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Beverley Price

Jeweller
Published: 07.10.2016
Beverley Price. Sculpture: The Mapungubwe Rhinoceros Re-Mined...New Values., 2009 - 2011. Galvanised wire, paint. 43 x 97 x 47 cm. Photo by: Des Tak. Part of: Ellerman Contemporary Fine Art collection, South Africa. From series: African goldsmiths before the European colonisation. Beverley Price
Sculpture: The Mapungubwe Rhinoceros Re-Mined...New Values., 2009 - 2011
Galvanised wire, paint
43 x 97 x 47 cm
Photo by: Des Tak
Part of: Ellerman Contemporary Fine Art collection, South Africa
From series: African goldsmiths before the European colonisation
© By the author. Read Klimt02.net Copyright.
Beverley Price. Sculpture: The Mapungubwe Rhinoceros Re-Mined...New Values., 2009 - 2011. Galvanised wire, paint. 43 x 97 x 47 cm. Photo by: Des Tak. Part of: Ellerman Contemporary Fine Art collection, South Africa. From series: African goldsmiths before the European colonisation. Rear view. Beverley Price
Sculpture: The Mapungubwe Rhinoceros Re-Mined...New Values., 2009 - 2011
Galvanised wire, paint
43 x 97 x 47 cm
Photo by: Des Tak
Part of: Ellerman Contemporary Fine Art collection, South Africa
From series: African goldsmiths before the European colonisation

Rear view

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Beverley Price. Sculpture: The Mapungubwe Rhinoceros Re-Mined...New Values., 2009 - 2011. Textile: Copper, anodised aluminium, laminated selected images of Paul Harris's South African fine art collection, kimberlite. Photo by: Des Tak. Part of: Ellerman Contemporary Fine Art collection, South Africa. From series: African goldsmiths before the European colonisation. Textile 1000 x 1500 x 2,5 cm; Sculpture 43 x 97 x 47 cm. Beverley Price
Sculpture: The Mapungubwe Rhinoceros Re-Mined...New Values., 2009 - 2011
Textile: Copper, anodised aluminium, laminated selected images of Paul Harris's South African fine art collection, kimberlite
Photo by: Des Tak
Part of: Ellerman Contemporary Fine Art collection, South Africa
From series: African goldsmiths before the European colonisation
Textile 1000 x 1500 x 2,5 cm; Sculpture 43 x 97 x 47 cm
© By the author. Read Klimt02.net Copyright.
Beverley Price. Sculpture: The Mapungubwe Rhinoceros Re-Mined...New Values., 2009 - 2011. Textile: Copper, anodised aluminium, laminated selected images of Paul Harris's South African fine art collection, kimberlite. Photo by: Des Tak. Part of: Ellerman Contemporary Fine Art collection, South Africa. From series: African goldsmiths before the European colonisation. Front viewTextile 1000 x 1500 x 2,5 cm; Sculpture 43 x 97 x 47 cm. Beverley Price
Sculpture: The Mapungubwe Rhinoceros Re-Mined...New Values., 2009 - 2011
Textile: Copper, anodised aluminium, laminated selected images of Paul Harris's South African fine art collection, kimberlite
Photo by: Des Tak
Part of: Ellerman Contemporary Fine Art collection, South Africa
From series: African goldsmiths before the European colonisation

Front view
Textile 1000 x 1500 x 2,5 cm; Sculpture 43 x 97 x 47 cm
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Beverley Price. Textile: Textile mantle, 2009 - 2011. Copper, anodised aluminium. 1000 x 1500 x 2.5 cm. Photo by: Des Tak. From series: Mapungubwe Re-mined. Beverley Price
Textile: Textile mantle, 2009 - 2011
Copper, anodised aluminium
1000 x 1500 x 2.5 cm
Photo by: Des Tak
From series: Mapungubwe Re-mined
© By the author. Read Klimt02.net Copyright.
Beverley Price. Textile: Textile mantle, 2009 - 2011. Copper, anodised aluminium. 1000 x 1500 x 2.5 cm. Photo by: Des Tak. From series: Mapungubwe Re-mined. Backside. Beverley Price
Textile: Textile mantle, 2009 - 2011
Copper, anodised aluminium
1000 x 1500 x 2.5 cm
Photo by: Des Tak
From series: Mapungubwe Re-mined

Backside

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Beverley Price. Textile: Textile mantle, 2009 - 2011. Copper, anodised aluminium. 1000 x 1500 x 2.5 cm. Photo by: Des Tak. From series: Mapungubwe Re-mined. Detail view. Beverley Price
Textile: Textile mantle, 2009 - 2011
Copper, anodised aluminium
1000 x 1500 x 2.5 cm
Photo by: Des Tak
From series: Mapungubwe Re-mined

