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I love the reaction that people want to eat my work. Rebecca Wilson interviewed by Klimt02

Interview  /  Artists
Published: 20.09.2018
Rebecca Wilson Rebecca Wilson
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2018
Rebecca Wilson. Necklace: Rhubarb and Custard, 2018. Porcelain, silver.. 25 x 40 x 6 cm. Photo by: Alasdair Clark. From series: Swizzles. Rebecca Wilson
Necklace: Rhubarb and Custard, 2018
Porcelain, silver.
25 x 40 x 6 cm
Photo by: Alasdair Clark
From series: Swizzles
© By the author. Read Klimt02.net Copyright.

Intro
I hope that my work will invoke a sense of nostalgia and recognition in the viewer. The most common thing people say to me about my work is that they want to eat it, I love that reaction! I think it invokes a long lost learned behavior from childhood.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
Being from a background in ceramics I am quite new to the jewellery business. My early impression is of an art jewellery scene is of one that is growing and diverging. Makers are looking to introduce new and non-precious materials, innovative technologies, and sound contextual references to their work, and I’m excited to be part of a diverse art jewellery scene that is at home as much in an art gallery as it is in a retail environment.


What do you expect when exposing your work to the public (for example with an exhibition)?
I hope that my work will invoke a sense of nostalgia and recognition in the viewer. The most common thing people say to me about my work is that they want to eat it, I love that reaction! I think it invokes a long lost learned behavior from childhood; if I put this pink fizzy thing in my mouth, it will make me happy.


Are other areas besides the jewellery, present in your work?
I also make pseudo-functional vessels, retaining some of the themes from my previous work in sculptural ceramics. My current series, Keep Your Powder Dry, is a group of sherbet receptacles with corresponding caddy spoons, inspired by vivid taste memories of childhood treats. The instant gratification of covetous confectionary sits against the inherent value of the materials. The seemingly inconsequential subject matter is elevated by its recreation in high-value materials, highlighting the joy that this fizzy treat brings.


The last work, book, film, city that has moved me was...
I happened across my favourite film on TV late the other night; Tarantino’s True Romance. I love everything about this film; the eclectic soundtrack, the ensemble cast of a list cameos, the 80’s Malibu neon aesthetic. And the hopeless (if violent!) romanticism makes me cry every time!


A place, space, country whose creativity surprises me...
I’m always amazed by the vast creative output of Scotland, given that it is such a tiny dot on the map!


Is there any designer, jeweller, artist, you appreciate a lot?
My influences are quite diverse, and not always apparent in the final aesthetic of my work! I have always been inspired by the Icelandic artist, Deiter Roth. Much of his work involved the creation of cast or moulded multiples in incongruous materials, often foodstuffs left to degrade and collapse over time, highlighting the gradual decay through repetition.


What piece or work has given you the most satisfaction?
The biggest piece of jewellery I have made to date has also been the most satisfying. My oversized Swizzel necklace completely embodies the playfulness in my work. The feelings of nostalgia evoked by its flat chalky colours are emphasised by its scale, and wearing it I am transported back to my childhood, dressing up in jewellery that doesn’t fit well with my diminutive scale. If only it tasted of sherbet it would be complete!


Do you read Jewellery Magazines? What is your source to get information?
I wish I had more time to! I tend to keep up to date through social media, and by reading blog posts that I usually find through other makers posting them on Instagram. I find Insta itself a great platform for sharing knowledge and experiences, good visuals, just enough info, but not a huge time investment to read. I suppose I like to absorb information in bite sized chunks, it suits my busy pace of life right now.


Do you discuss your work with other jewellery artists or any other person?
I work from home now, and I do miss the shared studio environment for bouncing ideas off other makers, or being able to scour the building for someone with just the right nugget of knowledge for whatever stumbling block I’ve come across. But I have maintained a good network of maker friends from my time at Coburg House Studios in Edinburgh, and you can always find an excuse for a cuppa and a brainstorming session!


What is your first thought when you hear the word Future?, What do you expect for?
What I hope for for my own future is a sustainable and self-supporting practise. I’ve always supported my making with ‘day jobs’, but in 2019 I hope to cut back on these and focus on developing my own work. It’s now or never time for me!
 
Rebecca Wilson. Set: Pina, 2018. Porcelain, silver.. Photo by: Martin Allan Smith. From series: Tutti Frutti. Rebecca Wilson
Set: Pina, 2018
Porcelain, silver.
Photo by: Martin Allan Smith
From series: Tutti Frutti
© By the author. Read Klimt02.net Copyright.
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