Projects – Art and object
Actual projects involve research grants, collaborations and affiliations with external researchers and organizations.
All day seminar for Conservation students, Rietveld Academy and RMIT Gold and Silversmithing conducted by Prof. Robert Baines.
In particular ancient gold ornament, the decorative configurations that accumulatively mark their style can also be regarded as a consequence of technology. Their placement and relationship to each other is in part a testimony to the joining technology carried out by the goldsmith.
Combining knowledge of the fabric and methodologies of manufacture offers a vantage point for the conservator to identify and authenticate ancient gold artefacts.
Increasingly more knowledge is gained of joining processes, manufacture of wire working of surface sheet, particular surface decoration methodologies.
- Identification of Ancient Gold Work
- Manufacture particularly in the Etruscan and Greek era.
- Visual description of ancient gold jewellery and laboratory samples.
- Data sheets showing surface and sub surface analyses of alloys using energy-dispersive x-ray fluorescence spectrometer (EDS).SEM imaging of markings and structures indicating manufacture of the decorative components is observed and photographed and this visual information can reveal sequence of assemblage and identify goldworking methods.
- Detailed drawings and Scanning Electron Microscope (SEM) imaging of surfaces and structures, wire and granulation formations.
- Wire variations
- Granulation, contexts and purposes
- Special consideration would be made of workers idiosyncrasies
Rijksmuseum Metal Conservation, Amsterdam
- Lecture: Baines, R (2009). The Identification of Ancient Gold Artifacts, at Ancient Jewellery Seminar, Rijksmuseum Metal Conservation, Amsterdam. 16 February 2009.
Dates of outputs
An aesthetic lexicon. Lucca Preziosa Contemporary Jewellery 2009
‘Cutting the Mirror’, an exhibition curated by Maria Cristina Bergesio, featured 12 leading international artist jewellers. The exhibition was shown in Italy and India. The 2009 edition of Lucca Preziosa engaged the complex theme of beauty in the research jewellery. The exhibition presented a wide range of current research in art jewellery showing metamorphosis and the erosion of the classic beauty’s ideals from the ’60 till today. As with other visual arts research jewellery records the opening and the breaking of canons, introducing the shade of beauty: chaos, deformations, imperfections.
‘Cutting the mirror’ suggests beauty today is complex and stratified conception. The exhibiton featured the work of Mario Pinton, Yasuki Hiramatsu, Graziano Visintin, Robert Baines, Georg W. Dobler, Annelies Planteijd, Karl Fritsch, Svenja John, David Bielander, Lisa Walker, Sally Marsland and Sebastian Buescher.
Lucca, Italy and Delhi, India
- Publication, Ganjam and Le Arti Orafe (2009), Cutting the Mirror – Lucca Preziosa 2009, Ganjam Bangalore, India.
- Exhibition, Cutting the Mirror – Lucca Preziosa 2009 at Italian Embassy Cultural Centre, New Delhi, India. 2 – 12 April 2009.
- Exhibition, Cutting the Mirror – Lucca Preziosa 2009 at Villa Bottini, Lucca, Italy. 23 April – 17 May 2009.
Dates of outputs
Ice Terrane is a body of work by Melbourne-based jeweller Kirsten Haydon, Ice Terrane is inspired equally by the untamed Antarctic landscape and the history it has engendered. Haydon's beautiful and innovative jewellery objects reflect both the restrictive climactic conditions prevalent in Antarctica, and the elusive detail of that environment. Haydon has been making work associated with Antarctica since 2005, when she received a New Zealand Antarctic Arts Fellowship. Ice Terrane is testament to the opportunity this fellowship represented for Haydon and showcases the expansive repertoire of skills and interests evident in her practice.
Auckland, New Zealand
- Exhibition: Ice Terrane, Objectspace, Auckland, New Zealand, 27 February - 9 April 2009
- Artist Talk: Haydon, K., Ice Terrane and the New Zealand Antarctic Arts Fellowship, 28 February 2009, Auckland Festival and Objectspace, Auckland, New Zealand
- Radio Interview: Freeman, L., The Arts on Sunday, Kirsten Haydon: Ice Terrane, Radio New Zealand National, 15 March 2009
- Review: Skinner, D., Antarctic Exploration: Kirsten Haydon’s Ice Terrane at Objectspace, Paua Dreams, 27 April 2009
Date of outputs
2008 – 2010
Melbourne hollow ware is a mix of personal philosophy and material practice. This exhibition of personal vessel making engages the semiotics of manufacture and the migration of ideas. The vessel makers in this exhibition are European but their geographical habitat is at the opposite end of the world to Europe. These vessel makers work within an Antipodean culture of objecthood on one hand and yet their outcomes project as globalised artefact.