Detail view

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Beverley Price. Textile: Textile mantle, 2009 - 2011. Copper, anodised aluminium. 1000 x 1500 x 2.5 cm. Photo by: Des Tak. From series: Mapungubwe Re-mined. Detail view. Beverley Price
Textile: Textile mantle, 2009 - 2011
Copper, anodised aluminium
1000 x 1500 x 2.5 cm
Photo by: Des Tak
From series: Mapungubwe Re-mined

Detail view

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Unknown. Sculpture: The original fine gold Mapungubwe rhinoceros shell with tail up and single horn, 900 -1300 AD. Fine gold. 8 x 15 x 7 cm. Photo by: AngloGold Ashanti. Inspiration for Beverleys sculptural work. Unknown
Sculpture: The original fine gold Mapungubwe rhinoceros shell with tail up and single horn, 900 -1300 AD
Fine gold
8 x 15 x 7 cm
Photo by: AngloGold Ashanti
Inspiration for Beverleys sculptural work
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Beverley Price. Sculpture: First Mapungubwe rhinoceros - title page for book 'Craft South Africa -Traditional, Transitional Contemporary', 2001. Galvanised wire, paint, aluminium foiled laminated images of western-European style jewellery, fool's gold. Photo by: Pan Macmillan. Part of: Michael Rakusin South African fine art collection, Sydney, Australia. From series: African goldsmiths before the European colonisation. Beverley Price
Sculpture: First Mapungubwe rhinoceros - title page for book "Craft South Africa -Traditional, Transitional Contemporary", 2001
Galvanised wire, paint, aluminium foiled laminated images of western-European style jewellery, fool's gold
Photo by: Pan Macmillan
Part of: Michael Rakusin South African fine art collection, Sydney, Australia
From series: African goldsmiths before the European colonisation
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Beverley Price. Pendant: Cameo Pupa Tapestry, 2015. Holographic postcard, plexiglass, PVC, silver chenier, Swarovski crystals, fine gold, copper wire, copper sheet holograph postcard, gold leaf, Czech sausage paper, metallic thread, beads, rusted wire. 17 x 1 x 21 cm. Photo by: Des Tak. From series: Skin. Front view. Beverley Price
Pendant: Cameo Pupa Tapestry, 2015
Holographic postcard, plexiglass, PVC, silver chenier, Swarovski crystals, fine gold, copper wire, copper sheet holograph postcard, gold leaf, Czech sausage paper, metallic thread, beads, rusted wire
17 x 1 x 21 cm
Photo by: Des Tak
From series: Skin

Front view

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Beverley Price. Pendant: Cameo Pupa Tapestry, 2015. Holographic postcard, plexiglass, PVC, silver chenier, Swarovski crystals, fine gold, copper wire, copper sheet holograph postcard, gold leaf, Czech sausage paper, metallic thread, beads, rusted wire. 17 x 1 x 21 cm. Photo by: Des Tak. From series: Skin. Back view. Beverley Price
Pendant: Cameo Pupa Tapestry, 2015
Holographic postcard, plexiglass, PVC, silver chenier, Swarovski crystals, fine gold, copper wire, copper sheet holograph postcard, gold leaf, Czech sausage paper, metallic thread, beads, rusted wire
17 x 1 x 21 cm
Photo by: Des Tak
From series: Skin

Back view

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Beverley Price. Pendant: Cameo Pupa Tapestry, 2015. Holographic postcard, plexiglass, PVC, silver chenier, Swarovski crystals, fine gold, copper wire, copper sheet holograph postcard, gold leaf, Czech sausage paper, metallic thread, beads, rusted wire. 17 x 1 x 21 cm. Photo by: Des Tak. From series: Skin. Detail front view. Beverley Price
Pendant: Cameo Pupa Tapestry, 2015
Holographic postcard, plexiglass, PVC, silver chenier, Swarovski crystals, fine gold, copper wire, copper sheet holograph postcard, gold leaf, Czech sausage paper, metallic thread, beads, rusted wire
17 x 1 x 21 cm
Photo by: Des Tak
From series: Skin

Detail front view

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Beverley Price. Pendant: Cameo Pupa Tapestry, 2015. Holographic postcard, plexiglass, PVC, silver chenier, Swarovski crystals, fine gold, copper wire, copper sheet holograph postcard, gold leaf, Czech sausage paper, metallic thread, beads, rusted wire. 17 x 1 x 21 cm. Photo by: Des Tak. From series: Skin. Detail back view. Beverley Price
Pendant: Cameo Pupa Tapestry, 2015
Holographic postcard, plexiglass, PVC, silver chenier, Swarovski crystals, fine gold, copper wire, copper sheet holograph postcard, gold leaf, Czech sausage paper, metallic thread, beads, rusted wire
17 x 1 x 21 cm
Photo by: Des Tak
From series: Skin

