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In my artistic exploration, I've delved into intensive experimentation and innovation, culminating in the creation of miniature designs that cause destruction and assert their invasive nature upon attachment. Inspired by the tenacity of grass burrs, these metal clingers possess the ability to attach themselves to fabric, animals, and people, embodying the objects as organic hindrances and invasive jewelry designs. I am fascinated by the interactions of these objects causing involuntary wear and tear on the wearer. blurring and expanding the lines between adornment and affliction.

My artistic progress has led me to reinterpret "The Expanded Field" by innovative transformation of grass burrs into recycled metal to be repurposed and reimagined "brooch". I aim to challenge the traditional notion of "wearer chooses object" in jewellery, shifting towards a paradigm where the object chooses the wearer, symbolising a speculative exploration of parasitism and symbiosis along humans.

My initial concepts and experiments, ranging from hair-focused representations to comedic dinosaur-inspired ideas, have converged into the creation of these metal burrs. These burrs, fully composed of metal and drawn by recycled saw-blades, .The incorpation of soft sculptures further reinforces the organic essence from which these creations emerge.

Viewed through a lens of science fiction and bodily exploration, these metal burrs evoke the imagery of parasitism damaging cherished garments and afflicting possible damage. The playful ambiguity allows the viewer interpret the context these objects are placed in. Whether it's technological?, sci-fi?, infectious? Opens itself up to the invitation to be absorbed conceptually. These burrs distribution from nature to the intrusion within domestic spaces inspired my vision. This distribution demonstrates the artificial hindrance of this art from imagining the impact once unleashed upon the world.

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These copper metal clay objects challenge the commercial and traditional standards of jewellery, blurring the lines between adornment and affliction. The relationship of a person choosing to wear adornments is displaced by the burr's indicative parasitism to attach themselves to a person. The expansion of brooch pin is developed through the steel saw blades' ability to catch on fabric and hair. These burrs are recognised as invasive, parasitic, and destructive objects that can hinder, wear, and tear anyone or anything. The attachment of these metal burrs innovatively distributes themselves through attachment similarly to grass burrs to the intrusion within domestic spaces. The playful ambiguity allows the viewer to interpret the context these objects are placed in. Whether it's technological?, sci-fi?, infectious? Opens itself up to the invitation to be absorbed conceptually. The Expanded field brief is shown within my art-process and development of the reimagined brooch to be an aggressive and momentous piece. The assertion of these advanced grass burrs action an alarming response that enhances the hostile adornment. Risking affliction if choosing to wear, these objects tense tenacity repels others of its very symbiosis purpose to attach and bind themselves in you.

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My initial concept and experimentation of a hair-casted brooches converged into a new creation of these metal burrs. These copper metal clay objects challenge the commercial and traditional standards of jewellery, blurring the lines between adornment and affliction. The relationship of a person choosing to wear adornments is displaced by the burr's indicative parasitism to attach themselves to a person. The expansion of brooch pin, is developed through the steel saw blades' ability to catch on fabric and hair. These burrs are recognised as invasive, parasitic and destructive objects that can hinder, wear, and tear anyone or anything. The attachment of these metal burrs innovatively distributes themselves through attachment similarly to grass burrs to the intrusion within domestic spaces. The playful ambiguity allows the viewer interpret the context these objects are placed in. Whether it's technological?, sci-fi?, infectious? Opens itself up to the invitation to be absorbed conceptually. The Expanded field brief is shown within my art-process and development of the reimagined brooch to be an aggressive and momentous piece. The assertion of these advanced grass burrs action an alarming response that enhances the hostile adornment. Risking affliction if choosing to wear, these objects tense tenacity repels others of its very symbiosis purpose to attach and bind themselves in you.

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Through intensive experimentation and innovation I have developed a miniature design that is unwanted by its function and its invasive nature to attach. These metal clingers inspired by grass burrs can attach to their desired fabric, animal and person. The concept of objects represent an organic hinderance of nature and invasive jewellery designs. I liked the idea of these objects to involuntarily wear and tear a person. The interpretation of The Expanded field in regards to my final work is the innovation of an organic product into an metal configuration that repurposes recycled material.  The pushing of progress of “wearer chooses object” in jewellery to “object chooses wearer”. The speculative approach to these objects and their function developed through my first concepts and experiments with hair being the focus of choosing representation and expression and my Dinosaurs idea being very comedic and imaginative blended with an inbetween being these spurrs

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Soldering brooch

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Soldered brooch

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CUTTLE FISH CASTING WITH RHONDA .

