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Finding

Exhibition  /  14 Nov 2014  -  30 Jan 2015
Published: 20.10.2014
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Intro
Finding is a project by eight students and three members of staff of the BA Jewellery Design course at Central Saint Martins with the aim of explore the archives and the museum’s collections of the Foundling Hospital. With this starting point each artist developed a piece that represents the opposite feelings that the collection awoke.

Artist list

Caroline Broadhead, Fiona Chong, Gabriella Garnham, Harriet Williams, Haya Lutfallah, Lin Cheung, Maria Militsi, Puyuan Yang, Rosie Greener, Scarlett Zhang, Wizal Wang
Connections and Disconnections

The history of the Foundling Hospital is rich and engaging.  It is of especial interest to those eager to explore the power of objects to denote an emotional connection.

The main aim of this project was to use the collection to initiate creative responses and through this exhibition to contribute to a growing awareness of the Museum’s significance.  Eight students and three members of staff of the BA Jewellery Design course at Central Saint Martins have explored the archives and the museum’s collections to develop ideas for a piece of jewellery.  Another aim of this extra curricula project was to have a chance for students and staff to work together as equals.  In addition, the project included two ‘Tokens of Identity’ workshops, conceived by the jewellery students and delivered to schoolchildren from Maria Fidelis School and Haverstock School, which allowed them the opportunity to impart their findings and enthusiasms to younger learners.

There are many narratives about the Foundling Hospital’s history that are compelling, strong themes of abandonment, regimented living, the lack of intimacy and affection, loss of identity and systems of renaming. The central part of the museum’s collection are the tokens that were left as a lasting, but largely undisclosed, connection of a parent to a child and these are eloquent mementos of their separation. These range from buttons, coins, keys, snippets of ribbon and textiles and even bits of jewellery, all of which could have served to unite a parent and a child long after babyhood. With such a wealth of stories it is impossible not to compare present day attitudes and circumstances to these histories and our discussions have included changes in attitude towards children then and now and how different countries take care of their abandoned children.

Jewellers have a strong awareness of the ability of small, closely held objects to convey the value of a relationship, a locket containing a portrait or lock of hair, a piece that has been gifted or handed down are classic examples.  Each participant has produced a piece that expresses both the positive and the negative feelings the collection elicits - of abandonment and belonging, uniformity and individuality, the loss of identity and the chance for a new life.

Read more about the statement of each artist here.
Caroline Broadhead. Piece: Blanket for a Foundling, 2014. Second artificial pearl necklace, glass beads. I worked from the ideas of the holes, physical and psychological, that were left when the mothers cut a snippet of cloth, often from their own or their baby’s clothes, to leave with their child at the Foundling Hospital.
.  . Caroline Broadhead
Piece: Blanket for a Foundling, 2014
Second artificial pearl necklace, glass beads
I worked from the ideas of the holes, physical and psychological, that were left when the mothers cut a snippet of cloth, often from their own or their baby’s clothes, to leave with their child at the Foundling Hospital.
 
