I interpreted the copy to be rather than the technical mimicking of an artist's techniques-- but a conceptual interpretation of the chain and tradition. 

The chain can be a family chain, the linking of two different families. And the harness being the narrative of history, women in past times being obedient to their husbands, and how women are more independent than ever. Our recent weddings are becoming more and more rehearsed, a common practice replicated over and over maybe losing its value as half of marriages end in a divorce.

Not everyone can have their happy ever after, the narrative of an outspoken veil studding down the runaway, no longer conforming to soft - and performative love. The underlining obedience written in the vows of traditional marriages are replicated in the horse harness attached to the veil.

My original concept is a chain wedding veil that connects to the face likewise to a horse harness. The 'Copy' as I interpreted it, is through the material and conceptual lens of an chain. How chains are individually crafted, copied and connected. The jump ring resembling a person partaking the link of two different family chains. The harness being the narrative of history, women in past times being obedient to their husbands, and how women are more independent than ever. Our recent weddings are becoming more and more rehearsed, a common practice replicated over and over maybe losing its value as half of marriages end in a 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.

MINI-ME

14cm x 18cm, human hair, cotton, glazed stoneware
2022

Anouska’s current practice combines ceramics with textiles made from human hair to create a series of absurd, amorphous and ornate sculptures. She collected red hair to make this piece that is both ceramic and sculptural in nature. I was inspired by her early on with my early developments. With the hair compiled to be made into a brooch.

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.

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

Finalised Grass burrs

1.    Invasive

2.    Unwanted wear and tear

3.    Silent weaponry

4.    Disturbance

5.    Bodily

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.

·      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.

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.

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. 

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