Detail back view

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Cameo Pupa Tapestry
Beverley Price
2016
Holographic postcard of a female body, bought in Germany, pierced out and edged with rusted copper and orange Czech glass beads, attached to fine-gold-leaf-backed plexiglass, 
bound with copper wire, encapsulated between two sheets of ironed Czech sausage paper, edged with metallic pink thread stitching all contained within a large cameo-shaped, interlocking tapestry frame comprising 1cm thick of pendant-drill- pierced Plexiglass, contained within, clear PVC inserted into the interlocking tapestry frames riveted in place with sterling silver chenier (tube), on one side finished with square purple Swarovski crystals posted on copper wire suspended on thick plastic cable also cameo-shaped with fine gold and Japanese Mokuba chenille.
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Beverley Price. Brooch: You Are What You Eat #1 (Collection, UK), 2008. Czech sausage paper, foiled images, wire, anodised aluminium, glass beads, fine gold, steel. 9 x 2 x 12 cm. Photo by: Beverley Price. From series: Skin. Beverley Price
Brooch: You Are What You Eat #1 (Collection, UK), 2008
Czech sausage paper, foiled images, wire, anodised aluminium, glass beads, fine gold, steel
9 x 2 x 12 cm
Photo by: Beverley Price
From series: Skin
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Beverley Price. Brooch: You Are What You Eat #1 (Collection, UK), 2008. Czech sausage paper, foiled images, wire, anodised aluminium, glass beads, fine gold, steel. 9 x 2 x 12 cm. Photo by: Beverley Price. From series: Skin. Back view. Beverley Price
Brooch: You Are What You Eat #1 (Collection, UK), 2008
Czech sausage paper, foiled images, wire, anodised aluminium, glass beads, fine gold, steel
9 x 2 x 12 cm
Photo by: Beverley Price
From series: Skin

Back view

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Beverley Price. Brooch: You Are What You Eat #1 (Collection, UK), 2008. Czech sausage paper, foiled images, wire, anodised aluminium, glass beads, fine gold, steel. 9 x 2 x 12 cm. Photo by: Beverley Price. From series: Skin. Beverley Price
Brooch: You Are What You Eat #1 (Collection, UK), 2008
Czech sausage paper, foiled images, wire, anodised aluminium, glass beads, fine gold, steel
9 x 2 x 12 cm
Photo by: Beverley Price
From series: Skin
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Beverley Price. Brooch: Where I Live All Gold Is the Heart of The Matter, 2008. Czech sausage paper, metallic thread, aluminium, fine gold leaf, mirror-Plexiglass, glass. 10,5 x 1,5 x 10.5 cm. Photo by: Beverley Price. From series: Skin. Beverley Price
Brooch: Where I Live All Gold Is the Heart of The Matter, 2008
Czech sausage paper, metallic thread, aluminium, fine gold leaf, mirror-Plexiglass, glass
10,5 x 1,5 x 10.5 cm
Photo by: Beverley Price
From series: Skin
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Beverley Price. Brooch: Where I Live All Gold Is the Heart of The Matter, 2008. Czech sausage paper, metallic thread, aluminium, fine gold leaf, mirror-Plexiglass, glass. 10,5 x 1,5 x 10.5 cm. Photo by: Beverley Price. From series: Skin. Back view. Beverley Price
Brooch: Where I Live All Gold Is the Heart of The Matter, 2008
Czech sausage paper, metallic thread, aluminium, fine gold leaf, mirror-Plexiglass, glass
10,5 x 1,5 x 10.5 cm
Photo by: Beverley Price
From series: Skin

Back view

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Beverley Price. Brooch: Enamel Brooch, 2011. Fine silver, enamel, fine gold, steel, metallic thread, wire, Czech sausage paper, wood. 9 x 4 x 6.5 cm. From series: Skin. Beverley Price
Brooch: Enamel Brooch, 2011
Fine silver, enamel, fine gold, steel, metallic thread, wire, Czech sausage paper, wood
9 x 4 x 6.5 cm
From series: Skin
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Beverley Price. Pendant: Long pendant, 2008. Czech sausage paper, sterling silver, garnets, copper wire, brass wire. 4.5 x 1.5 x 17 cm. Photo by: Beverley Price. From series: Skin. Beverley Price
Pendant: Long pendant, 2008
Czech sausage paper, sterling silver, garnets, copper wire, brass wire
4.5 x 1.5 x 17 cm
Photo by: Beverley Price
From series: Skin
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Beverley Price. Pendant: Long pendant, 2008. Czech sausage paper, sterling silver, garnets, copper wire, brass wire. 4.5 x 1.5 x 17 cm. Photo by: Beverley Price. From series: Skin. Back view. Beverley Price
Pendant: Long pendant, 2008
Czech sausage paper, sterling silver, garnets, copper wire, brass wire
4.5 x 1.5 x 17 cm
Photo by: Beverley Price
From series: Skin

