Simon Cottrell
Published: 11.04.2016
Brooch: Three drops hard blunt, 2015
Monel 400, stainless steel pin.
6.5 x 5 x 3 cm
Work designed for Klimt02 Gallery for the exhibition To Recover in 2015
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Pendant: Tripled form crush, 2016
Monel, woven nylon cord.
7 x 6 x 4 cm
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Pendant: Mirrored bent, 2016
Monel, woven nylon cord.
12 x 3 x 2 cm
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Brooch: Doubled circles fingers cut, 2016
Monel, stainless steel.
7 x 3 x 4 cm
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Brooch: Ball Beneath Slits, 2015
Monel, stainless steel.
7.5 x 7.5 x 1.5 cm
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Brooch: Three drops hard blunt, 2015
Monel, stainless steel.
7 x 4.5 x 2 cm
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Pendant: Mirrored Angle Hang, 2015
Monel, woven nylon cord.
9.5 x 3 x 2 cm
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Pendant: Paired uneven double, 2013
Monel, woven nylon cord.
8 x 3 x 2 cm
Front and back views.
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Brooch: Bent Barrelled Bud, 2014
Monel, stainless steel.
8 x 2.5 x 2.5 cm
Part of: Private collection in Melbourne, Australia
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Brooch: Variable focus two, 2014
Monel, stainless steel.
8 x 6 x 3 cm
Part of: Private collection in USA
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Brooch: Six loose forms focussing, 2014
Monel, stainless steel
10 x 5 x 3 cm
Part of: Private collection in Melbourne, Australia
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Bracelet: Three drops long, 2014
Monel, stainless steel.
7 x 5 x 2.5 cm
Part of: Private collection in Melbourne, Australia
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Pendant: Salt Bellow, 2014
Monel, Rocks (for weight), woven nylon cord.
9 x 5 x 5 cm
Part of: Private collection in Melbourne, Australia
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Pendant: Long capsule bud, 2013
Monel, woven nylon cord.
9 x 3.5 x 2.5 cm
Part of: Private collection in Beijing, China
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Brooch: Doubled circles on circles white, 2013
Monel, stainless steel.
7 x 3.5 x 4.5 cm
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Pendant: Mirror form, 2013
Monel, woven nylon cord.
8 x 1.5 x 1.5 cm
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Pendant: Up Down, 2013
Monel, woven nylon cord
10 x 6 x 4 cm
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Brooch: Circles on more II, 2013
Monel, Stainless steel. Powder-coated
7 x 7 x 3 cm
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Brooch: Budded double circle, 2013
Monel, stainless steel.
7 x 3 x 3 cm
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Brooch: Layer Clump Leg, 2013
Monel, stainless steel, mirrored synthetic polymer resin
11 x 8 x 5 cm
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Brooch: Layer Clump Leg, 2012
Monel, stainless steel.
During making.
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Brooch: Doubled Barrelled Bud Bud, 2012
Monel400, stainless steel, woven nylon cord (all materials are sourced from industrial waste).
18 x 5 x 3 cm
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Brooch: Small double circle, 2012
Monel, stainless steel.
5 x 2.5 x 3 cm
Part of: Private collection in Barcelona, Spain
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Brooch: Small double circle, 2012
Monel, stainless steel.
5 x 2.5 x 3 cm
Pin open
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Brooch: Small double circle, 2012
Monel, stainless steel.
5 x 2.5 x 3 cm
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Brooch: Shouldered Hipped Pruned, 2012
Monel, stainless steel
10 x 7 x 4 cm
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Brooch: Small Double Drops' & Small Drops Faceted, 2012
Monel, stainless steel
2.5 x 2.5 x 2 cm
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Brooch: Circle On More, 2012
Monel, stainless steel, phosphorescent powder coat
7 x 7 x 2.5 cm
Part of: Collection of McMillan Collection, Royal Melbourne Institute of Technology RMIT, Australia
Lights on
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Brooch: Circle On More, 2012
Monel, stainless steel, phosphorescent powder coat
7 x 7 x 2.5 cm
Part of: Collection of McMillan Collection, Royal Melbourne Institute of Technology RMIT, Australia.
