Interview with Sarah Jones

Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
Like all creative practices you can choose how you engage and respond to market pressures. The beauty of a practice in jewelry/small object design is that it is an open field that feels fluid and receptive to new ideas. At this point in time I am interested in place, historically and texturally. I live in Tasmania, which is physically very beautiful and rich in stories that speak of darker less noble times. My work responds to and alludes to the traces of history, which subtly mark and scar the surfaces of everyday places and objects. I think locally and universally there is a desire to understand and interrogate our personal, local and national narratives.

What do you expect when exposing your work to the public (for example with an exhibition)?
It is so important to test your ideas in a public forum, exhibiting you work whether it be purely in the form of wearing a piece in the public domain or exhibiting within a space presents the context to engage in a critical discourse. The beauty of opening your work up to new audiences is that the unexpected happens and new directions emerge.

Are other areas besides the jewellery, present in your work?
Yes, over the years I have worked both as a designer and artist, these two fields have helped me to be more repsonsive to materiality and context.

The last work, book, film, city that has moved me was...
Just recently my daughters and I spent a week on Bruny island where we discovered on an isolated beach a site which hid the remains of old broken pottery stretching back to the 1820’s. We spent hours digging in the sand, ecstatic each time we came across a broken fragment from a tray, pot, teacup etc. It was a very special and creatively inspiring shared adventure.

A place, space, country whose creativity surprises me...
Australia of course! The beauty of this question is that it is impossible to answer.

Is there any designer, jeweller, artist, you appreciate a lot?
There are so many who inspire me, on a local level I admire the craft and beauty of Marian Hoskings work, the architectural strength of Mark Edgose’s installations and the humour embodied in Nicholas Bastins jewellery and small sculptural objects. Internationally I respect the integrity of Warwick Freeman’s work, the beauty of Bettina Speckner’s narratives. One only has to traverse the artist pages of the Klimt02 website to be in awe of the sheer breadth of talent which tumbles from its pages.
 
What piece or work has given you the most satisfaction?
If only I could answer this- I am still trying to reach this state. Are we ever satisfied- perhaps in ten more years?
 
Do you read Jewellery Magazines? What is your source to get information?
I am an avid reader, though not specifically Jewellers magazines. Always keen for recommendations.
 
Do you discuss your work with other jewellery artists or any other person?
Fortunately I have found a wonderful group of talented and open peers both in Hobart and Melbourne who I regularly discuss my and their work with. It is so important not to isolate yourself in the studio and to be open to the views and knowledge of those around you. In the first week of September, 2015 in Melbourne, Australia, Claire McArdle and  Chloë Powell will be staging the Radiant Pavilion festival— events like this open up so many opportunities to explore and test the direction of your work with your peers and importantly new audiences.
 
What is your first thought when you hear the word Future?, What do you expect for?
The Future is a scary concept, it promises so much demanding thoughtful consideration and planning.
Positively the future is unpredictable presenting detours and unexpected and hopefully wonderful opportunities, new directions and pleasures.