A few weeks ago I gave a paper at the XcoaX 2015 conference held at the Centre for Contemporary Arts in Glasgow and this year organised and hosted by the University of the West of Scotland. When I initially saw the call for papers in January, I was intrigued by the eclectic mix of themes, encompassing computation, communication, aesthetics, human computer interaction, coding, digital installation art and the ominous ‘X’. When my paper on the aesthetics of creating stimulus-responsive jewellery was accepted, I was really excited to be a part of this diverse conference and could barely wait for the end of June to roll around.
This year the conference consisted of four different events, including an evening of digital performances and the eponymous ‘Algorave’ held at the GSA, in addition to the more traditional paper presentations and an exhibition of works. After a delightful evening reception on the Wednesday, the paper presentations were held over two consecutive days and consisted of five sessions, loosely linked by themes and content. I thoroughly enjoyed all the presentations, and was particularly intrigued by the amount of research focusing on sound related installations. This was a field I had been unaware of before XcoaX, and the idea of ‘live coding’ performances, where programmers write freestyle lines of code to create sound building blocks which in turn are assembled as electronic music is absolutely fascinating. Other highlights included Hanna Schraffenberger and Edwin van der Heide’s Sonically Tangible Objects which provided the audience with a brief glimpse into a future augmented reality, whereas Nicole Koltik’s short paper on philosophies of the artificial and Sofia Romulado’s analysis of videogames as an artform struck a particular chord with me.
On Friday evening we were treated to a string of performances, and Thor Magnusson and Pete Furniss gave a wonderful demonstration of how live coding and traditional instruments can be used to create a completely immersive ‘wall of sound’ experience in their piece Fermata. Another highlight was provided by digital artist Jung In Jung, who had brought dancers Dane Lukic and Stefanos Dimoulas to perform in their interactive sound and dance collaboration Thermospheric Station.
Altogether it was an amazing experience, and one I am hoping to repeat next year when the conference will be held in Bergamot. Better come up with some fresh material by then! I will finish this brief report with images from the exhibition. While all of the works on show were absolutely fascinating (and I finally got to try some real VR goggles!), two in particular struck a chord – Andreas Zingerle and Linda Kronman’s 5-channel interactive audio installation called ‘Let’s talk business’, a humorous installation exploring online scam narratives and Raul Pinto, Paul Atkinson, Joaquim Vieira and Miguel Carvalhais’ growth objects, which use mushroom spawn to create objects based on biological generative systems. See you next year in Bergamot!
I am already getting very excited about the Body Embellishment Exhibition opening next month at the Mint Museum in Charlotte, North Carolina, where my Earconch will be on public display for the first time since my degree show at the Edinburgh College of Art in 2006. It will run from the 11th of April to the 6th of September – so plenty of time to marvel at the wonderful work on display. Fellow jewellers on display include greats such as Nora Fok, whose wonderful structural wefts with Nylon I have always adored. There is also a series of talks and events throughout the duration of the show.
I am so honoured to be a part of this exciting exhibition – here is a little feature in the style section of the Charlotte Observer which includes an image of my Earconch. If only I could afford to jet to the opening next month!
As some of you might have noticed, I am not the greatest at getting posts out quickly. I like the pressure of a looming deadline, hence always plan my projects so that I work right up to the wire. This blog is more about reflecting on past events rather than acting as a news bulletin of my practice.
So, this very exciting event I was asked to be part of happened almost four months ago – on the 21st and 22nd of November 2014. DJCAD in Dundee was hosting a satellite event as part of the Crafts Council’s “Make: Shift: Do” programme, aiming to introduce the general public to new forms of innovation in craft with a series of exciting talks by digital makers and trying to get everybody involved by offering hands-on workshops. In Dundee, my lovely colleague and fellow ESRC PhD scholar Joanne Bletcher curated part of the event and managed to put together an absolutely inspiring exhibition of digital craft in the foyer of the newly refurbished DJCAD Matthew building. The morning session of talks by fellow digital makers included highlights such as a demonstration of Lynsey Calder’s thermochromic tutu, and textile artist Collette Paterson’s amazingly tactile latex and felt creations. Read all about it and more on the Facebook page dedicated to the event!
I was very honored to be asked to lead a workshop on working with thermochromic silicone in the afternoon, as well as take part in the exhibition. Here are some impressions of the opening of the exhibition. Enjoy!
I recently took part in a really exciting collaborative project between the Sir John Soane’s Museum in London and the Royal College of Art alumni initiative In Tandem, supported by the Jerwood Foundation. For the project, the bust of Sir John Soane was digitally scanned to create a 3D model which was in turn divided into a number of fragments. Each participating designer was then given a digital printout of a randomly selected fragment to work with and design their own object in response. I was fortunate to receive an ear, which I turned into a temperature responsive wall sculpture with detachable necklace, based on architectural elements found within the Soane Museum.
I wanted to create something that looked and felt almost organic while being connected intimately to Sir Soane, his collections and his house. The colour was inspired by the eponymous yellow south drawing room with its black architectural mouldings, while the shapes of the necklace were abstractions of the famous domed ceiling of the breakfast room and Sir John’s urn collection. The title “Soane’s Burning Ear” refers to a story about the betrayal of Sir John’s son George, who published an article in a prominent architectural journal deriding the architectural practice of his father. This has come to be seen as a turning point in Soane’s life as the shock was allegedly responsible for the death of his beloved wife Elizabeth. The title “Soane’s Burning Ear” plays on the expression “My ears are burning”, and reflects Soane’s anger and disappointment with his son after this episode, expressed through the red colour of the silicone.
The object itself consists of two parts – the fragment of Sir John’s ear, taken from the bust and coated in a temperature reactive silicone and a 3D-printed pendant made from SLA plastic with a black, facetted sterling silver chain. The ear fragment acts as a holder for the pendant, and can either be displayed as an object or hung on the wall via the small hook on the back. When the pendant is detached, the ear becomes clearly visible, and a piece of the pendant seems to stay behind, giving the impression of Sir John wearing an earring. When the temperature of the fragment changes, for example through prolonged touch, direct sunlight or a rise in environmental temperature, the silicone changes colour and slowly transitions from dark red to bright yellow, blending in with the pendant and thus unifying the piece. This change is symbolic of time passing and obscuring the emotional turmoil of the past, shifting the focus onto the fragments of Sir John’s legacy as an architect and collector.
An exhibition of all pieces from this project at the Sir John Soane’s Museum will be open to the public from the 4th – 22nd of November 2014.
It’s my SmartLab event this weekend at the Centrespace inside the VRC on the lower floors of the Dundee Contemporary Arts Centre and I hope to see some of you there! On display will be a range of prototypes of my latest interactive jewellery creations, as well as a short film of the Geotronic Brooch in action! There will also be a drop-in workshop for people to try their hand at using commercially available smart materials, and an ongoing demonstration of 3-d printing.
All are welcome, and there are two free talks each day, one at 12.30 and one at 2pm.