Back view

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Beverley Price. Necklace: Inside-Outside Security Walls of Johannesburg, 2008. Aluminium, Czech sausage paper, mirror Plexiglass, paint, telephone wire. 19 x 8 x 39 cm. Photo by: Beverley Price. From series: Skin. Beverley Price
Necklace: Inside-Outside Security Walls of Johannesburg, 2008
Aluminium, Czech sausage paper, mirror Plexiglass, paint, telephone wire
19 x 8 x 39 cm
Photo by: Beverley Price
From series: Skin
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Aurophobia - fear of gold
Beverley Price
2016
I was commissioned to make a gold neckpiece using seven hundred grams of fine gold. The metal was delivered to my workshop. I was overwhelmed to have such  a huge amount of gold to work with. I thought about the symbolism of gold in verbal language and decided to create rituals to capture the metaphoric use of the word 'gold' . I juxtaposed the gold with foods including kosher chicken. The gold was seemingly rendered quotidian by a ‘reverse' alchemical process and I was able to work with the gold and complete  the neckpiece.
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Aurophilia - love of gold
Beverley Price
2016
Gold is a venerated material. Apartheid in South Africa precipitated an approach-avoidance attitude towards gold. For the miners, the goldsmiths and  the wearers of fine jewellery, gold meant fear, pain, love and pleasure. The installation Aurophilia consists of  three  works brought together to represent this dialectic. The works include an adorned miner's gum boot, a shrine of nuggets, and photographs of gold juxtaposed with food.
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Beverley Price. Photograph: The Self As Other, 2005. Necklace, bathroom, mirror, the artist. Photo by: Beverley Price. Beverley Price
Photograph: The Self As Other, 2005
Necklace, bathroom, mirror, the artist
Photo by: Beverley Price
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Beverley Price. Necklace: But can you wear it...you wear what you eat. (Courtesy Helen Drutt-English), 2005. Paper, plastic, aluminium, jump rings. 16 x 3.5 x 37 cm. Photo by: Beverley Price. Beverley Price
Necklace: But can you wear it...you wear what you eat. (Courtesy Helen Drutt-English), 2005
Paper, plastic, aluminium, jump rings
16 x 3.5 x 37 cm
Photo by: Beverley Price
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Beverley Price. Necklace: But can you wear it...you wear what you eat. (Courtesy Helen Drutt-English), 2005. Paper, plastic, aluminium, jump rings. 16 x 3.5 x 37 cm. Photo by: Beverley Price. Detail view. Beverley Price
Necklace: But can you wear it...you wear what you eat. (Courtesy Helen Drutt-English), 2005
Paper, plastic, aluminium, jump rings
16 x 3.5 x 37 cm
Photo by: Beverley Price

Detail view

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Beverley Price. Bangle: Waving Bangle, 2006. Paper, plastic, aluminium, jump rings. Outer Ø 14 x 7.5 cm. Photo by: Beverley Price. From series: Photemes. Beverley Price
Bangle: Waving Bangle, 2006
Paper, plastic, aluminium, jump rings
Outer Ø 14 x 7.5 cm
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Ring: Tomato Paste ring, 2005. Foiled images, jump rings, sterling silver. 3 x 3 x 5 cm. Photo by: Beverley Price. From series: Photemes. Beverley Price
Ring: Tomato Paste ring, 2005
Foiled images, jump rings, sterling silver
3 x 3 x 5 cm
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Ring: Marmite Ring, 2005. Foiled images, jump rings, sterling silver. 3 x 3 x 4 cm. Photo by: Beverley Price. From series: Photemes. Beverley Price
Ring: Marmite Ring, 2005
Foiled images, jump rings, sterling silver
3 x 3 x 4 cm
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Neckpiece: Photemes and woven beads, 2003. Foiled images, wire, plastic beads, cord. Ø 14 x 0.5 x 5 cm. Photo by: Beverley Price. From series: Photemes. Beverley Price
Neckpiece: Photemes and woven beads, 2003
Foiled images, wire, plastic beads, cord
Ø 14 x 0.5 x 5 cm
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Installation: Watching the Eclipse, 2007. All Gold jam' rings, plinth, polariser (tea-bag wrapping). 45 x 30 x 8 cm. Photo by: Grant Dixon. From series: Photemes. Beverley Price
Installation: Watching the Eclipse, 2007
All Gold jam' rings, plinth, polariser (tea-bag wrapping)
45 x 30 x 8 cm
Photo by: Grant Dixon
From series: Photemes
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Beverley Price. Necklace: Little French Story Round the Neck, 1996. 'La Langue Français', niobium, silver. 17.5 x 0.3 x 16 cm. Photo by: Beverley Price. From series: Photemes. Beverley Price
Necklace: Little French Story Round the Neck, 1996
'La Langue Français', niobium, silver
17.5 x 0.3 x 16 cm
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Piece: Nelson Mandela - end of first day of treason trial October 1958, 2007 - 2014. Jurgen Schadeberg image, aluminium foiled images, silver, jump rings. 17.5 x 0.3 x 16 cm. Photo by: Beverley Price. From series: Photemes. Necklace and earrings. Beverley Price
Piece: Nelson Mandela - end of first day of treason trial October 1958, 2007 - 2014
Jurgen Schadeberg image, aluminium foiled images, silver, jump rings
17.5 x 0.3 x 16 cm
Photo by: Beverley Price
From series: Photemes
Necklace and earrings
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. Queen Sonja of Norway in Cape Town - wearing Nelson Mandela Jewellery made for Nobel Peace Centre (Nobel Peace Centre Oslo Mandela image, aluminium, sterling silver, jump rings), Oslo. Photo by Julian Parker and Getty Images..

