Work will
be shown on the ground floor of the newly opened Reid Building
be shown on the ground floor of the newly opened Reid Building
Press View:
12 June from 11am
12 June from 11am
Open to the
public from 14 – 21 June 2014
public from 14 – 21 June 2014
GSA
Degree Show returns to Garnethill this year following the opening of the new
£30m Reid Building. The award-winning building, which houses the GSA’s Design
School disciplines, including Silversmithing & Jewellery, will open its
doors to the public for the first time for Degree Show (14 – 21 June 2014).
Degree Show returns to Garnethill this year following the opening of the new
£30m Reid Building. The award-winning building, which houses the GSA’s Design
School disciplines, including Silversmithing & Jewellery, will open its
doors to the public for the first time for Degree Show (14 – 21 June 2014).
Designs by Adam Henderson, Ellis
Mhairi Cameron, Joy Bonfield Colombara and Morna
Darling
Mhairi Cameron, Joy Bonfield Colombara and Morna
Darling
This
year’s Silversmithing & Jewellery presentations will be on the ground floor
of the Reid Building intermingled with work by Textile Design and Fashion
Design graduands, tangibly demonstrating the way in which the building
encourages interdisciplinary collaboration. The installations will feature work
inspired by a wide variety of influences from contrasting lines and perspectives
in the structure of botanical glass houses to power pylons, structural
repeated elements of fabric, Scottish
history – it’s romantic and moody landscapes, the Outer Hebrides, the visual
characteristics of post industrial Lanarkshire and traditional relics. Pieces
have been created using traditional as well as contemporary techniques
including 3D printing and in a range of materials including found objects, resin, carvings in wax and wood cast in bronze,
silver and precious stones. For further details of the influences and
inspirations of the collections and materials used see Notes for Editors. Much of the work presented as part of Degree
Show is for sale enabling visitors to acquire a unique piece of jewellery.
year’s Silversmithing & Jewellery presentations will be on the ground floor
of the Reid Building intermingled with work by Textile Design and Fashion
Design graduands, tangibly demonstrating the way in which the building
encourages interdisciplinary collaboration. The installations will feature work
inspired by a wide variety of influences from contrasting lines and perspectives
in the structure of botanical glass houses to power pylons, structural
repeated elements of fabric, Scottish
history – it’s romantic and moody landscapes, the Outer Hebrides, the visual
characteristics of post industrial Lanarkshire and traditional relics. Pieces
have been created using traditional as well as contemporary techniques
including 3D printing and in a range of materials including found objects, resin, carvings in wax and wood cast in bronze,
silver and precious stones. For further details of the influences and
inspirations of the collections and materials used see Notes for Editors. Much of the work presented as part of Degree
Show is for sale enabling visitors to acquire a unique piece of jewellery.
Among the former Silversmithing and
Jewellery students at GSA are international award-winner Jonathan Boyd (http://www.designweek.co.uk/news/glasgow-school-of-art-team-creates-commonwealth-games-medals/3038272.article)
and Travis guitarist, Andy Dunlop.
Jewellery students at GSA are international award-winner Jonathan Boyd (http://www.designweek.co.uk/news/glasgow-school-of-art-team-creates-commonwealth-games-medals/3038272.article)
and Travis guitarist, Andy Dunlop.
Degree Show is open to the public from 14 –
21 June 2014. Further information: http://www.gsa.ac.uk/life/gsa-events/events/d/degree-show-2014/
21 June 2014. Further information: http://www.gsa.ac.uk/life/gsa-events/events/d/degree-show-2014/
Ends
Further information:
Lesley Booth
0779 941 4474
press@gsa.ac.uk
Notes for Editors
Ellis Mhairi Cameron
My current body of work investigates the feelings related to personal bereavement and the process
of grieving. In order to give my research a sense of visual
concreteness, I primarily documented the surroundings of my family environment
as it triggered particularly strong recollections. I explored a monochrome colour palette to suggest ideas
of removal, abstraction and the balance between presence and absence. I focused on the importance of subjective worth,
through exclusively combining silver with ‘non-precious’ found elements, such
as slate and stone. I have utilised metal work practices such as casting,
forging and chasing. I am developing innovative ways of using these
time-honoured skills as a way of chronicling states of emotion. These interpretations give a constancy of form to the
otherwise intangible; allowing my memories physicality, through my studies of
the natural landscape. My collection stands both as a record of loss and as a consideration of the fragility and subjective nature
of time.
