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Handshake 6: Signing In

Exhibition  /  31 Oct 2020  -  13 Nov 2020
Published: 22.10.2020
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Intro
Signing In presents the twelve emerging artists who have signed up for a two-year commitment to Handshake 6. This group started in January 2020, initiating their creative processes with a masterclass from US-based artist Iris Eichenberg. The title of the exhibition also gives a nod to this exceptional year of the coronavirus, and there is perhaps evidence of this in some of the work. 

Artist list

Macarena Bernal, Antonia Boyle, Aphra Cheesman, Jack Hadley, Fran Leitch, Nikki Perry, Amelia Rothwell, Mia Straka, Simon Swale, Susan Videler, Michelle Wilkinson, Nina van Duijnhoven
Signing In reflects the participants’ work as a group since the start of their mentorship and marks the halfway point of their two-year journey. Here you will see an emphasis on process as much as "finished" work, an opportunity to catch a glimpse of ideas in their nascent phase, with many options and opportunities yet to emerge.

Opening:
Friday, 30 November, 5:30 pm.
Opening Hours:
Mondays to Fridays, 10 am - 6 pm.
Saturdays, 10 am - 3 pm.


About the Handshake Project:
The Handshake Project supports early-career New Zealand jewellery artists, allowing them to develop ideas and artworks for a series of exhibitions with the assistance of a chosen mentor. Each mentor acts as a sounding board in the development and making of artworks. The Handshake Project offers a unique opportunity for artists to extend themselves beyond the confines of commercial necessities, providing encouragement and freedom to test the boundaries of their chosen craft. The progressive nature of the program aims to foster independent makers with innovative and energetic practice.
Macarena Bernal. Necklace: Degrade, 2020. Polymer resin, pigments, sterling silver, magnet, trimmer line.. Macarena Bernal
Necklace: Degrade, 2020
Polymer resin, pigments, sterling silver, magnet, trimmer line.
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Macarena Bernal. Set: Pantone Rings, 2020. Powder coated bronze, polymer resin, pigments.. Wanting to address social inequality by means of jewellery, I began researching skin color. This confronting and thought-provoking subject is exposing me to uncomfortable truths such as unfounded perceptions, divisive beauty, and pre-conceived value. Observing, mimicking, selecting, organizing, and threading skin tones in the shape of beads to later wear, is revealing the limitations of my own skin colour and the inequality I have experienced as a Latino immigrant in NZ.. Macarena Bernal
Set: Pantone Rings, 2020
Powder coated bronze, polymer resin, pigments.

Wanting to address social inequality by means of jewellery, I began researching skin color. This confronting and thought-provoking subject is exposing me to uncomfortable truths such as unfounded perceptions, divisive beauty, and pre-conceived value. Observing, mimicking, selecting, organizing, and threading skin tones in the shape of beads to later wear, is revealing the limitations of my own skin colour and the inequality I have experienced as a Latino immigrant in NZ.

© By the author. Read Klimt02.net Copyright.
Aphra Cheesman. Set: Untitled, 2020. This series is a result of an ongoing practice of observing and collecting in daily life. I seek out encounters that have occurred between objects and the body and in doing so, reflect on how we connect with the world in a corporeal and tactile sense.. Aphra Cheesman
Set: Untitled, 2020

This series is a result of an ongoing practice of observing and collecting in daily life. I seek out encounters that have occurred between objects and the body and in doing so, reflect on how we connect with the world in a corporeal and tactile sense.

© By the author. Read Klimt02.net Copyright.
Fran Leitch. Object: Sleeves, 2021. Cotton, linen thread.. 300 x 30 cm. Fran Leitch
Object: Sleeves, 2021
Cotton, linen thread.
300 x 30 cm
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Fran Leicht. Object: Locked in sleeves, lost hands, 2020. Cotton, cotton thread, plastic.. 100 x 15 cm. I have always found solace and purpose in the act of formulating my thoughts, memories, dreams, and ideologies into tangible forms.  My ancestors were lace makers, seamstresses, weavers and goldsmiths; I feel their hands pushing upon my back every day when I work. The work I’am currently absorbed in for the HS6 honours and quietly tells the feminine narratives which have been passed down in my family for generations. Some narratives you can see directly in the work, while others I only hold in my heart and mind as I sew, this process creates an ambiguous reading, telling a story without telling it...!  . Fran Leicht
Object: Locked in sleeves, lost hands, 2020
Cotton, cotton thread, plastic.
100 x 15 cm