Queen Sonja of Norway in Cape Town - wearing Nelson Mandela Jewellery made for Nobel Peace Centre (Nobel Peace Centre Oslo Mandela image, aluminium, sterling silver, jump rings), Oslo. Photo by Julian Parker and Getty Images.

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Queen Sonja of Norway in Cape Town - wearing Nelson Mandela Jewellery made for   Nobel Peace Centre (Nobel Peace Centre Mandela image, aluminium, sterling silver, jump rings), Oslo. Photo by Peter Fabricus.
Queen Sonja of Norway in Cape Town - wearing Nelson Mandela Jewellery made for   Nobel Peace Centre (Nobel Peace Centre Mandela image, aluminium, sterling silver, jump rings), Oslo. Photo by Peter Fabricus

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Beverley Price. Piece: Original South African brands, 2001. Iconic brand images, aluminium, silver, jump rings. 17.5 x 0.3 x 16 cm; 18.5 x 0.3 x 4 cm. Photo by: Jennifer Fair. From series: Photemes. Necklace and bracelet. Beverley Price
Piece: Original South African brands, 2001
Iconic brand images, aluminium, silver, jump rings
17.5 x 0.3 x 16 cm; 18.5 x 0.3 x 4 cm
Photo by: Jennifer Fair
From series: Photemes
Necklace and bracelet
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Beverley Price. Piece: Mielie (corn) street seller, 2001. South African cartoonist artwork, foiled images, silver, jump rings. Ring 2.5 x 3 x 2,5 cm, Necklace 17.5 x 0.3 x 16 cm, Earrings 3 x 0.3 x 2.5 cm, Bracelet 16 x 0.3 x 3.5 cm
.  . Photo by: Beverley Price. From series: Photemes. Beverley Price
Piece: Mielie (corn) street seller, 2001
South African cartoonist artwork, foiled images, silver, jump rings
Ring 2.5 x 3 x 2,5 cm, Necklace 17.5 x 0.3 x 16 cm, Earrings 3 x 0.3 x 2.5 cm, Bracelet 16 x 0.3 x 3.5 cm
 
