Rings !
Exhibition
/
05 Jun 2021
-
17 Jul 2021
Published: 01.07.2021
Helen Britton
Ring: Scull, 2009
Silver, glass, paint.
Part of: Helen W. Drutt English Collection
The work started in an old warehouse in America. Beginning in 1948, the company had been buying up mass-produced jewellery leftovers worldwide, in a kind of frenzy of collection. You could find stuff from virtually every country and every decade of the 20th century. There were millions of elements, and I read them as a kind of emotional history of the everyday. In having been produced quickly and cheaply, I enjoyed the freedom of design I found in these small objects, how closely they reflected the popular culture of their period, and their experimental qualities as different companies tried to initiate a jewellery craze or catch onto something new. I selected elements because of their strangeness, their beauty, the memories they evoked (I actually found parts of things that I had worn as a child too), or where they were made. I started to make simple drawings of the things I found and then I continued with drawing my own collection of mass-produced jewellery, and then went on to drawing the jewellery from my childhood and so the drawings developed their own momentum. Alongside these drawings, I produced a group of jewellery with the elements from the warehouse. I concentrated on simple production techniques, stamping and folding, building housings, and contraptions. I wanted to give the elements the chance to continue their lives in a new context, without denying their roots. With the experience of this place as incentive, I also took the opportunity to vent my own decorative fury.
© By the author. Read Klimt02.net Copyright.
Ring: Scull, 2009
Silver, glass, paint.
Part of: Helen W. Drutt English Collection
The work started in an old warehouse in America. Beginning in 1948, the company had been buying up mass-produced jewellery leftovers worldwide, in a kind of frenzy of collection. You could find stuff from virtually every country and every decade of the 20th century. There were millions of elements, and I read them as a kind of emotional history of the everyday. In having been produced quickly and cheaply, I enjoyed the freedom of design I found in these small objects, how closely they reflected the popular culture of their period, and their experimental qualities as different companies tried to initiate a jewellery craze or catch onto something new. I selected elements because of their strangeness, their beauty, the memories they evoked (I actually found parts of things that I had worn as a child too), or where they were made. I started to make simple drawings of the things I found and then I continued with drawing my own collection of mass-produced jewellery, and then went on to drawing the jewellery from my childhood and so the drawings developed their own momentum. Alongside these drawings, I produced a group of jewellery with the elements from the warehouse. I concentrated on simple production techniques, stamping and folding, building housings, and contraptions. I wanted to give the elements the chance to continue their lives in a new context, without denying their roots. With the experience of this place as incentive, I also took the opportunity to vent my own decorative fury.
© By the author. Read Klimt02.net Copyright.
Since the time of the ancient Egyptians, humans have adorned their fingers with ornamental jewelry. From signifying one's marital status to protecting the wearer from forces of evil, rings have served practical, symbolic, and decorative purposes throughout history and across cultures.
RINGS! offers a glimpse into the boundless creative freedom revealed within the ring form.
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