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flip side flip side
Cover images (from top left): Kath Inglis, Sim Luttin, Alisa Dewhurst, Belinda Newick; (from bottom left): Melissa Turner, Sally Mahony, Lauren Simeoni, Tassia Joannides flip side Metal Design Studio Alumni 1996 –2006 Alisa Dewhurst, South Australia flip side Metal Design Studio Associate 1996 –1997 Bequest, 2007, necklace, fine silver, 1000 mm length Melissa Turner, New South Wales Metal Design Studio Associate 1996 –1997 #1 Pins and Jump Rings, 2007, brooch/pendant, steel, stainless steel, 50 x 40 x 10 mm Lauren Simeoni, South Australia Metal Design Studio Associate 1997–1998 Lunacy, 2007, wall piece and brooch, printed aluminium, Perspex, magnets, steel pins; wall piece 380 mm diameter Belinda Newick, Victoria Metal Design Studio Associate 1999–2000 Milk Lines, 2007, chain of bright silver 925, mother of pearl, silk thread, 650 mm length Kath Inglis, South Australia Metal Design Studio Associate 2002–2003 Motif, 2007, brooch, dyed and carved PVC, 60 x 35 x 15 mm Sim Luttin, USA Metal Design Studio Associate 2003 –2005 Imagined Moments #2, 2007, neckpiece, porcelain, garnets, onyx, sterling silver, nylon, steel cord, 250 mm diameter Sally Mahony, South Australia Metal Design Studio Associate 2004 –2005 Peel Brooches, 2008, heat coloured and acid etched mild steel, largest 150 x 100 mm Tassia Joannides, South Australia Metal Design Studio Associate 2005 –2006 Zipper Bangle, 2007, zippers, thread, 130 x 90 x 90 mm Flip side is a programmed event of Inside Out, the 13th National Jewellers and Metalsmiths Conference, Adelaide 2008. The artists exhibiting in Flip side; Alisa Dewhurst, Melissa Turner, Lauren Simeoni, Belinda Newick, Kath Inglis, Sim Luttin, Sally Mahony and Tassia Joannides are alumni of Metal Design Studio, JamFactory Contemporary Craft and Design. JamFactory Contemporary Craft and Design 19 Morphett Street, Adelaide, South Australia 5000, Tel +618 8410 0727, www.jamfactory.com.au Gallery Manager: Margaret Hancock JamFactory acknowledges the support and assistance of Arts SA. JamFactory is assisted by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. JamFactory Gallery Program 2008 is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. JamFactory acknowledges the generous support and assistance of its sponsors Envestra, Health Promotions through the Arts, Adelaide Convention and Tourism Authority and Art Gallery Guide. sandra elms design There is always more than one point of view, always several ways to look at something, from the back Inglis has carved out sections from the PVC sheet and reconfigured them into small sculptural forms, and the front, the inside and the outside, the upside and the downside, the safe side and the flip side. the surfaces of which can be read from the back, the front, the top and the bottom in a gentle and flip side continuous rhythm. flip side By her own admission Lauren Simeoni is in love with new materials and technologies and all the possibilities they offer. And like many of us she battles with both their allure and their environmental I asked eight artists to consider another side to their practice, to delve below the surface, to get inside impact. The upside and the down side, the good side and the bad side of technology are as Simeoni their thought process and then have another look from the outside. points out, always there for us to negotiate. Simeoni has articulated the paradox of this situation I expected this exploration to yield bold changes, to be the catalyst for personal shifts and upheavals. in a series of wall pieces and brooches, made in aluminium they are printed with nostalgic images In hindsight I should have realized that this was not going to be the case; each artist in the show reminiscent of a time of personal innocence. has a mature and assured practice and as such the act of inquiry, reflection and scrutiny form part The environments that inspire the forms and colours of Inglis�� work and the substance of Simeoni��s of their natural processes. So when asked to look inside out they were in fact being asked to do what collection are also the staring point for Sim Luttin��s inquiry. Luttin is a temporary resident of the USA, they do anyway… to make considered decisions about their craft. Rather than the Dr Jekyll and Mr and being outside her familiar environment and in a transitory state has heightened her awareness to Hyde results of my imagination the works in Flip side are personal, intimate, surprisingly subtle and the details of a different landscape. It is the temporary nature of things reflected in seasonal rhythms, reflect a gentle revelation of issues central to each artist. growth, renewal and change that form the subject of her work. Luttin has created an ensemble of seed Making jewellery implies an intimate relationship with materials, negotiated through skill and technology like forms, silver brooches and porcelain vessels strung on beaded threads and hanging from wire and sharpened by personal aesthetics. This is clearly evident in the work of Tassia Joannides who filaments that reflect her observations of nature. uses the humble zip as the building block for a series of armbands. The act of zipping and unzipping Also investigating regeneration, rebirth and growth, Alisa Dewhurst and Belinda Newick have used these pieces creates both the form and the surface and quite deliberately blurs the boundaries the human body as their point of reference. Newick has looked under the skin, her own, as a very Metal Design Studio Alumni between the inside and the outside of the objects. Joannides works are simultaneously body and skin, personal response to becoming a new mother. Drawn to medical images of the breast ducts and lobes animated by the simple act of putting them on and then taking them off. Newick has made a series brooches and neckpieces that describe the fragility, fertility and fecundity Flip side Melissa Turner has also explored ambiguities in her collection of work made from mild and stainless of female anatomy. Worn on the outside of the body these pieces are a very potent reminder of the steel. These soft fluid forms have no obvious right side, simply labelled as jewellery, on first glance intricacies and complexities of the inside, the internal landscape of the human body. their function and mechanics is unclear, there has been no preferential treatment to one face over Dewhurst has looked to the microscopic landscape of the body for her conceptual starting point, in 26 January – the other and in an ultimate act of jewellery defiance there doesn��t seem to be a brooch back or clasp. particular the genetic threads and markers that make up the individual. Her crochet work alludes to the 17 February 2008 Turner��s suite of jewellery sits quietly, gently nudging our preconceptions. repetitive genetic message that through the intricate weaving of DNA makes up an individual. While the Sally Mahony is similarly interested in the qualities of a single material. Mahony like Turner has also uniqueness of an individual is represented by the simple act of reproducing a fingerprint in cast metal. chosen steel and through the processes of rolling and etching the artist has made a series of super- It is a simple act, that in the end, draws the work of these eight artists together, the simple act of sized brooches that peel away from the body revealing glimpses of the fabric beneath and flashes of having the conviction to look at their own work from a different angle, to look at it from the inside and the underside of the metal. The eroded surface and satin black finish tempers the hardness of the the out side, from the up side and the downside and then gently, confidently coming to rest at a place material so that we start to doubt that it is metal at all. that they can call their own. Flip side demonstrates the importance that inquiry, reflection and scrutiny Kath Inglis uses a palette inspired by colours visible in shadows and reflected on the surface of water play in maintaining a dynamic individual practice. for her PVC jewellery. PVC is Inglis�� signature material and over time she has developed a deft carving style that has enabled her to transform a flat surface into a shimmering skin. For this body of work Sue Lorraine, Creative Director, Metal Design Studio, JamFactory, January 2008
"flip side flip side"