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Duration: 2 days The history of basket weaving dates back very early in time and has strong links with most cultures world wide. The wide variety of techniques and materials suitable for basket weaving allow for diverse personal responses in a workshop situation. This innovative two day workshop allowed participants to explore the potential of traditional and contemporary basketry techniques and create a series of woven objects including baskets, sculptural works and wearable forms. During the workshop participants learnt about plant materials suitable for weaving and how to collect, dry and prepare them. String making, netting and weaving techniques such as random stitch, coiling and weaving over spokes allowed for a broad range of approaches and individual exploration. The workshop will include a talk & visual presentation Sandy's practice and a range of resources were be available for students to access for further inspiration. A wide variety of materials including plant fibres, threads, wire and fabric were supplied. Participants were also encouraged to bring along materials of interest to them, such as interesting found objects – shells with holes, driftwood, feathers, seed pods, beads, buttons, wire, strong thread, string, fabric which can be torn into strips, anything soft and pliable that could be woven.
WORKSHOP CANCELLED This workshop will comprise the materials and ideas you bring to enable you to collaborate with Aboriginal Jewellers. In this two-day workshop, a limited number of jewellers/artists will work in collaboration with selected contemporary Indigenous Australian artists to create new work, in ways that enable the perspectives of both artists/team members to be brought into play. The approach will take into account aesthetic considerations but equally importantly, ethical considerations, including the relative levels of power of the participating artists and the possibility of exploitation, or appropriation. The convenor Dr Christine Nicholls will preface the session with a presentation in which she will discuss possible ways of avoiding ethical pitfalls and will offer some positive models for artists from different backgrounds to work together on a 'level playing field', that recognizes and gives legitimacy to the contribution of both artistic partners in the enterprise. The balance of the workshop will be devoted to working together on creating jewellery in dialogue with one another. The results will be showcased and will be for sale if that is the wish of the collaborators who jointly created the work.
Duration: 2 days Oliver Smith is one of Australia's renowned silversmiths and designers who specialises in cutlery and tableware. Oliver recently had work included in the FREESTYLE and COLLECT exhibitions. In this two day workshop Oliver introduced a series of exercises exploring the transformation of a 2 dimensional template into a 3 dimensional form. Starting with cardboard models, then moving onto polypropylene and aluminum sheet metal, the participants played with the wearable / functional/ sculptural potential of the process. On the second day participants had the opportunity to work on individual projects based on the experience gathered on day one.
Duration: 1/2 day Jewellers are renowned for strain injuries. Work-related aches and pains are debilitating and compromise the efficiency and creativity of our work. This workshop was focused on ways to achieve more pleasurable, sustainable, strain-free ways of pursuing a career as a contemporary jeweller. As the conference was held during the balmy heat of an Adelaide summer, we thought we’d take to the water! Swimming is a wonderful way to balance out busy lives - it exercises all sorts of muscles that don't get used at the jewellery bench or in the studio. The workshop was one half day and included activities in the pool and on dry land. On land… Catherine Truman (Contemporary Jeweller and Feldenkrais® Practitioner) taught a series of gentle Feldenkrais Awareness Through Movement® lessons focussed upon strain free, efficient movement and breathing that can be applied directly - at the studio, at home, at leisure…and in the pool! In the water… Catherine Rogers (Photographer/Visual Artist, Level 1 Masters Coach and distance swimmer) applied the lessons learned on land to swimming and showed participants ways to feel comfortable and safe in the water and taught new approaches to improve enjoyment, technique and efficiency in all swim strokes.
Topics included:
Catherine Rogers
Catherine Truman Catherine is a certified Feldenkrais® Practitioner and has developed many workshops based upon sustainable health practices for arts practitioners.
The Feldenkrais Method®:
Duration: 2 days Charon Kransen (Holland, 1950) has worked in the field of contemporary jewellery since 1969; as a jeweller trained at the Bezalel Academy of Fine Arts Jerusalem Israel, Fachhochschule fuer Gestaltung Pforzheim Germany and at Juhls Kautokeino Norway, as professor of Jewellery (and enamel) Design at the University of Utrecht Holland; as head of jewellery and enamel department at the Art College Amersfoort Holland; as president of the VES (Dutch Jewellery Designers Organization) and as a lecturer at universities, colleges and art organisations all over the world, as curator, as art-dealer and as agent of about 150 international contemporary jewellers in North-America. For the past 10 years, he has shown the work of these artists at the Chicago Art Fair SOFA, the New York Art Fair SOFA, the International Art + Design Fair in New York, Art Form Fair Palm Beach FL., PalmBeachContemporary Art Fair Palm Beach FL and PalmBeach 3 SOFA Art Fair FL. He also distributes about 800 titles of books and catalogues in the field of jewellery/metal/design. He has been in the jury for Talente and Schmuckszene in Munich for many years. Since 1989 Charon Kransen has resided in New York City. Most artists are completely ill-prepared in matters relating to their professional life in terms of their relationship with galleries, dealers and clients, yet these are the people you will work with in your professional life. Wouldn’t it therefore be helpful to understand how they work, what their motives are, how they select, what their vision is, how they develop contacts etc.etc.? Wouldn’t you like to have a good relationship with these people and discuss issues with them freely? Wouldn’t you like to know what the possible problems are which could arise in such a relationship and learn how to deal with them and/or avoid them? Wouldn’t you like to develop skills to have a more satisfying, creative and rewarding (also financial) professional life? This seminar was a unique opportunity to see and hear about many aspects of the relationship between gallery and artist, as well as a chance to understand one’s own motives and desires with their work. The seminar was designed around questions dealing with issues such as: identity, recognition, success, clients, collectors, “the market”, ethics, presentation and galleries. In discussing these issues, the participants developed skills which will enable them to be more professional in general.
Duration: 3 days Precious and non-precious metal wires as well as wool, fabric and paper can be used in combination with textile techniques to develop shapes, which will adapt themselves to the human body. This textile technique does not require much experience in jewellery making. It requires creativity and a desire to work with the hands to transform the materials into at least one piece of jewellery or an object. Participants were encouraged to develop work from small pieces to larger sculptures. The objective of the class was to complete at least one sculpted form and to gain in depth knowledge of the textile techniques. The knowledge base will enable participants to continue exploring after the workshop. Erika is a distinguished artist whose work is held in many European collections including the Government of Austria, the Museum of Applied Arts in Vienna, the Treptov Museum, Berlin, Norma Copley Collection, New York and the Collection of the Royal Family in Kuwait. In 2002 she was awarded the title Professor by the Government of Austria for services to the artistic community. She was the first Austrian jeweller to receive such an honour.
WORKSHOP FULL We all consume. We love to shop. Bright colours, dazzling logos, layers and lushness and wrapper upon wrapper, packages within packages. Dive into the unbridled big brand waste extravaganza and let your creative self loose upon the many unseen making possibilities! Everyday throwaway plastic bags and bottles were the material focus and main ingredient in this three-day experimental workshop. Students were asked to hunt down used plastic bags and bottles (eg. shampoo, juice, milk, and detergent bottles) for use in this workshop. Simple techniques were taught with which to manipulate and transform these plastics - fusing at low temperature in a kiln to create sheet and rod, and spinning with a hand spindle to make string. After a basic understanding of these techniques was gained, further experimentation with the re-formed plastic was encouraged. The focus was on participants investigating the many possibilities and variants of these materials and techniques, tailoring them to their own creative needs while exploring fresh new ways of working.
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1 Mark Vaarwerk
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