I have always found solace and purpose in the act of formulating my thoughts, memories, dreams, and ideologies into tangible forms.  My ancestors were lace makers, seamstresses, weavers and goldsmiths; I feel their hands pushing upon my back every day when I work. The work I’am currently absorbed in for the HS6 honours and quietly tells the feminine narratives which have been passed down in my family for generations. Some narratives you can see directly in the work, while others I only hold in my heart and mind as I sew, this process creates an ambiguous reading, telling a story without telling it...!  

© By the author. Read Klimt02.net Copyright.
Amelia Rothwell. Object: Untitled, 2020. Stone, EPNS, soap, Kauri wood, cotton, tissue, felt, lint, resin, oxidized silver.. Stones. On the ground and of the ground. Grounded; grounding. Hand objects.. Amelia Rothwell
Object: Untitled, 2020
Stone, EPNS, soap, Kauri wood, cotton, tissue, felt, lint, resin, oxidized silver.

Stones. On the ground and of the ground. Grounded; grounding. Hand objects.

© By the author. Read Klimt02.net Copyright.
Simon Swale. Object: Gate (Shadow), 2020. PVA foam.. 211 x 51 x 1 cm. This work explores our subjective relationship to the world from both physical and phenomenological perspectives. I have attempted to create objects which when interacted with, create an embodied knowing of the world through a renegotiating of subject and object. The wearing of these objects is interactive, activating space, the senses, and the body. Gates and Gateways offer the experience of liminal space and the crossing of thresholds. I perceive these works as portals to new spaces: physical, psychological, and emotional.. Simon Swale
Object: Gate (Shadow), 2020
PVA foam.
211 x 51 x 1 cm

This work explores our subjective relationship to the world from both physical and phenomenological perspectives. I have attempted to create objects which when interacted with, create an embodied knowing of the world through a renegotiating of subject and object. The wearing of these objects is interactive, activating space, the senses, and the body. Gates and Gateways offer the experience of liminal space and the crossing of thresholds. I perceive these works as portals to new spaces: physical, psychological, and emotional.

© By the author. Read Klimt02.net Copyright.
Susan Videler. Brooch: Clench, 2020. Oxidised copper, silk, wire.. 10 x 6 x 5 cm. We are immersed in a web of visible and invisible threads and knots of attachment and thinking. These patterns and responses influence our physical and mental wellbeing. My work explores through texture, form, and colour the nuances of entanglement.. Susan Videler
Brooch: Clench, 2020
Oxidised copper, silk, wire.
10 x 6 x 5 cm

We are immersed in a web of visible and invisible threads and knots of attachment and thinking. These patterns and responses influence our physical and mental wellbeing. My work explores through texture, form, and colour the nuances of entanglement.

© By the author. Read Klimt02.net Copyright.
Nina van Duijnhoven. Object: Untitled, 2020. Paper.. Nina van Duijnhoven
Object: Untitled, 2020
Paper.
© By the author. Read Klimt02.net Copyright.
Nina van Duijnhoven. Object: Untitled, 2020. Paper.. My work revolves around environmental issues and spiritual beliefs, such as impermanence and non-attachment. I want to explore non-attachment to material possessions, emotions, ideas, and opinions, to jewellery owned and worn. If we can embrace impermanence on a spiritual level, we create freedom. Paper by its ephemeral nature symbolizes transience. How will the short-term life span of paper jewellery affect the relationship the wearer has with the piece? Will it be enjoyed fully while it lasts, or will it mostly be treasured in a drawer?. Nina van Duijnhoven
Object: Untitled, 2020
Paper.

My work revolves around environmental issues and spiritual beliefs, such as impermanence and non-attachment. I want to explore non-attachment to material possessions, emotions, ideas, and opinions, to jewellery owned and worn. If we can embrace impermanence on a spiritual level, we create freedom. Paper by its ephemeral nature symbolizes transience. How will the short-term life span of paper jewellery affect the relationship the wearer has with the piece? Will it be enjoyed fully while it lasts, or will it mostly be treasured in a drawer?

© By the author. Read Klimt02.net Copyright.
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