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Necklace: Family Panorama (courtesy Barbara Novick), 2007. Deconstructed image, aluminium, sterling silver, jump rings. 17.5 x 0.3 x 16 cm. Photo by: Beverley Price. From series: Photemes. Beverley Price
Necklace: Family Panorama (courtesy Barbara Novick), 2007
Deconstructed image, aluminium, sterling silver, jump rings
17.5 x 0.3 x 16 cm
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Necklace: Beads, 2004. Images, foil, jump rings, silver, beads. 13 x 14 x 0.3 cm. Photo by: Beverley Price. From series: Photemes. Beverley Price
Necklace: Beads, 2004
Images, foil, jump rings, silver, beads
13 x 14 x 0.3 cm
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Piece: Tretchikoff, 2012. Vladimir Tretchikoff images, aluminium, jump rings, silver, Czech glass beads. Photo by: Beverley Price. From series: Photemes. Neckpiece 13 x 14 x 0.3 cm; Earrings 1.5 x 0.3 x 3 cm. Beverley Price
Piece: Tretchikoff, 2012
Vladimir Tretchikoff images, aluminium, jump rings, silver, Czech glass beads
Photo by: Beverley Price
From series: Photemes
Neckpiece 13 x 14 x 0.3 cm; Earrings 1.5 x 0.3 x 3 cm
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Beverley Price. Necklace: Enamel brands, 2001. Transfer, enamel, silver, base metal. 13 x 14 x 0.3 cm. Photo by: Beverley Price. From series: Photemes. Beverley Price
Necklace: Enamel brands, 2001
Transfer, enamel, silver, base metal
13 x 14 x 0.3 cm
Photo by: Beverley Price
From series: Photemes
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Beverley Price. Necklace: Precious Crossbreeds, 2004, 2006. Foiled images, base metal, fine gold, 18 carat gold. Both neckpieces 16 x 3.5 x 37 cm. Photo by: Beverley Price. From series: Photemes, Aumemes. Beverley Price
Necklace: Precious Crossbreeds, 2004, 2006
Foiled images, base metal, fine gold, 18 carat gold
Both neckpieces 16 x 3.5 x 37 cm
Photo by: Beverley Price
From series: Photemes, Aumemes
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Beverley Price. Necklace: Mapungubwe Re-Mined, 2006 - 2007. Model, 525 grams of fine and 18 carat gold. 16 x 3.5 x 37 cm. Photo by: Des Tak. From series: Aumemes. View 2Hollow articulated neckpiece. Beverley Price
Necklace: Mapungubwe Re-Mined, 2006 - 2007
Model, 525 grams of fine and 18 carat gold
16 x 3.5 x 37 cm
Photo by: Des Tak
From series: Aumemes

View 2
Hollow articulated neckpiece
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Beverley Price. Necklace: Mapungubwe Re-Mined, 2006 - 2007. Model, 525 grams of fine and 18 carat gold. 16 x 3.5 x 37 cm. Photo by: Des Tak. From series: Aumemes. View 4Hollow articulated neckpiece. Beverley Price
Necklace: Mapungubwe Re-Mined, 2006 - 2007
Model, 525 grams of fine and 18 carat gold
16 x 3.5 x 37 cm
Photo by: Des Tak
From series: Aumemes

View 4
Hollow articulated neckpiece
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Beverley Price. Necklace: Mapungubwe Re-Mined, 2006 - 2007. Model, 525 grams of fine and 18 carat gold. 16 x 3.5 x 37 cm. Photo by: Des Tak. From series: Aumemes. View 6Hollow articulated neckpiece. Beverley Price
Necklace: Mapungubwe Re-Mined, 2006 - 2007
Model, 525 grams of fine and 18 carat gold
16 x 3.5 x 37 cm
Photo by: Des Tak
From series: Aumemes

View 6
Hollow articulated neckpiece
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Skin scarification with textured fine gold (Aumemes), Reference: Tiley S, (2004), Mapungubwe: South Africa's Crown Jewels, (Cape Town). .
Skin scarification with textured fine gold (Aumemes), Reference: Tiley S, (2004), Mapungubwe: South Africa's Crown Jewels, (Cape Town). 

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Beverley Price. Photograph: Diptych - Two Neckpieces, 2006, 2007, 2015. Mixed media. 42.0 x 59.4 cm. Photo by: AngloGold Ashanti, Beverley Price. From series: Material Migration. Beverley Price
Photograph: Diptych - Two Neckpieces, 2006, 2007, 2015
Mixed media
42.0 x 59.4 cm
Photo by: AngloGold Ashanti, Beverley Price
From series: Material Migration
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Beverley Price. Photograph: The Garden of Good and Gold – on the ramp at fashion week, 2008. Model, tutu made of vegetation (courtesy Franz Grabe Flower Couture ), kinetic architecture neckpiece. Photo by: AngloGold Ashanti. From series: Material Migration. Beverley Price
Photograph: The Garden of Good and Gold – on the ramp at fashion week, 2008
Model, tutu made of vegetation (courtesy Franz Grabe Flower Couture ), kinetic architecture neckpiece
Photo by: AngloGold Ashanti
From series: Material Migration
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Work from Series: Material Migration, AuDITIONS & Franz Grabe Flower Couture - FTV Edit , Work shown at 0:43 – 0:49, Photographer: AngloGold Ashanti, South Africa.