The culture of vessel making is a visual culture. Expressing visual intelligence with manual dexterity the makers in this exhibition have taken their philosophical cues from intricate and complex structures while others draw on more obscure references of jewellery history and in one case an Australian indigenous system of knotting. Each vessel maker has his/her own personal knowledge bank. Knowing some biographical information about the maker or the object making can be helpful. Plotlines or sequence strategies, character observed in earlier work can be informing and expansive in viewing the object. There exists an admiring, and possibly an echo of a previous jewellery object or vessel where visual vocabulary previously observed is recognised in the vessel of the moment.
- Mark Edgoose: domestic systems
- James Andrew: water resources
- Nicholas Bastin: action figure and environs
- Simon Cottrell: unit matrixes
- Christopher Milbourne: fusion of found and constructed components
- Jason Wade: recycling of domestic containers
- Robert Baines: linear networks
- Vicky Shukuroglou: hair constructions
- Katherine Wheeler: ambiguity of thin sheet
- Robin Bold: object in association and the condition of scale
- Wayne Guest: environmental statement
Mark Edgoose, James Andrew, Nicholas Bastin, Simon Cottrell, Christopher Milbourne, Jason Wade, Robert Baines, Vicky Shukuroglou, Katherine Wheeler, Robin Bold, Wayne Guest.
Nijmegen, The Netherlands and Melbourne, Australia.
- Exhibition: Melbourne Hollowware at Galerie Marzee, Nijmegen, The Netherlands, 15 February – 15 April 2009
- Publication: (2009) Melbourne Hollowware, School of Art, RMIT Gold and Silversmithing, Melbourne, Australia
- Exhibition: Melbourne Hollowware at School of Art Gallery, 9 - 19 June 2009
Date of outputs
Ville de Cagnes-sur-Mer
Following an invitation in 2006 Professor Robert Baines was asked to have an exhibition and invite Australian art jewellers of the next generation to exhibit their work at the Ville de Cagnes-sur-Mer. The city is a leader in France for showing and collecting Bijou Contemporain (contemporary jewellery) at Espace Solidor. The exhibition by Professor Robert Baines and Gold and Silversmithing postgraduate researchers, Simon Cottrell (MA candidate), Nicholas Bastin (PhD candidate), Kirsten Haydon (Early Career researcher) is titled Melbourne Jewellers, Australia 19 June – 30 August 2009.
Cagnes-sur-Mer, France. Munich, Germany.
- Exhibition: Melbourne Jewellery. Espace Solidor Gallery. Cagnes-sur-Mer, France. 20 June – 30 September 2009
- Publication: (2009) Four Jewellers: Robert Baines, Nicholas Bastin, Simon Cottrell, Kirsten Haydon. Exhibition Catelogue. Cagnes-sur-Mer, France: Espace Solidor,
- Exhibition, Melbourne Jewellers. Galerie Biró Gallery. Munich, Germany. 23 October – 21 November 2009
Date of outputs
As a survey and reflection on the marks in our landscape, street signage is explored through manipulation of colour, texture and shape. Bringing familiar motifs into a jewellery context re-examines the subject, shifting the iconography into wearable art and the visual experience of signage into a harmonious composition.
Linda Hughes (MA by research candidate)
RMIT city campus
- Media: 'Sunday Arts' 01, ABC, Melbourne, Australia, (2008)
- Publication: Hughes, L. (2004) ‘Can we discern the fruitful from the cul-de-sac?’, In: Baines, R. & Errey, S., JMGA Conference - ‘Inherited futures: technology to trap ideas. RMIT Press, Melbourne.