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Lin Cheung. Piece: Pinpoint, 2014. Gicl̩e print. Secure but easily undone, the pins that held the textile tokens in the billet books, inspired me to have one tattooed on my body Рa permanent attachment that cannot be undone.. Lin Cheung
Piece: Pinpoint, 2014
Giclée print
Secure but easily undone, the pins that held the textile tokens in the billet books, inspired me to have one tattooed on my body – a permanent attachment that cannot be undone.
© By the author. Read Klimt02.net Copyright.
Fiona Chong. Neckpiece: Revalued, 2014. Brass, copper, aluminium, nylon. Inspired by the foundling tokens, I focused on the way marks can express loss and act as distinctive identifiers. I embossed scrap pieces of metal, collected from our school's jewellery workshop, with quotes from the Foundling Voices interviews with former pupils and made each into an individual piece of jewellery.. Fiona Chong
Neckpiece: Revalued, 2014
Brass, copper, aluminium, nylon
Inspired by the foundling tokens, I focused on the way marks can express loss and act as distinctive identifiers. I embossed scrap pieces of metal, collected from our school's jewellery workshop, with quotes from the Foundling Voices interviews with former pupils and made each into an individual piece of jewellery.
© By the author. Read Klimt02.net Copyright.
Gabriella Garnham. Piece: Who Are We?, 2014. Engraved, Silver plated brass. In the eighteenth century foundlings were unable to discover their real identity. As technology has developed, I imagined how this might change in the future; a child might receive their DNA markers at birth, represented by a unique sequence of Emojicons, which would then be traceable.. Gabriella Garnham
Piece: Who Are We?, 2014
Engraved, Silver plated brass
In the eighteenth century foundlings were unable to discover their real identity. As technology has developed, I imagined how this might change in the future; a child might receive their DNA markers at birth, represented by a unique sequence of Emojicons, which would then be traceable.
© By the author. Read Klimt02.net Copyright.
Rosie Greener. Piece: Just Another Number, 2014. Brass, suede cord. Theses pieces are the imagined possessions of foundling 24195. Foundling boys were commonly sent to work in the armed forces at the age of 15. My pieces reflect the anonymous use of a number instead of a name for both a christening bangle and an army identity tag.. Rosie Greener
Piece: Just Another Number, 2014
Brass, suede cord
Theses pieces are the imagined possessions of foundling 24195. Foundling boys were commonly sent to work in the armed forces at the age of 15. My pieces reflect the anonymous use of a number instead of a name for both a christening bangle and an army identity tag.
© By the author. Read Klimt02.net Copyright.
Haya Lutfullah. Piece: Bandage, 2014. Sticking plasters. This work is made in response to the tokens left by the mothers with their children at the Foundling Hospital, in case they ever came back to claim them. They were the only link between them. I laser engraved sticking plasters to express a sense of despair and a desire for healing.. Haya Lutfullah
Piece: Bandage, 2014
Sticking plasters
This work is made in response to the tokens left by the mothers with their children at the Foundling Hospital, in case they ever came back to claim them. They were the only link between them. I laser engraved sticking plasters to express a sense of despair and a desire for healing.
© By the author. Read Klimt02.net Copyright.
Harriet Williams. Piece: Bedtime Stories, 2014. Sterling Silver, cardboard. The silhouette of the butterfly illustrates the new life the Foundling Hospital gave to the children while its fragility portrays the uncertain future faced by them. Each necklace is cut from an old children's book, the different titles representing the lost individual personalities of each child.. Harriet Williams
Piece: Bedtime Stories, 2014
Sterling Silver, cardboard
The silhouette of the butterfly illustrates the new life the Foundling Hospital gave to the children while its fragility portrays the uncertain future faced by them. Each necklace is cut from an old children's book, the different titles representing the lost individual personalities of each child.
© By the author. Read Klimt02.net Copyright.
Puyuan Yang. Piece: X, 2014. Found rubber ball. I thought the cross that substituted a signature on one of the registry documents summed up the lack of clear identity of a foundling and marked the estrangement from their past. I found objects in the street and reworked them into crosses, this one from a rubber ball.. Puyuan Yang
Piece: X, 2014
Found rubber ball
I thought the cross that substituted a signature on one of the registry documents summed up the lack of clear identity of a foundling and marked the estrangement from their past. I found objects in the street and reworked them into crosses, this one from a rubber ball.
© By the author. Read Klimt02.net Copyright.
Scarlett Zhang. Necklace: Nothing to Hold on to, 2014. Gold Plated Brass, leather. Each foundling left the Foundling Hospital with a small suitcase with few possessions. These were the start of a new life, which may have been difficult without the emotional strength to manage this. To reference this, the suitcase and its handle are separate on my necklace.. Scarlett Zhang
Necklace: Nothing to Hold on to, 2014
Gold Plated Brass, leather
Each foundling left the Foundling Hospital with a small suitcase with few possessions. These were the start of a new life, which may have been difficult without the emotional strength to manage this. To reference this, the suitcase and its handle are separate on my necklace.
© By the author. Read Klimt02.net Copyright.
Wizal Xinyu Wang. Piece: Foundling Barbie, 2014. Doll, mixed materials. Barbie dolls seem to characterize the present day consumer society, with their abundance of outfits and accoustrements.  The possessions and toys of children today are in sharp contrast to the limited playthings of the foundlings and my piece aims to show this disparity.. Wizal Xinyu Wang
Piece: Foundling Barbie, 2014
Doll, mixed materials
Barbie dolls seem to characterize the present day consumer society, with their abundance of outfits and accoustrements.  The possessions and toys of children today are in sharp contrast to the limited playthings of the foundlings and my piece aims to show this disparity.
© By the author. Read Klimt02.net Copyright.
Maria Militsi. Necklace: angible Token/Gold Necklace, 2014. used shoe rack, steel cast, gold. 68x29 cm; 12.5x5.7 cm; 40 cm length. Walking down Horsell Road, London, N5 1XL one day in March I came across, separately, a shoe rack and a toddler`s pink rubber clog. Although both these objects were out of place, they had a strong connection. To make this connection stronger, I cast the clog in steel, which differentiates it from its original colour, weight and purpose and mirrors the texture of the rusty shoe rack to integrate them visually.. Maria Militsi
Necklace: angible Token/Gold Necklace, 2014
used shoe rack, steel cast, gold
68x29 cm; 12.5x5.7 cm; 40 cm length
Walking down Horsell Road, London, N5 1XL one day in March I came across, separately, a shoe rack and a toddler`s pink rubber clog. Although both these objects were out of place, they had a strong connection. To make this connection stronger, I cast the clog in steel, which differentiates it from its original colour, weight and purpose and mirrors the texture of the rusty shoe rack to integrate them visually.
© By the author. Read Klimt02.net Copyright.
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