 

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Beverley Price. Neckpiece: Kinetic Architecture Neckpiece, 2007. 500g 18 carat gold, Maple wood, stain, shellac, beads, tiger tail. 20 x 5 x 42 cm. Photo by: Grant Dixon. From series: Material Migration. Beverley Price
Neckpiece: Kinetic Architecture Neckpiece, 2007
500g 18 carat gold, Maple wood, stain, shellac, beads, tiger tail
20 x 5 x 42 cm
Photo by: Grant Dixon
From series: Material Migration
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Beverley Price. Neckpiece: Kinetic Architecture Neckpiece, 2007. 500g 18 carat gold, Maple wood, stain, shellac, beads, tiger tail. 20 x 5 x 42 cm. Photo by: Grant Dixon. From series: Material Migration. Detail view. Beverley Price
Neckpiece: Kinetic Architecture Neckpiece, 2007
500g 18 carat gold, Maple wood, stain, shellac, beads, tiger tail
20 x 5 x 42 cm
Photo by: Grant Dixon
From series: Material Migration

Detail view

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Beverley Price. Photograph: Polishing the gold rods, 2007. 18carat gold rods, beads, tiger tail. Photo by: Beverley Price. From series: Material Migration. Beverley Price
Photograph: Polishing the gold rods, 2007
18carat gold rods, beads, tiger tail
Photo by: Beverley Price
From series: Material Migration
© By the author. Read Klimt02.net Copyright.
Beverley Price. Neckpiece: Mobile Neckpiece, 2006. Coloured wood sticks, beads, tiger tail. 20 x 5 x 50 cm. Photo by: Beverley Price. From series: Material Migration. Beverley Price
Neckpiece: Mobile Neckpiece, 2006
Coloured wood sticks, beads, tiger tail
20 x 5 x 50 cm
Photo by: Beverley Price
From series: Material Migration
© By the author. Read Klimt02.net Copyright.
Beverley Price. Photograph: Mpho wearing Mobile Neckpiece, 2006. Mixed media. Photo by: Beverley Price. From series: Material Migration. Beverley Price
Photograph: Mpho wearing Mobile Neckpiece, 2006
Mixed media
Photo by: Beverley Price
From series: Material Migration
© By the author. Read Klimt02.net Copyright.
Beverley Price. Neckpiece: Mobile Neckpiece, 2006. Coloured wood sticks, beads, tiger tail. 20 x 5 x 50 cm. Photo by: Beverley Price. From series: Material Migration. Detail view. Beverley Price
Neckpiece: Mobile Neckpiece, 2006
Coloured wood sticks, beads, tiger tail
20 x 5 x 50 cm
Photo by: Beverley Price
From series: Material Migration

Detail view

© By the author. Read Klimt02.net Copyright.
Beverley Price. Photograph: All Packed Up, 2006. Neckpiece, elastic band from MOMA. Ø 12 cm x 5cm. Photo by: Beverley Price. From series: Material Migration. Beverley Price
Photograph: All Packed Up, 2006
Neckpiece, elastic band from MOMA
Ø 12 cm x 5cm
Photo by: Beverley Price
From series: Material Migration
© By the author. Read Klimt02.net Copyright.

Statement

Photemes and Aumemes
 
Photemes are my units of visual information, which comprise individually foiled images. I invented this technique in 1996 and use the units to make up my simple and more complex works.
 
Aumemes are the gold equivalent. They are fine-gold platelets, which I hammer- harden according to the methods used by the South African pre-colonial goldsmiths who lived at Mapungubwe circa 900-1300 AD. My communication with South African archeo-metallurgists informs the surface finish which resembles the patterns of skin scarification and of the pottery shard decorations used by the people of that ancient culture. The Rhinoceros was one of their revered animals. Its symbol also features in my work.

My work is multivalent and is based on “Jewellery”

I make adornment objects, enamel, do conceptual work, sculpture, photography, video, performance, installations, and also make contemporary jewellery in order to earn a living.
I subsume my jewellery work under the Fine Art category of Adornment.
The end of Apartheid brought a period of post-modernist flux, and the blurring of boundaries between Art, Craft and Design. For example, the indigenous black cultural adornment objects, previously known as the craft of the tribal and primitives peoples of Southern Africa, began to be bought into our best national galleries and South African fine art collections.

Making art in these South African times of inter-cultural mixing and cross-paradigmatic explorations, my objects seek to represent an hybridity of aesthetics, techniques and functions between the traditional Western / European jewellery objects and the objects of indigenous cultural peoples of South Africa, including for example the Xhosa, Ndebele, Zulu cultures.

My artistic position is one of ‘observer of the exotic’, as well as ‘participant'. This is partly due to my having lived away from South Africa for thirteen years, returning in 1995, and then spending three years in rural KwaZulu Natal amongst Zulu people. Furthermore I am a white person and a first generation South African Jew.

I completed my post-graduate fine arts studies at Wits University in Johannesburg (2000-2001) where I had the artistic freedom to make large objects and to work in diverse media such as photography and performance.