of grieving. In order to give my research a sense of visual
concreteness, I primarily documented the surroundings of my family environment
as it triggered particularly strong recollections. I explored a monochrome colour palette to suggest ideas
of removal, abstraction and the balance between presence and absence. I focused on the importance of subjective worth,
through exclusively combining silver with ‘non-precious’ found elements, such
as slate and stone. I have utilised metal work practices such as casting,
forging and chasing. I am developing innovative ways of using these
time-honoured skills as a way of chronicling states of emotion. These interpretations give a constancy of form to the
otherwise intangible; allowing my memories physicality, through my studies of
the natural landscape. My collection stands both as a record of loss and as a consideration of the fragility and subjective nature
of time.
Catriona Clark
My work explores the visual
characteristics of post industrial Lanarkshire, an aesthetic with which I have
a strong personal connection. With particular attention to line, pattern and
texture, I use compositional photography and drawings to investigate decay
within the built environment. The imposing forms and obvious cold connections
that are characteristic of industrial structures have a strong influence on the
objects I create. Through my use of drawn line and limited colour, I aim to create
jewellery which has a subtle but defined personality.
characteristics of post industrial Lanarkshire, an aesthetic with which I have
a strong personal connection. With particular attention to line, pattern and
texture, I use compositional photography and drawings to investigate decay
within the built environment. The imposing forms and obvious cold connections
that are characteristic of industrial structures have a strong influence on the
objects I create. Through my use of drawn line and limited colour, I aim to create
jewellery which has a subtle but defined personality.
The concept of Place and the
importance of the Local and Vernacular are integral to the jewellery I create.
I aim to create jewellery which is both aesthetically intriguing to the viewer
and wearer while maintaining a personal and emotional importance to me as the
maker. I view each piece I make as a small architectural artefact which becomes
a permanent portable link to the socio-cultural heritage and geographic
location which inspires my work.
importance of the Local and Vernacular are integral to the jewellery I create.
I aim to create jewellery which is both aesthetically intriguing to the viewer
and wearer while maintaining a personal and emotional importance to me as the
maker. I view each piece I make as a small architectural artefact which becomes
a permanent portable link to the socio-cultural heritage and geographic
location which inspires my work.
Morna
Darling
Darling
My work is inspired by fabrics and
clothing. I am interested in representing the qualities of cloth such as
layering, threading, folding and the patterns found within it. Pattern making
is hugely important in my process and I am fascinated with the structural
repeated elements of fabric and how to emulate these in my jewellery.
Repetition is a recurring theme in my designs and drawings and the repeated
actions I use to make my pieces, such as piercing out a large number of
rectangles on silver. I enjoy the rhythm this can bring to my making.
clothing. I am interested in representing the qualities of cloth such as
layering, threading, folding and the patterns found within it. Pattern making
is hugely important in my process and I am fascinated with the structural
repeated elements of fabric and how to emulate these in my jewellery.
Repetition is a recurring theme in my designs and drawings and the repeated
actions I use to make my pieces, such as piercing out a large number of
rectangles on silver. I enjoy the rhythm this can bring to my making.
Using different materials from my
source allows playful exploration of how to create aspects of textiles whilst
not actually including them in my work. Experimenting with a combination of
materials including plastic, silver and patinated copper, my work involves varied
processes and I am interested in the combination of precious and non-precious
materials.
source allows playful exploration of how to create aspects of textiles whilst
not actually including them in my work. Experimenting with a combination of
materials including plastic, silver and patinated copper, my work involves varied
processes and I am interested in the combination of precious and non-precious
materials.
Roisin Hearn
In my work I aim to visually express and communicate the emotional attachment I have to certain everyday objects, where sentimental value is worth more than practical function. I see emotion as something fluid that we only have a certain level of control over and try to translate this into my making-process by using techniques such as wax on water and marbling. With these techniques I only have control to a degree and the results are always unpredictable and unique. I work predominantly in wax, creating forms by layering melted wax on to water and ice which flows and sets in a manner that allows me to create complex sculptural forms. These forms are then cast and used in conjunction with objects that hold sentimental value to me to create a body of work that holds a symbolic function.