- Included in Publication: Compendium Finale of Contemporary Jewellers 2008, Darling Pubs. Germany
- Included in Publication: 'Object Magazine', Issue 49, Emerging Artist Design Award, Aust. Centre for Craft & Design, Sydney, NSW, Aust. (2005)
- Solo Exhibition: Signwear, Craft Victoria, Melbourne, Aust. (2009)
- Solo Exhibition: Shared Zone, Studio Ingot, Melbourne, Aust. (2007)
- Solo Exhibition: Topiary, Craft Victoria, Melbourne, Aust. (2005)
- Group Exhibition: It's Got Legs Postgraduate & Alumni Awards (2006-09)
- Group Exhibition: RMIT Gold & Silversmithing in the Netherlands, (2009)
- Group Exhibition: International Graduate Show, Galerie Marzee, Nijmegen, NL. (2006)
Date of output
2008 – 2010
Gold and silversmithing research awards
This annual awards exhibition celebrates recent work from the postgraduate researchers (Ph.D, DFA, MA), MFA, Honours students and Alumni in Gold & Silversmithing. The exhibition includes the judging of three prestigious annual awards.
The 2009 winners were:
- Diana Morgan RMIT Postgraduate Gold and Silversmithing First Prize” Brooch, titled ‘Vestige’ by Claire O’Halloran
- Diana Morgan RMIT Postgraduate Gold and Silversmithing Second Prize; Ring, ‘The Elephant and the Umbrella’ by Dougal Haslem
- The Ronnie Bauer RMIT Postgraduate Gold and Silversmithing Travelling Prize, Neckpiece, ‘Ice Airfield’ by Kirsten Haydon
To view all images see School of Art gallery 2009.
Nicholas Bastin, Jacqui Chan, Jan Donaldson, Renee Ugazio, Nina Oikawa, Stephen, Gallagher, Linda Hughes, Elfrun Lach, Nicole Polentas, Vicky Shukuroglou, Katherine Brunacci, Helen Dilkes, Dougal Haslem, Simone Krok, Danielle Lott, Christopher Earl Milbourne, Hyun Jung Moon, Claire O'Halloran, Hannah Ren, Katrina Tyler, Michaela Bruton, Anita Van Doorn, Emily Drummond, Samantha Horstman, Lauren Joffe, Tim Smullen, Robin Bold, Katherine Bowman, Kara Breadmore, Anna Davern, Kirsten Haydon, Lucy Hearn, Joanie Lawson, Sim Luttin, Melissa Miller and Penelope Pollard.
- Exhibition, It’s Got Legs 2009 at RMIT School of Art Gallery, Melbourne, Australia. 8 -18 September 2009.
Date of output
Sponsors: Gemmological Association of Australia, Bauer Gemmological Laboratories, Sapphex & Affiliated Gemstone Wholesalers, John Lazos & Associates Precious Metal Dealers, LTH Castings Pty Ltd, Le-Nora Jewellery Polishing & Plating, PJ Williams & Associates Pty Ltd, RMIT Clubs & Societies.
RMIT gold and silversmithing in the Netherlands
During February 12th – 16th, 2009 as an expression of the ‘Global Passport’, Professor Robert Baines and RMIT Postgraduate Gold and Silversmithing visited The Netherlands with exhibition openings and seminars. A Contemporary jewellery seminar was conducted at the Rietveld Academy and this was then followed by two exhibitions at Galerie Marzee, one of the most prestigious contemporary jewellery galleries in Europe. The exhibitions, Melbourne Hollow Ware and Jewellery Topos supported by Intervention through Art of the School of Art were followed by an Ancient Jewellery seminar at the Rijksmuseum Metal Conservation.
Kara Breadmore, Anita Van Doorn, Penny Pollard, Lucy Hearn , Nicole Polentas, Linda Hughes, Renne Ugazio, Elfrun Lach, Karla Way, Natalia M.P, Dougal Haslem, Katherine Brunacci, Mel Miller, Kirsten Haydon, Nina Oikawa, Nicholas Bastin, Julie Mitchell
Seminar, Contemporary Jewellery Seminar RMIT postgraduate Gold and Silversmithing students to do ppt presentations of Jewellery Topos and Melbourne Hollow ware. The Rietveld Academy, Amsterdam. 12 February 2009.
Date of outputs
Intervention through Art
This installation submission in the Clemenger Art Award was of a treasury room (Schatzkammer) housing 14 groups of works. Eighty-two objects primarily in precious materials and predominantly small sculptural works. This was exhibited at The Ian Potter Centre: NGV Australia at Federation Square and has continued to tour Europe 2008-10.
