plastic and metal sections of unspecified objects, and juxtaposing them in combinations that cause them to rise above their humble origins to suggest the intricate hybrid structures of plants and mechanical components. She takes pleasure in watching building–site excavations, their construction processes and the finished structures themselves. She uses photography as a record of daily impressions of strong images referencing the fragmented debris of high density living. In this work Britton uses plastics, painted and patterned metals and compounds in delicate, architectural matrices that have a sense of having survived some unspecified former use.

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DISCUSSION RESEARCH ACTIVITY Helen Britton’s jewellery The sense of the precious can Create a photographic creates order out of the chaos extend beyond the use of collage with the title ‘The of everyday living. precious metals and jewels. discarded transformed’.

She is fascinated with the Research another artist who transformative process of has used mundane materials reworking found materials. and reassembled them in What processes does she use some way to make the to make what she calls ‘these resulting artwork have a sense modest little machines and of the precious. landscapes for wearing’?

Encapsulating Nature

Bodywork carlier makigawa Australian Jewellery 1970 –2012 Cluster, brooch 2011, Melbourne, Victoria 925 silver and coral 5 cm, 8 cm (diam) purchased 2012

Carlier Makigawa draws her inspiration from nature, often with elements that are based on seed pods and flora. She uses the format of a framework of interconnected polyhedral elements to suggest a natural system that drives outward, arranging itself into previously non–existent structures. Her works have both strength and fragility and the appearance of a simplicity that belies the detailed construction processes she employs. This silver and coral brooch has an architectural presence informed by Makigawa’s research into the geometric structures of the natural world, the relationships between positive and negative shapes, the like and the unlike, the linear and the sinuous. Its oxidised grey interlocked vortexes of silver provide a foil for vividly contrasting branches of natural coral, a material that has long been associated with jewellery.

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DISCUSSION RESEARCH ACTIVITY Carlier Makigawa uses There are many elements in Using your chosen natural seemingly disparate elements the natural world, including structural framework as a from nature and geometry that the microscopic world, that starting point, create a small extend the boundaries of the have an strong underlying sculptural work, assemblage materials she uses and are as structural framework. or drawing that incorporates much about what is not there Document some of these one disparate element. as what is there. How does and detail their design as a she achieve these effects? starting point and inspiration for the following activity.

Encapsulating Nature

Bodywork pierre cavalan Australian Jewellery 1970 –2012 Justice, Faith and Philanthropy, brooch 1990, Sydney, New South Wales found objects, enamelled metal badges, imitation jewels 13.6 x 9 x 1.2 cm purchased 1991

Pierre Cavalan draws from his large collection of old trade jewellery, precious and artificial stones, found plastic objects and enamelled souvenir spoons and badges to build complex, meticulously assembled jewellery, such as this brooch. He considers his assemblages as allegories for the lived experience—life to death—and as a means by which he can objectify emotions and personal experiences. While each contrasting element of this work brings forth memories and associations with other times and places, Cavalan has created a new object with its own commemorative potential and, in doing so, he has blurred the borders between art and reality. The work has an element of the kitsch balanced with a contradictory notion of the precious.

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DISCUSSION RESEARCH ACTIVITY Pierre Cavalan’s Justice, Pierre Cavalan’s work is Pierre Cavalan’s art practice Faith and Philanthropy diverse, from large sculptures explores the blurred borders brooch evokes his idea of and assemblages to smaller, between art and reality, the allegory of linked life more intimate pieces. But which reminds us of Robert experiences. How does the underlying all his work is a Rauschenberg’s idea that title, and the brooch itself, strong narrative of observed ‘there is no reason not to reinforce these ideas? life—e.g. his ‘neckpieces’, consider the world one sculpture by the sea, large gigantic painting’. Create panels, composite medals your own expression of this and brooches. idea.

Investigate one of these areas of his work and comment on its message. How effective do you think it is as an observation of life? Social message

Bodywork susan cohn Australian Jewellery 1970 –2012 Systematic Gibsonia no. 2, condom pendant 1995, Melbourne, Victoria anodised aluminium, Oakley black iridium sunglass lenses, Sony wind socks, 750 white gold, 925 silver, stainless steel, aluminium plate 186 x 150 x 45 cm, tile 30 x 30 cm purchased 1995

Susan Cohn has had her workshop in the heart of the city of Melbourne since 1980 and uses this easy access to the laneways and streets of the city to closely observe people—the way they dress, adorn themselves, their behaviour, their interaction with others, what they carry. The richness and variety of the constant ebb and flow of humans, the rich cultural cross section of people is an important element in her work. Everyday functional objects, equipment and materials, such as sunglasses, earphones and anodised aluminium were re–purposed by Cohn to create this hybrid insect. Resting on a circular aluminium container designed to hold condoms, when worn as a pendant it becomes an articulated sculptural presence on the body, reflecting the graphics and colours of street art, clubs and the rising techno culture of the end of the 20th century.

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DISCUSSION RESEARCH ACTIVITY Susan Cohn’s hybrid insect Many artists throughout Design your own imaginative Systematic Gibsonia no.2 history have used social and insect that can become a extends jewellery’s boundaries political comment to make small or large container; in many ways. How does society aware of important something to be worn or it reflect her interest in close issues from that time. Choose something to be carried. observation of people, a an artist who has done this. sense of the humorous and a Discuss using examples to social message? support your argument.