Adam Henderson
My
interest lies in different aspects of technology; from the physical make-up of
circuit boards to social networking and how individuals interact with mobile
technology. I have also explored obsolete formats of technology on to which
people have stored memories and are now unable to retrieve them.
interest lies in different aspects of technology; from the physical make-up of
circuit boards to social networking and how individuals interact with mobile
technology. I have also explored obsolete formats of technology on to which
people have stored memories and are now unable to retrieve them.
My
work draws visual and conceptual inspiration from these topics and investigates
both traditional bench work and newer making techniques – combining the
handmade with the 3D printed. I have also explored the application of
industrial finishes and techniques that relate more closely to the construction
of circuit boards than traditional jewellery finishes. This work aims to make
both the viewer and the wearer aware of their relationship with digital
technology and how this technology informs our everyday social interaction.
work draws visual and conceptual inspiration from these topics and investigates
both traditional bench work and newer making techniques – combining the
handmade with the 3D printed. I have also explored the application of
industrial finishes and techniques that relate more closely to the construction
of circuit boards than traditional jewellery finishes. This work aims to make
both the viewer and the wearer aware of their relationship with digital
technology and how this technology informs our everyday social interaction.
Ailie Lawson
My work is. I explore the repetition of line and opposing angles in my linear photographs through both drawing and collage, focussing on form and dimension. I am drawn to negative spaces as well as the positive geometric shapes so i like to incorporate both of these elements into my pieces, always considering composition. Inspired by perforated textures apparent in some of my photographs, I translate both my regimented and free flowing drawings into 3d form through the use of silver, acrylic and wood .The technique of laser cutting lends itself well to my layered designs bring my 2d drawings to life in the form of wearable sculptures. I use dyed acrylic to mimic the reflective surfaces of the windows and mirrors within the interior of the glass house, using hints of colour to parallel with the natural surroundings.
Lindsay Hill
My work explores
and takes inspiration from the perceived value of traditional gemstones and
their settings. By considering the structures and facets that draw people to
precious gemstones, my work focuses on the beauty to be found within the
construction of a faceted stone.
and takes inspiration from the perceived value of traditional gemstones and
their settings. By considering the structures and facets that draw people to
precious gemstones, my work focuses on the beauty to be found within the
construction of a faceted stone.
Whereas
imperfections are traditionally undesirable in gemstones, my work emphasises
the flaws that make each stone unique. By creating pieces that emphasise the
idea of inclusions and defects, I transform these imperfections into
significant and distinctive features of my work. By referencing larger stones
in my pieces, I encourage the wearer to consider where value lies. Are my
pieces aesthetically valuable to them because of the bold symmetrical
structures I employ, or are they valuable because of the traditionally revered
luminescent and light refracting qualities of the stones themselves?
imperfections are traditionally undesirable in gemstones, my work emphasises
the flaws that make each stone unique. By creating pieces that emphasise the
idea of inclusions and defects, I transform these imperfections into
significant and distinctive features of my work. By referencing larger stones
in my pieces, I encourage the wearer to consider where value lies. Are my
pieces aesthetically valuable to them because of the bold symmetrical
structures I employ, or are they valuable because of the traditionally revered
luminescent and light refracting qualities of the stones themselves?
Currently I am
exploring the use of kinetic stone setting techniques to create pieces in which
the stone appears to be freed from its setting. I use advanced digital
technologies throughout the creation of my work to further explore the role of
traditional stone setting techniques within contemporary jewellery design.
exploring the use of kinetic stone setting techniques to create pieces in which
the stone appears to be freed from its setting. I use advanced digital
technologies throughout the creation of my work to further explore the role of
traditional stone setting techniques within contemporary jewellery design.