Commentary on political and popular culture in the field of contemporary art jewellery nationally and internationally is unusual.
From the vantage point of a goldsmith, I am considering how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery, is a possibility and new input can verify authenticity or engender falsehood through the artistic reinterpretation.
The accuracy of the copy can engender perceptions of the authentic. Inclusion of the bogus into that which is accepted as the standard or primary reference becomes subversion.
Making fictitious stories based on historical correctness addresses a fundamental question I have been considering for some time: Is it important to have an authentic material cultural history?
There is a strong artistic concept here that challenges understandings of history, knowledge of technology and popular culture and is a unique statement adding to contemporary arts practice.
The Schatzkammer: A Treasury of Evidence: Housing material evidence of historical events authentically based on other actual jewellery,
Stories of popular events and a rhapsody of jewellery occasions of beautiful caprice.
A meeting of the far left and the far right of the political and social jewellery spectrum.
This is not an extensive statement of ‘gotcher’!!
Then you will know the truth, and the truth will set you free (John 8:32)
Helsinki Finland, Frankfurt Germany, Munich Germany.
- Exhibtion, The Schatzkammer: A Treasury of Evidence at Designmuseo Helsinki, Finland. 10 June – 28 September 2008
- Exhibition, Evidence of Treasure at Museum für Angewandte Kunst, Frankfurt, Germany. 4 December 2008 – 30 May 2009
- Exhibition, A Treasury of Evidence at Handwerkskammer für München und Oberbayern, Galerie Handwerk (Crafts Gallery) Munich, Germany. 26 February 2010 - 10 April 2010
Date of output
2008 – 2010
Intervention through Art, Design Research Institute RMIT University.
Online gallery insert flash as a lightbox object http://prodedit.rmit.edu.au/browse;ID=em556ih46ze7
Wondernamel is an invented word based on the idea of the curiosity cabinet originally called a wonder room or wunderkammer in German. Historically the wonder room was for the collection of objects including but not limited to scientific specimens, art and antiquities. Wondernamel illustrates the joy of colour and intensity of jewellery and object making that is united by the use of enamel.
Enamelling has been practiced at RMIT University even when it was the Working Men’s College (WMC). The use of enamel has been in and out of fashion, and at times has been omitted from the academy altogether. Since 1997 enamelling has been taught within Gold and Silversmithing in the School of Art. As a practice it is not currently offered in the curriculum of any other art schools around Australia. Wondernamel began as a one off exhibition at First Site RMIT Union Gallery in 2007 and is now the only annual exhibition of contemporary enamelling in Australia. As well as an exhibition there are two prizes awarded to students of enamelling. One recognises the technical complexities of enamelling, while the other values new conceptual philosophies in the use of enamel.
The exhibition is curated and coordinated by Dr. Kirsten Haydon, a lecturer in the School of Art at RMIT University, who researches and teaches enamelling in a contemporary context. The artists who participate include both students and graduates from RMIT University who have been working with enamel.
Dr Kirsten Haydon, Students and Alumni of RMIT Gold and Silversmithing
- Exhibition: Wondernamel First Site Gallery RMIT Union Gallery, Melbourne, 16 - 26 May 2007
- Exhibition: Wondernamel First Site Gallery RMIT Union Gallery, Melbourne, 15 - 26 April 2008
- Exhibition: Wondernamel First Site Gallery RMIT Union Gallery, Melbourne, 17 - 28 March 2009
- Exhibition: Wondernamel First Site Gallery RMIT Union Gallery, Melbourne, 25 May - 5 June 2010:
- Awards: The Koodak Enamelling Prize for Technical Excellence and The Debbie Sheezel Enamelling Prize for Excellence in Conceptual Design
- Exhibitors work presented by Professor Linda Darty in her Keynote address during Surfacing, the resurgence of enameling in the 21st Century, the Enamelist Society Conference, Oakland, USA, 2009
- Exhibitors work published in Le Van, M. (ed.), 500 Enameled Objects; A Celebration of Color on Metal Lark Books, Sterling Publishing, New York, 2009
Date of outputs
2007 – ongoing
RMIT Union, Koodak Jewellery Suppliers, Debbie Sheezel, Enamelist