CARVING BONE -OPEN SILVER CASTING

I made mine look like a shell however results were not defined, the cuttlefish lines did not transfer for some reason.

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The visit at the Design centre and Stanley St gallery with Oliver where we saw multiple types of jewellery and metalwork

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Copper and acrylic indentation

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Riveting acrylic where you fasten metal to it, through soldiering brass wire onto the design then hammered in place. However I didn't end up riveting my brooch

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APR 16, WK 8 INTRO into "the Expanded field "

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APR 16, WK 8 INTRO into "the Expanded field "

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Oliver introduced the topic for project 2, " The Expanded Field" where he explained the outlines and ruling of the assessment.

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The metal clay once fired, had some vulnerabilities the saw blades were more fragile, which required me to oil quench them. This improved the strength of them and gave them a purple like exterior

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Patricia Piccinini is a famous artist who commissions silicone life-life sculptures that disrupt audiences. Her works influenced the soft sculptures to give an organism, parasitic value. Her pieces use hair and has a creepy, surreal appearance.

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Brooch will be made from silver and will be a process of using human hair and mould skills to be able to make this project.

·      Wax (for mould)

·      Alginate (to get the impression of the hair

·      Silver (to be casted in)

Dino will be copper and enamel powder.

·      Copper sheet

·      Enamel powders.

New change through unsuccessful experimentation.

Metal grass-burs

·      Metal clay

-Copper

-Silver Copper

·      Recycled Sawblades

·      Soft sculptures to show function.

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Critical thinking

Thinking about the relationship of jewellery and the feminine undertones to wearing brooches. The message where a brooch is placed communicates a lot. The hair being an outer body aesthetic exhibits a level of choice, confidence and comedic value. Wearing a brooch that similarly resembles chest, nipple and public hair is a gendered message of hair being a choice not an expectation.

The Grass burr was something that naturally came into fruition with recycled sawblades and modelling clay. Grass burrs to remind me of my cat’s fur stuck in these grass burrs.  The Burrs are youthful aspect of a very annoying. attachment. Running in the grass with these stuck on you are kind of a symbol of a free spirit.

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Part B:

Finalised Grass burrs

1.    Invasive

2.    Unwanted wear and tear

3.    Silent weaponry

4.    Disturbance

5.    Bodily

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Part A: Key messages & Aspects

Brooch made from hair.

1.    Identity

2.    Invasive aesthetic

3.    Binding and unwanted wear

4.    Boundaries

Dino head comment.

1.    Beyond human relationships

2.    Consumerism

3.    Affection

4.    Speculative

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Presentation aspects - Critical thinking 

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Presentation aspects - Critical thinking 

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As most of my experiments went wrong, I wanted to focus on the sawblade grass burrs. as I was waiting for the metal clay to be fired in the kiln.
I was thinking of ways how to present these miniature metalwork pieces. I purchased the and fabric to make soft sculptures that they can be displayed on and show their ability to connect to unwanted surfaces. Critically, thinking of how these items could be conceived and address what I’m trying to achieve.

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This process was me thinking of items that would often be discarded likewise to the sawblades. The razor is a intimate hygiene tool being turned into a personal brooch just sounded interesting to me. Another experiment.

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This title was funny to me as I had a experience where I was out city clubbing for the first time and these girls lodged pieces of gum in my hair. It was absolutely horrifying and made me so angry, upset etc. “Bitch Balls” is like gums wicked cousin. These bad boys would absolutely get stuck and cause some misery…

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Hair was not defined , got stuck in the mold and the wax was brown so it looked like poop

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Loved the concept of white noise and how the shells displace you into this lobo state of hearing and processing environments.

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On display of broken bits and bobs used to make "space Junk"

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During the seminar Joyce showed us her Space Junk which aligns with my concept of my grass burrs. her practice has influenced the way to present my work and consider recycled materials.

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Hair Matter(s)

This piece informed my work with the way she straightened, curled and styled the hair to complete these works. The way she has presented these hair matters is really interesting in the way they tell gender and aesthetics. I curled and crumpled the hair to get more texture for the alginate. It was unsuccessful but at least this hair informed me of my choices heading into it.