Lights off
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Brooch: Doubled Barrelled Log, 2012
Monel, stainless steel
15 x 3 x 2 cm
Part of: Collection of The Art Gallery of Western Australia, Perth, Australia
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Brooch: Barrelled Bud Log, 2012
Monel, stainless steel
8 x 3 x 2 cm
Part of: Private collection in Australia
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Brooch: Barrelled Bud, 2011
Monel, stainless steel
8 x 2 x 2 cm
Part of: Private collection in Melbourne, Australia
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Brooch: Doubled Varied Ellipse, 2011
Monel, stainless steel
7 x 3 x 4 cm
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Brooch: Back, On, Out, 2011
Monel, stainless steel
9 x 5 x 4 cm
Part of: Private collection in Canberra Australia
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Brooch: Four Focussed Barrelled Drops, 2011
Monel, stainless steel
7.3 x 3.5 x 2.3 cm
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Brooch: Double Growth Two Ways, 2011
Monel, stainless steel
7 x 5 x 4 cm
Part of: Private collection in Melbourne, Australia
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Brooch: Circle Ball Beneath II, 2011
Monel, stainless steel, phosphorescent powder coat
6 x 6 x 3 cm
Part of: Private collection in Barcelona, Spain
With lights ON and OFF
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Brooch: Round and back back, 2010
Monel, stainless steel
8 x 9 x 4 cm
Part of: Collection of National Gallery of Australia, Canberra, Australia
Simon, Cottrell
Brooch: Round and back tempers, 2010
Monel, stainless steel
8 x 9 x 4 cm
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Brooch: Round and back back, 2010
Monel, stainless steel
8 x 9 x 4 cm
Part of: Collection of National Gallery of Australia, Canberra, Australia
Simon, Cottrell
Brooch: Round and back tempers, 2010
Monel, stainless steel
8 x 9 x 4 cm
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Brooch: Two circles merged, 2003
Monel, stainless steel
7 x 3.5 x 3.5 cm
Part of: Private collection in Taiwan.
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Brooch: Doubled Double Circles And Over, 2012
Monel, stainless steel
9 x 7 x 3 cm
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Brooch: Six tear drops, 2003
Monel, stainless steel
8 x 7 x 2.5 cm
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Brooch: Six Focussed drops, 2010
Monel, stainless steel
8 x 7 x 2.5 cm
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Brooch: Six tubes, 2010
Monel, stainless steel
10 x 8 x 3 cm
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Brooch: Bulbs to barn doors?, 2009
Monel, stainless steel
9 x 5 x 3.5 cm
Part of: Collection of the Griffith Regional Art Gallery, Griffith NSW, Australia
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Brooch: Double double bang hammers, 2009
Monel, Stainless steel
7 x 6 x 4 cm
Part of: Private collection in Austria
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Brooch: Village of gold teeth with tail, 2008
Monel, Stainless steel, gold
11 x 6.5 x 5 cm
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Brooch: Tubes flagged figure, 2008
Monel, Stainless steel
8 x 5 x 3 cm
Part of: Private Collection, USA
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Brooch: Faceted pipe strelizia, 2008
Monel, Stainless steel
8.5 x 6.5 x 3.5 cm
Part of: Private Collection Italy
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Brooch: Mixed dimple variations, 2008
Monel, Stainless steel
8 x 6 x 3.5 cm
Part of: Private Collection in Canberra, Australia
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Brooch: Six tall dimples radiating from/through/behind, 2008
9 x 7 x 4 cm
Part of: Private collection, USA
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Brooch: Bang in/at plant, 2007
Monel, powder coating
7 x 6 x 7.5 cm
Part of: Private collection, USA
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Brooch: Five dimples two whites and a tail, 2007
Monel, stainless steel, plastic coating
8 x 7 x 4,5 cm
Part of: Private collection, USA
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Brooch: Tall dimple, blobs, 2007
Monel stainless steel
6 x 7 x 3 cm
Part of: Private collection, USA
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Brooch: Cone no.8 black, 2007
Blackened monel, stainless steel
5,5 x 5,5 x 5 cm
Part of: Private collection, Italy
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Brooch: Tight cluster bang, 2006
Monel, green gold, stainless steel
7 x 6,5 x 4,5 cm
Part of: Private collection, USA
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Brooch: Awkward profile, 2006
Monel, mirrored synthetic polymer resin, stainless steel
11 x 8,5 x 3 cm