Lotte Letch
The
focal point of my fourth year work centres on a polymathic material I have
consistently enjoyed working with; resin, as it can mould to an organic form
and predominantly for its ability to hold colour. The use of natural and man made influence to create
contrast is prominent within the body of work; my drawings and photography
focus on petal and leaf forms and the bold colours within the natural
environment. This is paralleled with the use of synthetic fabrics which I have
printed on metal and embedded within colourful resin, which I have hand dyed
with pigments. I plan to convey my rough way of making and expressive style by
creating a collection which metamorphosis’s resin and mixed metals into organic
and feminine pieces as beautiful as the abstract forms and serene colours found
in nature.
focal point of my fourth year work centres on a polymathic material I have
consistently enjoyed working with; resin, as it can mould to an organic form
and predominantly for its ability to hold colour. The use of natural and man made influence to create
contrast is prominent within the body of work; my drawings and photography
focus on petal and leaf forms and the bold colours within the natural
environment. This is paralleled with the use of synthetic fabrics which I have
printed on metal and embedded within colourful resin, which I have hand dyed
with pigments. I plan to convey my rough way of making and expressive style by
creating a collection which metamorphosis’s resin and mixed metals into organic
and feminine pieces as beautiful as the abstract forms and serene colours found
in nature.
Kara MacAulay
My
inspiration comes from looking at architecture around me. I am drawn to geometric shapes I see in
buildings as well as different textures found in the materials used to
construct them, and use my own drawings to interpret how I visualise the
structures, manipulating and abstracting the forms to give my own version of
what I see. I use these drawings
to inform my work, which transforms architecture into jewellery by changing
scale and shape. By using simple
techniques to create texture I can echo what I see in architecture and my
drawings and transform these into jewellery practices and pieces. I am drawn to the colour red, perhaps
because so many of Glasgow’s buildings are made with red-hued stone, and use
this colour to highlight pieces of my work, and add a coloured dimension to my
pieces.
inspiration comes from looking at architecture around me. I am drawn to geometric shapes I see in
buildings as well as different textures found in the materials used to
construct them, and use my own drawings to interpret how I visualise the
structures, manipulating and abstracting the forms to give my own version of
what I see. I use these drawings
to inform my work, which transforms architecture into jewellery by changing
scale and shape. By using simple
techniques to create texture I can echo what I see in architecture and my
drawings and transform these into jewellery practices and pieces. I am drawn to the colour red, perhaps
because so many of Glasgow’s buildings are made with red-hued stone, and use
this colour to highlight pieces of my work, and add a coloured dimension to my
pieces.
Jennifer MacKinlay – Landscapes of the
Body
Body
My
collection explores the skins of natural objects and the theme of protection
inherent in these. This interest has been necessitated through trying to
understand the failings of my own skin, and is influenced by man’s historical
need to use materials such as animal hides to protect himself, both in physical
and talismanic ways. From visits to Iceland and the American Midwest, I have
explored extremes of where the human body could not survive without protection.
Considering the surfaces of the glaciers and deserts, I see pores in crystal
formations, hair in bark, and epidermis layers in rock stratum. I imagine these
imposing surfaces as protective second skins that I can use to shelter my own.
collection explores the skins of natural objects and the theme of protection
inherent in these. This interest has been necessitated through trying to
understand the failings of my own skin, and is influenced by man’s historical
need to use materials such as animal hides to protect himself, both in physical
and talismanic ways. From visits to Iceland and the American Midwest, I have
explored extremes of where the human body could not survive without protection.
Considering the surfaces of the glaciers and deserts, I see pores in crystal
formations, hair in bark, and epidermis layers in rock stratum. I imagine these
imposing surfaces as protective second skins that I can use to shelter my own.
Sourcing
stones and bark from travels, I use lost wax casting and stone setting to
combine these materials with leathers, fur, and silver. Combining the hard and
soft materials, I play with the idea of what is protection.
stones and bark from travels, I use lost wax casting and stone setting to
combine these materials with leathers, fur, and silver. Combining the hard and
soft materials, I play with the idea of what is protection.
In
this way, I wish to create a collection of wearable landscapes. Talismans of
protection based on the harsh terrains that informed them.
this way, I wish to create a collection of wearable landscapes. Talismans of
protection based on the harsh terrains that informed them.
