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Following the extremely successful exhibition Shelf Life at Vitsoe in Munich, Lucie Davis and Si-Xing Season Cheng are both featured in the 10 Best Newcomers at Munich Jewellery Week 2016 article from Art Jewelry Forum. Congratulations!

Read the article here

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Congratulations to Elena Bonanomi who was selected as the winner of the Leathersellers Award 2016 for her detailed and intricate leatherwork. The award was judged by Suzannah Russell from The Leathersellers’ Company.
Runners up prizes were given to Scott Armstrong for his project Turning, and Anna Tuhus for her project One Who Wraps Herself.
Highly commended were Ely Cao and Aidan Madden.
All awardees receive monetary awards from The Leathersellers’ Company.

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Congratulations to Kristina Ferenchuk who was selected by the judges from the Worshipful Company of Tin Plate Workers alias Wire Workers of the City of London as the winner of the Harold Hobbs Annual Jewellery Competition 2016.

Second prize was awarded to Joana Perera and Fulya Oberascher was awarded the prize for the best sketchbook.

Highly commended were Wei Li and Annie Kim.

The winners were announced by Master Ian Makowski. All receive monetary prizes and the first and second place winners attend the livery dinner were they will share their work with members.

Exhibition view, Second Hand, First Hand: Caroline Broadhead & Maria Militsi, 2015, Marsden Woo Gallery, London, courtesy of Marsden Woo Gallery, photo: Philip Sayer

Exhibition view, Second Hand, First Hand: Caroline Broadhead and Maria Militsi, 2015, Marsden Woo Gallery, London. Photo: Philip Sayer

12/26/2015

Second Hand, First Hand: Caroline Broadhead and Maria Militsi
October 14–November 14, 2015
Marsden Woo Gallery, London, UK

 

I’d like to begin this article with some bibbidi-bobbidi-boo. That is, “the thingamabob that does the job,”[1] or the magic that brings objects to life. Bibbidi-bobbidi-boo could be likened to Walter Benjamin’s notion of “aura,” to the “uniqueness” and “mystique” of the work of art as described in his The Work of Art in the Age of Mechanical Reproduction (1936); but it also comprises the fantastical, the transfusion of sparkle into things. I am, of course, making reference to Walt Disney’s Cinderella (1950), in which Cinderella’s dress is magically transformed from torn rags to haute couture just in time for her to make it to the ball; and it strikes me that artists Caroline Broadhead and Maria Militsi are our modern, magic-making equivalents.

Entering Second Hand, First Hand, the two artists’ recent exhibition at Marsden Woo Gallery, London, is like stepping into Cinderella’s scullery, with its barren concrete floor, bare wooden table and woven stool, and kitchen utensils strewn about. Yet a closer look reveals the creeping jewel-like texture of the space. There are echoes of J. G. Ballard’s 1966 novel The Crystal World, references to the encroaching crystallization of objects that “glistened like wedding-cakes,” and with “a ceaseless play of light” across their surfaces.[2] Broadhead and Militsi have rendered a performance in which the materials take center stage. These are not objects that merely provide the backdrop, but that have realigned themselves with the enchantment and allure of making.

Read the full review on Art Jewelry Forum