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Brooch: Faceted tubes tagged lumber, 2006
Monel, stainless steel
9 x 6 x 4 cm
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Brooch: Faceted tubes crust, 2006
Monel stainless steel
7,5 x 5,5 x 3 cm
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Brooch: Cone no.6 with contents, 2006
Monel, stainless steel
9 x 7 x 6 cm
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Brooch: Blobs, white shadows and tubes, 2006
Monel, paint
7 x 6 x 4,5 cm
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Brooch: Cones no.7 broken, 2006
Monel, stainless steel
6 x 5 x 4,5 cm
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Brooch: Six loose forms, 2005
Monel, stainless steel
7,5 x 6 x 4 cm
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Brooch: Silver blob faceted tubes, 2005
Monel, 925 silver
7,5 x 6 x 4 cm
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Object: Awkward, 2005
Monel
15 x 15x 13 cm
View 1
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Object: Awkward, 2005
Monel
15 x 15 x 13 cm
View 2
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Simon Cottrell, born in Australia. Artist who lives, and work in Camberra, Australia. Simon is the Head of the Gold and Silversmithing Workshop at the Australian National University, in Canberra. Studied at the Royal Melbourne Institute of Technology University (RMITU) & at the RMIT University Melbourne, Australia. Awarded in 2012 with the Ronnie Bauer Research Alumni Prize, RMIT Gold & Silversmithing, Australia, with works in several collections.
Statement
When our senses are presented with something that is familiar and yet also ambiguous, our curiosity is triggered and sensory engagement is extended. This is because our ability to be definitive about what we are actually looking at becomes hard to bring to a clear resolve. At what point does your curiosity switch off allowing your assumptions to be viewed as fact. What can we assume to be truth in our perceptions? Can a deeper curiosity in any subject undermine our faith in our own opinions?If there is a potential line between these objects being perceived as either one way or another, I will try to sit on that line. Where that line lies however depends very much on the attentiveness of the viewer. Hence the ambiguity here is multi-layered and shifting.
Are these pieces serious or playful? ...complex or simple? ...monotone or dynamic? ...plants or anatomy? ...Rocks or clouds?... Flowers or exploding ammunition. I am building structures, details and relationships between them that have the potential to be all of the above and many more things beyond.
All of what I have stated above is relating to the decisive cognitive aims to which I attempt to direct your sensory experience. In essence the work doesn’t aim to tell a viewer anything; more simply I want to give the wearer and the viewer a personal sensory experience, in a lasting, resonant but quiet manner. No matter how close we look ...or the angle we view them ...on what clothes or in what way we wear them, all these pieces are not conceived to be made clear sense of. Rather the aim is to offer a gentle shifting diversity of perceptual readings depending on the context. The more you look the more you see. The more that you see, the relationships between your perceptions of certain details begin to progress and change. Through this your cognitive building of linkages between sensual stimulus and applied meaning also begin to shift and change. There can be no punch line in this work although it is inevitable that your mind will attempt to find one... as it is human nature to try and make clear sense of our experiences.
The work itself is stimulated and Informed by insights into the broad phenomenology of creative process. In particular the relationships between sensation and perception. Toying with the parallels between the act of making and engaging with creative output. Being consciously aware of these processes simply enables me to get out of their way. These brooches are not ‘designed’ in a formal sense, instead they’re intuitive pieces, and each one starts from the memory of all previous works. I just sit down and down start making, while watching closely over my own shoulder.
-
Andrea MAXA Halmschlager
Vienna, Austria -
Orsolya Kecskés
Budapest, Hungary -
Carolyn Young
Waterloo, Canada -
Namkyung Lee
Seoul, South Korea -
Elvira Cibotti
Buenos Aires, Argentina -
Sonia Beauchesne
Deschambault, Canada -
Emilie Le Dez
Berlin, Germany -
Olga Kazakova
Moscow, Russian Federation -
Linda van Niekerk
Tasmania, Australia -
Aya Iwata
Tokyo, Japan -
Asako Takahashi
Toyama, Japan -
Jieun Park
Seoul, South Korea -
Sébastien Carré
Strasbourg, France -
Patricia Iglesias
Punta Arenas, Chile -
Nicole Baert
Kortrijk, Belgium