2018 August

From the monthly archives:

August 2018

Why do we always want what we don’t have? Why do I live in Sydney when so many people would give anything to live in Prague? Prague is such a beautiful city rich in history, culture and social life. Why did I move across the world away from my family and my roots? The answer is, I don’t know and to be honest, now that I have been living in Australia for past 16 years I am ready for new again.

Doris and I have been thinking and talking about the subject of Grass Is Greener on several occasions and so it becomes just natural to respond to it in the manner that is closest to us. We put together an exhibition of works responding to this theme.

From me, you can see in the exhibition three groups of works.

1 – Australian influence – personality change – Discovery series.

2 – Current circumstances – bigger change is ahead – Mort Teapot.

3 – New me – accepting and working with the new normal – Sacred Treasure series.

Please come and join us for a glass of bubbles on Thursday 16th of August @ 6 pm 2018 at Gaffa Gallery, 281 Clarence Street, Sydney CBD 2000.


 

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Discovery series

August 1, 2018

It is not a wonder to me that over the past 16 years my way of thinking has changed. It also is easy to understand that I have been massively influenced by my travels and exposure to a multicultural environment. However, I did get a bit surprised to notice that my aesthetics have altered more than what I expected. The Discovery series of rings and necklaces is an image of a reverse of what I would be attracted to several years ago. Organic shape, mat finish and pearls were just not me. Yet, it appeals so attractively to me in this present moment. The Series is an exploration of casting technique (that I very rarely use) and a playful and accidental approach to the investigation of the form rather than carefully planned execution of developed sketches. Gumtree bark is representing the Australian nature on the land and pearls are representing the ocean that I got so much addicted to. The pearls used were donated to me by my good friend.

This is how the process went.

1 – inspiration. It was in the Blue Mountains at Blackheath when my partner was paragliding. I was enjoying the local lookout when I “tripped” over a gumtree bark on the forest floor. I loved its forms and dynamics instantly!

2 – formation of the bark into wearables. I picked random pieces of the bark and formed it into rings and pendants.

3 – sprueing of the model. Once bark was shaped into the form I sprued it to the base of the flask. As these models were so organic and irregular I did use bit more sprues and placed them instinctively into a position.

4 – when the model was sprued and placed in its base into the flask, the flask was filled with an investment, debubbled and after required resting time burned.

5 – when the time was right and burning cycle was over, I vacuum cast the work on this awesome machine.

6 – results exceeded my expectations! Casting turned out really well. Texture and form worked well. I also have got a few unplanned air bubbles cast in pendants that actually work perfectly.

7 – cleaning and refining the form after casting took some time. I guess, when you do it yourself you need to count with the time lost on this.

8 – decision making on the final look. Now, that I had the ring and a pendant shapes in front of me, I needed to decide how am I going to finish them. I knew I wanted to include pearls in some of them. I also needed to decide on the suspension of the pendants…….interestingly enough, here I revisited industrial looking aesthetics that I used to such a big fond of in past.

9 – construction of cups for pearls. As each pearl is a uniquely shaped so was each cup.

10 – chain for pendant suspension was simple but as usual time-consuming.

11 -  finish of the work. Liver of sulphur gel was used to blacken some of the pieces and rest was depletion plated.

12 -  so what do you think?

 

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Sacred Treasure Series

August 1, 2018

This series is definitely the most personal work I have ever made. Basically, all my emotions (LOVE, disbelieve, sadness, longings, brokenness, helplessness, jealousy, anger, forgiveness, acceptance and adaptation) are stored in those pieces. Last year we have lost our baby Leo at 20 weeks pregnancy due to a severe abnormality in his brain. We have experienced what we thought, happens only to the other people.  Our world collapsed. No matter how one is practical and logical about it, one gets destroyed.

All design decisions made for this mourning series were driven by my feelings. These lockets are containers to contain one’s feelings or any artefacts saved from the deceased person they are grieving. It could be a photograph, poem, personal note, hair or ashes. The 100% silk cord that lockets are suspended from has been hand dyed in colour red and blue colour, expressing umbilical cord. Etching on the exterior of the lockets are passages from my diary that I have written after we lost Leo. It is about my feelings and thoughts about the finding of the bad news, the birth-giving and grieving. The text is written in a secret language that I have developed to be understood just by me and Leo.

The processes to make these lockets were straightforward. I used a hydraulic press to achieve the form. Nitric acid was used to etch the text and liver of sulphur gel to patinate. My friend Jo Piper has kindly done etching for me as I was pregnant at the time with my second baby Nalu and couldn’t risk exposure to such strong chemicals.  Materials used were sterling silver, copper and 100% hand dyed silk.

Process of making

 

 

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