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Concept 1

The hair brooch. I wanted turn hair into metal. A process of algulatie , hardening the hair and then casting the cast in metal. I wanted to do it in silver. I begun to think of the meaning of a brooch and the effect it could have when worn.

What inspired me of this is the 18th century Memento Mori Mourning pins that encased the hair of the deceased. Maybe this pin is my reminder of Memento Mori.

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I visited Verge to see Vicky Browne’s exhibition, it was very immersive, and I loved the raw elements of metal, dirt and light. Earthy atmosphere that was enhanced by sound and movement.

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Concept 2

My major of Design tapped into this concept of the design manifesto. How we should limit the advertising of unnecessary products like cat food and toilet paper. It’s impossible to cater for pets as they are not the ones going out and buying wet food. Just like pet costumes and clothing is an example of beyond repair of the consumer market.

My expanded field is Jorn’s ‘what if’ principle, what if Dinosaurs genetically came back in future. What would happen if it could be a pet?

What if High fashion pet lines catered for Dinos likewise to cats and dogs. What if  dinosaurs  were regularly dressed up in celebrities instagram posts?

The witty and ridiculous nature of this work is that we are not far from the truth. The truth that In 2019, America alone spent half a billion on pet costumes during Halloween. The influence of celebrities pushes the desire for exotic animals and to dress them up to display wealth.

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Perry, F. 2022, Meet the designers creating everyday objects and art from human hair, Atlanta.

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Perry, F. 2022, Meet the designers creating everyday objects and art from human hair, Atlanta.

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helped with finding artists

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Through the lens of a chain veil and ceremony I navigate my conflicting feelings of marriage bleaching my independence and the ramifications I find as an  LGBTQIA+ woman. The challenging battle of being valued beyond gender and presentation is one that is heavily installed in me. How our history as women has been written from those full of control, violence, and power. The “Copy” has expanded my appropriation of this replicated ceremony and its harsh realisations. Many marriages end in divorce further pushing the pretentious  ceremony couples feel need to put on display. This anti-establishment is not one to point fingers , but rather be a reminder of the love we share is celebrated in the smallest of rooms kindred with soul. The horse harness is to revert back to how this animal has both independence and obedience, but again domesticated. I treat this feature as an innuendo of women of the early 1950’s.  I bear the chains to the softness of the white fabric to juxtapose the indifferences of wanting to celebrate love seperate from societal means. A society that once gate-kept various kinds of love and vows that enforced women to follow their male counterparts.

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Enamelling Prolonged Cat no. 1 in progress 

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Enamelling Prolonged Cat no. 1 in progress 

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James Merry, Mask for Tilda Swinton, Vogue Ukraine

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James Merry, Mask for Tilda Swinton, Vogue Ukraine

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James Merry, custom masks Björkestral Live Concerts

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James Merry, custom masks Björkestral Live Concerts

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clair falkenstein.
Opposite Page

Forged and constructed gold hair ornament.

“Claire Falkenstein was an American sculptor, painter, printmaker, jewelry designer, and teacher, most renowned for her often large-scale abstract metal ”

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SUSANNA HERON

66 'Fur Hat, 1984; musquash and

copper.

415 × 300 × 190 mm.

67 'Black Felt Hat', 1984; dyed black felt

160 × 180 × 240 mm

68 'Ruff', 1983; nylon dyed with five different blacks

• 700 × 250 mm.

69 'Black and White Hat', 1981; cotton fabric stretched over steel wire frame.

1150 × 460 × 70 mm.

67C

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I like to post my art outside of the unit to show development and exterior visual influencers.

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Oliver was our tech for the presentations many off my peers had innovative concepts of the "copy". I was 3rd to present and overall went smoothly. Oliver suggested an artist to research and how maybe my artists were outdated , although I knew this from the limited jewellery books that are current in the fisher library. he liked the idea though. my concern is the copy itself other than the chains.