Ailie Lawson
My work is inspired by the contrasting lines and perspective captured in the architectural structure of botanical glasshouses. I explore the repetition of line and opposing angles in my linear photographs through both drawing and collage, focussing on form and dimension. I am drawn to negative spaces as well as the positive geometric shapes so I like to incorporate both of these elements into my pieces, always considering composition. Inspired by perforated textures apparent in some of my photographs, i translate both my regimented and free flowing drawings into 3d form through the use of silver, acrylic and wood .The technique of laser cutting lends itself well to my layered designs bringing my 2d drawings to life in the form of wearable sculptures. I use dyed acrylic to mimic the reflective surfaces of the windows and mirrors within the interior of the glass house, using hints of colour to parallel with the natural surroundings.
Nicole McCarron
Power
pylons inspire Nicole’s work. She sees these great linear structures in the
cityscape as fuel for the modern world.
The parallels between power pylons and trees are explored in her
designs, by creating her own materials through the process of lost wax casting.
Nicole regularly combines the two structures into one piece.
pylons inspire Nicole’s work. She sees these great linear structures in the
cityscape as fuel for the modern world.
The parallels between power pylons and trees are explored in her
designs, by creating her own materials through the process of lost wax casting.
Nicole regularly combines the two structures into one piece.
The
linear aspects of Nicole’s jewellery are very angular and exposed to express
the simplicity of the shapes recognized within structures of power. This,
paired with sources inspired by nature, is the basis of each piece she designs.
The unique texture of the lost wax casting adds originality to each piece, like
a fingerprint, no two pieces are the same.
linear aspects of Nicole’s jewellery are very angular and exposed to express
the simplicity of the shapes recognized within structures of power. This,
paired with sources inspired by nature, is the basis of each piece she designs.
The unique texture of the lost wax casting adds originality to each piece, like
a fingerprint, no two pieces are the same.
Kirsty McQueen
My work is inspired by Scottish history, it’s
romantic and moody landscapes and the rich folklore that grew from within it.
My designs begin with collaging drawing, photographs and natural found objects
such as animal teeth and bone, tree branches and non-precious stones. These
collages then develop into pieces which are most often carved in wax or wood
and then cast in bronze and silver. My heritage, personal connection and self
identification with the female character such as the Cailleach Bheur and other
witch/goddess characters of Scotland’s folklore means that I design with both
them and myself in mind. Designs there for are sensitive to a modern and
ancient aesthetic and lifestyle. Their aim is to give the wearer a confidence
and empowerment that comes from an ancient instinct and evoke a sense of magic,
fantasy and otherworlidness.
romantic and moody landscapes and the rich folklore that grew from within it.
My designs begin with collaging drawing, photographs and natural found objects
such as animal teeth and bone, tree branches and non-precious stones. These
collages then develop into pieces which are most often carved in wax or wood
and then cast in bronze and silver. My heritage, personal connection and self
identification with the female character such as the Cailleach Bheur and other
witch/goddess characters of Scotland’s folklore means that I design with both
them and myself in mind. Designs there for are sensitive to a modern and
ancient aesthetic and lifestyle. Their aim is to give the wearer a confidence
and empowerment that comes from an ancient instinct and evoke a sense of magic,
fantasy and otherworlidness.
Mairi Perston
I
have always been fascinated by the natural environment that surrounds me, and have a particular interest in birds. I am
most in my element whilst outdoors and use this as an opportunity to collect
source material such as leaves, branches, feathers and even the occasional dead
bird! I also enjoy observing birds in their natural environment and recording
this through the medium of photography.
have always been fascinated by the natural environment that surrounds me, and have a particular interest in birds. I am
most in my element whilst outdoors and use this as an opportunity to collect
source material such as leaves, branches, feathers and even the occasional dead
bird! I also enjoy observing birds in their natural environment and recording
this through the medium of photography.
My
jewellery focuses on the particular features and characteristics of various
species of local birds. This gives me the opportunity to research not only the
physical characteristics of the birds themselves, but also to experience them
in their natural habitat. Field research such as this plays a huge role my
creative process and highly influences the jewellery I make.
jewellery focuses on the particular features and characteristics of various
species of local birds. This gives me the opportunity to research not only the
physical characteristics of the birds themselves, but also to experience them
in their natural habitat. Field research such as this plays a huge role my
creative process and highly influences the jewellery I make.