My work was informed by the ritual ways in which African adornment objects are worn on the moving human body. I began to regard 'the wearer' as a living plinth for jewellery objects. The worn objects are seemingly performed and vivified by the body. The objects are accommodated like sutured appendages and the dynamic adjustments also remind the wearer of his/her vitality.

I make my work to emphasise the front and back of the body. Moreover, when worn, the objects act as a kind of ‘mediator' between the body-wearer, and the earth’s gravity. When combined, these three elements create a dynamic triad. The body continuously makes its ergonomic but fleeting shifts, seeking equilibrium.

Unlike Sisyphus, however, its efforts are well-rewarded with the talismanic benefits of jewellery, which we know so well, including an improved self-concept, a social discourse engagement, self-expression, drawing attention from his/her viewers and feeling good.

When displayed off the body, I intend for my adornment objects to retain a somatic ‘trace’ invoked by a reference to the absent wearer, and not to appear as biological specimens,dormant puppets or static, small sculptures.

From the year 2000, I began exhibiting my work alongside fine artists who were so welcoming as I shared their display space. There was acknowledgement of our reciprocal artistic impact, with some of these artists schuster-nicole-schuster-nicole-beginning-2016-2016 to include jewellery elements in their work. Fortuitously, as there were no jewellery galleries in South Africa at the time, I was immediately able to contextualise my work as fine art and to curate as such and include installation, sculpture and photographic works.

With regards to photography, we jewellers do have an inescapable parasitic reliance upon it in order to portray our works with the right intentionality, and to control the viewer’s attention according to our preference.Where would jewellery be without the mediation of photography, especially for our small objects?

I do use photography more expressively as well in order to convey more conceptual, jewellery-related ideas.

My jewellery work and sculpture is also predicated on a revision of South Africa’s precious mineral history. There was no Truth and Reconciliation Commission (TRC) for the mining industry. Cathartically, I personally circumvent South Africa’s colonial history of gold by referencing the original goldsmiths of Southern Africa. They were an indigenous community who lived and worked at Mapungubuwe circa 900 AD and 1300 AD. They mined and forged fine gold into jewellery and small votive sculptures. They traded with China and India via the East coast of Africa. Their presence precedes by about 500 years any white presence in Africa. The Mapungubwe artifacts were found in 1934, but for political expediency their existence was kept secret until after the change of government in 1994.I reference their gold-smithing techniques and their metal and glass artifacts in my gold and enamelling work.

South Africa has a long history of interrogating, improvising and innovating materials for jewellery objects. This practice dates back to Paleolithic times, namely, the Blombos engraved ochre objects, and to the Iron Age (Mapungubwe) and more recently to the 18th Century and earlier, with the appropriation of western materials including plastic and found objects. For me this phenomenon, as ‘an exotic observer’, is redolent of an 'urgency to adorn', no matter the materials. Perhaps it also reveals  an egalitarian appreciation of materials, as long as they help to produce the needed ritual objects.

In 1996 I invented a method of foiling small images to make 'visual units of information'. I called these units Photemes. I taught my techniques to a group of previously disadvantaged women who became my assistants. Initially I used the photeme units for my ‘bread and butter’ fun ranges of single strand necklaces and bracelets. After eighteen years, this jewellery remains a ‘democratic’ pop-jewellery in South Africa because its appeal is across the socio-economic spectrum. For instance, imagine my delight when the Queen Sonia of Norway was photographed in Cape Town wearing a ‘Mandela necklace’ given to her by the Nobel Peace Centre which we had supplied.  At the other extreme, a beggar in the street once gave me my greatest complement: “Wow lady what a lovely necklace”.
 

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2016:
Collaboration  01 Oct 2016 - 31 Oct 2017  The British Museum Shop.
collaboration for upcoming South African heritage-art exhibition, London,  United Kingdom.
 
Launch  01 May 2016 - 31 May 2016  Launch of Mapungubwe heritage jewellery range.
fine gold, fine silver and enamel, Johannesburg.
 
Collaboration  01 Apr 2016 - 30 Apr 2016  Funky Icon Jewellery.
South Africa, Europe, UK and USA.
Project  01 Jan 2016 - 01 Jan 2017  Africa-to-Africa.
Jewellery project, with Ethiopian- Israelis, Johannesburg, South Africa and Hadera, Israel.
 
Project  01 Jan 2016 - 01 Jan 2017  Enamelling Commission.
Four enamelled Kiddush goblets, Johannesburg
2010:
Fair  03 Mar 2010 - 09 Mar 2010  Schmuck 2010.
2009:
Exhibition  17 Jun 2009 - 15 Aug 2009  INSIDE OUTSIDE, Voices from Johannesburg.
2005:
Fair  10 Mar 2005 - 16 Mar 2005  Schmuck 2005.
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