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The development from my initial concept and experiments of a hair-focus brooch launched the creation of these metal clay burrs. I was interested in the decision-making of where typically the wearer chooses which adornment to wear. By pushing this practice, the commercial and traditional guidelines of jewellery standards are violated. The active attachment of these aggressive burrs places them into a dictative

My initial concept and experimentation of a hair-casted brooch converged into the creation of these metal burrs. These copper metal clay objects challenge the commercial and traditional standards of jewellery, blurring the lines between adornment and affliction. The relationship of a person choosing to wear adornments is displaced by the burr's indicative parasitism to attach themselves to a person. The expansion of brooch pin, is developed through the steel saw blades' ability to catch on fabric and hair. These burrs capture as invasive, parasitic and destructive objects that can hinder, wear, and tear anyone/anything. The attachment of these metal burrs innovatively distributes themselves through attachment similarly to grass burrs

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Trying on the veil

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The untitled (chain Veil) is an jewellery and textiles work that aligns to the copy through its cultural and material reciprocation. I delve into the intricate layers of marriage and its complexities through the prism of my identity as an LGBTQIA+ woman. The bonet veil is the historical backdrop of the women experience. These narratives often marred by control, violence, and power dynamics, serves as a poignant backdrop to my work. By appropriating and expanding upon the traditional marriage ceremonies, I confront the harsh realities and expectations imposed upon couples, that often leading to disillusionment and divorce.

The materiality of chains alongside white fabric breeds tension to its details. I confront the conflicting emotions surrounding marriage and the societal constructs that dictate its narrative.

The face harness aethestically communicates the submission of act and voice. The silver metal incarcerate the persona I have created to help visualise the negatives of marriage.

This tension draws parallels to societal homophobia and sexism that discredits love. The glamification of marriage pressures couples to act, speak and love according to society. Destructing this social construct we are reminded that love transcends beyond grand displays.

Ultimately,  my art seeks to challenge and subvert marginalised forms of love and the perpetuated heterosexual vows of subservience. By witnessing the conflicts and tensions that surround “marriage” in recent years.

This piece is a gentle yet firm reminder that love transcends societal norms and grand displays.

Through the metaphor of a horse harness, I navigate themes of “domestication” and “sexualistation” of women as this is repeated in every generation. Removing implications weddings should celebrate love in the simplest of spaces, resonating with the depth of the human soul.

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Through experimentation and innovation, I delve into the intricate layers of marriage and its complexities through the prism of my identity as an LGBTQIA+ woman. Through the lens of a chain veil and ceremonial symbolism, I confront the conflicting emotions surrounding marriage and the societal constructs that dictate its narrative.

The historical backdrop of women's experiences, often marred by control, violence, and power dynamics, serves as a poignant backdrop to my work. By appropriating and expanding upon the traditional marriage ceremony, I confront the harsh realities and expectations imposed upon couples, often leading to disillusionment and divorce.

Rather than casting blame, this piece marks as a gentle yet firm reminder that love transcends societal norms and grand displays. I embrace the magnetism of intimacy and celebrating love in the simplest of spaces, resonating with the depth of the human soul.

Through the metaphor of a horse harness, I navigate notions of both independence and obedience, drawing parallels to the “domestication” of women in the past. The juxtaposition of chains against soft white fabric highlights the tension between societal expectations and the desire for love to exist beyond its confines.

Ultimately, my art seeks to challenge and subvert the historical narratives that have marginalized various forms of love and perpetuated vows of subservience. By bearing witness to these complexities, I strive to carve an new perspective where love can be celebrated authentically and inclusively.

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Wk 3 Continuous jump rings for final project 

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Wk 3 Continuous jump rings for final project 

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Otto Künzli is an influential jeweler (Munich-based) is most known for his ‘GOLD MAKES YOU BLIND BRACELET, shares similarities of mt work through its incorporation of cultural references and symbolism. His wit and unique demonstration of simplified, yet sophisticated messaging is what I strive for the complexity of this assessment. The rubber and gold bracelet (gold makes you blind)  is a comedic and powerful work that deprives the jewelry’s metallic commodity and appearance. Untitled (Chain Veil) is purposely made in aluminium to take away the glamtification of gold and wealth. Rather the silver is to further push this social tension and imprisonment theme.

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Nevermore 2010 still-born fawn, black garnet beads, sterling silver, coque feathers, chain mail, glass27 x 41 x 59 cm

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Julia Deville art with taxindermity has an goth essence that is infectious in my art. The dark and cryptic arts have been an ongoing motif in my portfolio so far. Connecting back to my x-rays displays in LIGHT and DARK in 1st year to the present portrayal of identity and the anti-reetablishement of weddings. Julia Deville’s practice is ususual and gravitigationally eye catching. ‘NEVERMORE’ a taximdermited still-born fawn incrusted in glass, black garnet beads, sterling silver, coque feathers, and chain mail caught my attention as my horse harness has gothic undertones.