Metal on the Map: JamFactory Metal Design Studio

Studio Works Retail Gallery

5 May – 6 June 2010

The Brief

Metal on the Map is a project and exhibition that explores connections between contemporary jewellery practice and the built environment, between the interior and the exterior. This is a project that asks, “What kind of dialogue can exist between small things and the larger spaces that they inhabit?”

Artists at the Metal Design Studio started with some common ground, a map of Adelaide. Adelaide is a small city, one easily explored on foot; it is also the city through which each artist must travel to arrive at work every day. The map was cut into a grid, each artist received a section. The task; to explore the area and use what can be gathered as a resource in the development of new work.

Each artist has taken a different approach to this task. Some may have chosen to explore every square foot of space while others might have chosen one secluded or hidden aspect. Some may have worked from objects gathered in their area, others from photographs, drawings or even the map itself. Some have based their works on immediate experience while others have unearthed the histories, memories and fantasies imbedded in place.

Artists were asked to consider how to place their mettle (metal) on the map?
 

Carry On Cases

This exhibition was originally shown as part of the 2010 JMGA (Jewellers and Metalsmiths Group of Australia) Biennial Conference’s exhibition program.  The conference was held in Perth, WA over three days.

The cases used to display the artists works are a response to the need to travel and exhibit a body of work in a temporary exhibition space. The cases have been designed to collapse into the space allocated as carry-on luggage for domestic air travel and can be stowed neatly, legs and all, into an overhead locker.

The Metal Design Studio would like to acknowledge the kind assistance and expertise of the Furniture Design Studio in realising this design.

Hannah Carlyle

I explored notions of line and shadow created by rooftops in an aerial view of Adelaide. Reflecting on the architectural elements of the buildings within my area and using the Adelaide Festival Centre as a point of reference, the use of pattern, texture and colour translate the aesthetics found when looking down on our city.

Erin Keys

When I was a small child I used to go to the tip with my father and we would always bring home double the amount of what we had taken there to begin. For me, the tip was an exciting treasure trove of possibilities, once loved items now thrown in to the stinking pile of mixed memories.

Collecting items from my allocated area, these objects play host to ambiguous memories, and the process allowed the little girl in me to wander the streets, excitedly, picking up ‘rubbish’.

Sorcha Flett

In the Circle (Kooringa, the town built for the Burra Burra Copper, mine comes from an Aboriginal word Kuri-ngga which means “In the circle”.)

Ayers House Museum is the only surviving North Tce mansion and so is a prime example of colonial architecture. Reflecting a lifestyle led by Adelaide’s wealthy upper class and servant classes in 19th century South Australia. Part of the museum exhibits sewing, lace work and other handcraft created by women and servants at this time, inspiring my wirework.  Sir Henry Ayers’ made his fortune from the Burra Burra Copper Mines. This ‘Monster Mine’ secured the wealth of the colony of South Australia.

Christian Hall

From a balcony in the Adelaide College of the Arts I look across a view hidden from pedestrian traffic.  The roof tops of surrounding buildings offer up views of urban nooks and crannies.  Demarcated as service areas for buildings these unself-conscious spaces are a relief from an over-designed world and offer a fresh space for dreaming.  This work is a topographic play on these spaces.

Peta Kruger

Mapping the unmapped. Some landmarks change, appear and disappear; but it is possible to record their existence. The items found at ground level in a city illustrate brief moments in time, perhaps describing more about the people living in it than the place itself

Leonie Westbrook

Signs of wear, surfaces peeling and eroding away, revealing a glimpse of a former life. Attempts to hide the decay evident in the layer upon layer of coloured paint.

Utilising off cuts of steel tubing in this work I have interpreted the architectural applications of the material - exploiting its structural function and aesthetic properties.

Jessamy Pollock

Section 4 is the area defined by King William, Grenfell, Wakefield and Pulteney streets. I have made works reflecting the architecture found within this area. Windows, doors and decorative features have been my main source for inspiration. The works do not attempt to replicate the architecture, instead architectural features and facades have been used as points of reference to generate new ideas and designs.

Vanessa Williams

My works are inspired by the decorations and features on houses.  Some are purley decorative whilst others have a useful purpose.  I wanted to make versions of some of these elements that could be worn to decorate the bod