Because
of the delicate scale of the creatures I observe, I use casting to capture the
intricate details of, for example, a sparrow’s foot. I take pleasure in manipulating
something which is perceived as a grotesque or ugly feature into something that
is valued and aestically pleasing.
of the delicate scale of the creatures I observe, I use casting to capture the
intricate details of, for example, a sparrow’s foot. I take pleasure in manipulating
something which is perceived as a grotesque or ugly feature into something that
is valued and aestically pleasing.
Hannah Grace Ryan
Things Left Behind – Reliquaries Re-imagined
As a
jeweller I am drawn to ornamentation. I consider a successful piece to be one
which delights the wearer, intrigues the viewer and satisfies the maker. I like
my finished pieces to appear substantial and wearable, without compromising the
concept behind the design.
jeweller I am drawn to ornamentation. I consider a successful piece to be one
which delights the wearer, intrigues the viewer and satisfies the maker. I like
my finished pieces to appear substantial and wearable, without compromising the
concept behind the design.
My work is
very much inspired and informed by my interest in history. By examining the
past and the events which came before us, we learn how the world has changed.
This inspires me to take ancient techniques and aesthetics, and attempt to
modernise them. I find beauty in precision and favour order over chaos.
very much inspired and informed by my interest in history. By examining the
past and the events which came before us, we learn how the world has changed.
This inspires me to take ancient techniques and aesthetics, and attempt to
modernise them. I find beauty in precision and favour order over chaos.
Throughout the Middle Ages it was
common practice to venerate relics. Extravagant portable reliquaries evolved to
become status symbols and romantic gifts. I am interested in re-imagining these
objects to develop a modern take on this ancient tradition.
common practice to venerate relics. Extravagant portable reliquaries evolved to
become status symbols and romantic gifts. I am interested in re-imagining these
objects to develop a modern take on this ancient tradition.
Ciara Bláth Stapleton
My jewellery longs to be held, worn
and continued; partly missing and somehow incomplete…
and continued; partly missing and somehow incomplete…
The contrasting materials and
processes act as tools to analyse and consolidate both my memory and
understanding. Through the forming and reforming of my objects the familiar
becomes obscured. Polarized fragments become a testament, in a tangible yet
temporary weave, to the inaccessible, witnessed by film, text and touch.
processes act as tools to analyse and consolidate both my memory and
understanding. Through the forming and reforming of my objects the familiar
becomes obscured. Polarized fragments become a testament, in a tangible yet
temporary weave, to the inaccessible, witnessed by film, text and touch.
Highlighted are the transient
miniature details as you are plunged into an entire other world, asking you to
pay attention through the almost invisible moments of time and notation –
relentlessly attempting to engage and disport once again.
miniature details as you are plunged into an entire other world, asking you to
pay attention through the almost invisible moments of time and notation –
relentlessly attempting to engage and disport once again.
Jordane Symington
My
work is inspired by the remote environment of the Outer Hebrides, in the far
north west of Scotland. This area has influenced both the work I produce and
the materials that I use. My jewellery considers my personal connection to this
isolated and visually diverse atmosphere from the flat marshes to the
hillsides, and the coastline. I record and reflect on the natural patterns,
textures and growths that occur.
work is inspired by the remote environment of the Outer Hebrides, in the far
north west of Scotland. This area has influenced both the work I produce and
the materials that I use. My jewellery considers my personal connection to this
isolated and visually diverse atmosphere from the flat marshes to the
hillsides, and the coastline. I record and reflect on the natural patterns,
textures and growths that occur.
Studying
in Glasgow, where I am removed from the location, I gather objects that have a
strong visual representation and relation to the islands, which allow me to
explore the source when distanced from it
in Glasgow, where I am removed from the location, I gather objects that have a
strong visual representation and relation to the islands, which allow me to
explore the source when distanced from it
My
practice is process led, with each piece being an exploration of the themes and
visuals surrounding the environment. I hope that when people see my pieces;
they can make their own associations about the landscape and generate a memory
of another remote and beautiful land.
practice is process led, with each piece being an exploration of the themes and
visuals surrounding the environment. I hope that when people see my pieces;
they can make their own associations about the landscape and generate a memory
of another remote and beautiful land.