Social message

Bodywork simon cottrell Australian Jewellery 1970 –2012 Round and back, brooch 2010, Melbourne, Victoria monel 5 x 7.5 x 7.5 cm purchased 2011

Simon Cottrell’s work often hints at natural forms that are not immediately evident. His work embodies subtle paradoxes: simple yet complex, natural versus man–made. He often breaks up edges so that the defining outline becomes unclear and forms complex tensions. His processes are painstaking and have strong consideration for his material. Cottrell fabricated this brooch from monel, a hard nickel alloy. In its technical and visual complexity, it demonstrates his mastery over a material noted for its intractability and dense lustre. Austere and monotone, it avoids the polish associated with precious metals, its subtle lustre and brushed surface emphasising the contrasting juxtapositions of its decisive technical elements. This architectural miniature engages the eye and hand while being moved about the body.

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DISCUSSION RESEARCH ACTIVITY Discuss the way Simon Research how the use of Using cardboard tubes Cottrell uses subtle paradoxes modern alloys has extended of different diameters, of simple/complex, natural/ the material possibilities and corrugated cardboard or man–made to create arts boundaries in one area core board, deconstruct, fold wearable art that requires a of the arts. edges, slice and join together closer look. What complex to create a sculptural form. tensions are created by using such strong ‘architectural’ forms as wearable art?

technics

Bodywork blanche tilden Australian Jewellery 1970 –2012 Palais, necklace 2010, Melbourne, Victoria borosilicate glass, 925 silver: glass flameworked, silver oxidised 2 cm, 22 cm (diam) gift of Sandy and Phillip Benjamin, 2010

Blanche Tilden’s jewellery has a material reality. It is based on repetition of elements and the way in which a simple shape, in repetition, becomes more complex and beautiful. It is innovative, expressive, strong, yet fragile in appearance, is surprisingly light to wear and folds softly to the shape of the wearer’s body. This necklace was inspired by the work of the German architect, Bruno Taut, and his writing in 1919 on the role of glass in future architecture, Die Gläserne kette (The glass chain). An abstraction of modernist utopian dreams, the structure of the necklace was influenced by the design of the Palais des Machines at the 1889 Paris Exposition. The wearer’s skin or garment is visible through the articulated glass links.

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DISCUSSION RESEARCH ACTIVITY In this necklace Blanche Research the work of German Collect some clear rectangular Tilden is referencing her architect Bruno Taut and also plastic shapes. Make slots, fascination with the 19th– the design and importance drill holes and join with a century glass and metal at the time of the Palais des series of repetitions to make structures of the Crystal Palace Machines and the Paris the connections work. Create and the Palais des Machines. Exposition of 1889. your own item of jewellery or How has she transferred the a small sculpture. idea of repetition of shapes Or: using a discarded and the way light falls through chain (e.g. from a bicycle, glass from architecture to photocopy machine, chain jewellery? link from plug) change it in some way to make it into an item of jewellery. technics

Bodywork Robert foster Australian Jewellery 1970 –2012 Bandaliero II 2009, Queanbeyan, New South Wales anodised aluminium, acrylic, stainless steel, plastics, synthetic textile webbing 157 x 7 x 5.5 cm purchased 2009

Robert Foster originally trained as a metalsmith and in traditional silversmithing. In 1994 he established his successful production company FINK + Co. where he combines his engineering and creative design skills to focus on producing hollow– ware, sculptural lighting, furniture and body–ware. Foster combines untraditional alloys of anodised aluminium, titanium, stainless steel and new ways of working with silver, plastics, stone, ceramics and glass to create beautifully functional art works. Bandaliero ll: To be worn diagonally across the chest, this work is a linked series of containers for equipment that needs to be carried on the body, such as a mobile phone, keys, sat–nav and wallet. Functional and making a dramatic visual statement for the wearer, the fluorescent acrylic lids of each container glow in the ultraviolet lighting of bars and clubs, while the webbing and metal reference the blunt functionalism of military equipment.

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DISCUSSION RESEARCH ACTIVITY Bandaliero ll has strong Robert Foster says: ‘The strong Transform a utilitarian object sculptural and performative driving force behind my into an artwork for the body qualities. It is functional and creative practice is to explore by adding to or subtracting decorative at the same time. and invent … ‘ How does his from the original to create a What makes this sculpture production company FINK + personal response. for the body appealing to Co. reflect this belief? both male and female? Ossalite is a recent Where else in the history of collaborative artwork with body adornment can we see Frost Design. How does this jewellery for men? art installation further extend Robert Foster’s art practice?

Sculpture for the Body

Bodywork brenda ridgewell Australian Jewellery 1970 –2012 Space edifice, armband 2002, Perth, Western Australia 925 silver and 9 carat gold 14 x 14 x 1.5 cm purchased 2003

For Brenda Ridgewell the intimate, personal space on the human body becomes the framework for her jewellery. She works with the space both on and beyond the body surface. Her works are developed through a series of constructed, linear elements, which have a sculptural, web–like quality and remind us of the repetitive, sometimes uncontrolled, elements in our lives. Her use of precious and semiprecious materials support her ideas of the precious nature of life and its tenacity. Brenda Ridgewell incorporates moveable components as an important structural element in her work, a technique that allows the wearer to customise the articulation of the work when worn. In this armband Ridgewell plays with oppositional notions of delicacy and aggression, making a deliberate counterpoint between dangerous and sharp thistle–like elements and the vulnerability of the skin at pulse points, such as the wrist.

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DISCUSSION RESEARCH ACTIVITY Brenda Ridgewell has It has been said that Use one of these titles: used the word ‘space’ in Brenda Ridgewell pushes ‘collar space’, ‘disturbed the titles of many of her the boundaries of jewellery space’, ‘contained space’; jewellery pieces. What is the to its limits. How do other make a small sculptural importance of this word in artists or cultures push the body decoration using an the title that Ridgewell gives boundaries of creativity for arrangement of toothpicks. to her armband, and to those their purposes? Bind the toothpicks with string, other works, and the way we embroidery thread, dental respond to them as jewellery? floss, wire or other material. Add some personal touches.

Sculpture for the Body