`Australian Gold' provokes and challenges<\/p>\n
By Rina Rao<\/p>\n
JAKARTA (JP): Contemporary crafts are often ignored as being
\nmere experimentation in the field of art and design. While to
\nsome extent that may be true, they do deserve attention as they
\nalert people -- artist and viewer alike -- to the creative
\npossibilities of the media they use.<\/p>\n
Today jewelry and metalwork have lost their functional
\nattributes and tend to be for display or ceremonial significance,
\nor experimentation with form.<\/p>\n
Australia Gold, an exhibition of contemporary Australian
\njewelry and metalwork on show through tomorrow at the Australian
\nCultural Center, includes the works of some noted Australian
\nmetalsmiths and affords a glimpse of Australian innovation,
\ncreativity and diversity in the area of contemporary design and
\nthe visual arts.<\/p>\n
The works on show are innovative, provocative, and challenging
\nto preconceived notions. The forms are created with richness and
\nstrength. The traditional associations of gold are challenged,
\nand the artists often play, explore or undercut our expectations
\nwith humor and restraint. Gold is often used as a small
\nhighlight, a minor component amid less precious and less
\nculturally-loaded materials.<\/p>\n
Precision<\/p>\n
Susan Cohn exhibits precision craftsmanship in her golden
\ndoughnut, three bracelets and an ashtray in fine gold and
\nanodized aluminum. These pieces can also be used as a brooch,
\nearrings or bracelet.<\/p>\n
Thus she plays with the traditional concept of functionality
\nand display, as well as the cultural associations of certain
\nmaterials. Her work juxtaposes the mundane with the exclusive in
\na playful, humorous way with great technical skill.<\/p>\n
Mark Edgoose's masculine forms are practical, functional and
\nsculptural within an abstract framework. Color is used boldly,
\nand the forms are startlingly modern. Bain-Marie and 6 Containers
\nin titanium and aluminum employ high-technology industrial
\nprocesses rather than traditional metalworking methods.<\/p>\n
The lack of restraint in the mixing of metals and the freedom
\nto explore form and materials has created an individual
\nvocabulary that is unique. Though not immediately appealing,
\nEdgoose's work is very innovative.<\/p>\n
Mari Funaki's container in mild steel and brooches in 22-carat
\ngold are a visual delight. They are minute and detailed, with
\nsharp, crisp edges and a great sense of precision. Visual
\nrelationships coupled with careful craftsmanship are her
\nhallmark.<\/p>\n
Marian Hosking's pieces have simple shapes and forms, but she
\nuses pierced decoration judiciously and skillfully. An interplay
\nof light and shadow penetrates the forms, and compliments the
\nsurfaces with repetitive patterning. This creates a surface
\nrhythm and spatial illusion. The open barn box and plate are
\ncases in point.<\/p>\n
Junji Konishi's creations are truly lovely. His works are
\nsculpturesque -- fluid forms using gold and silver in an
\nextremely sophisticated manner. Movement and rhythm in the
\nvarious forms take wing in a burst of abstraction. While his Tea
\nService in silver and 18-carat gold and Candelabra are beautiful
\nworks of art, Distillation 2000 is an almost ethereal piece of
\nsculpture in silver and fine gold.<\/p>\n
Futuristic<\/p>\n
Andrew Last's Eggs in space uses cast iron and cast aluminum
\nalong with a dash of gold and silver, which is quite appealing.
\nThe futuristic designs are inspired by flying objects and
\nconcerns of function, shape, material and scale are carefully
\norchestrated.<\/p>\n
Carlier Makigawa's bracelets, brooches and neck pieces in
\nsilver, monel, gold, etc., explore the relationship between
\narchitecture, the human body and rituals, and are done with a
\nplayful ethnic touch. Christopher Mullins' bowl and rings explore
\ngeometric shapes like the circle, square and parabola, and
\ncontrast various color and surface treatments. Interaction
\nbetween internal and external form is also articulated.<\/p>\n
Miyuki Nakahara's set of four medallions uses the repousse
\ntechnique with restraint and sophistication. Her four themes
\ncharacterize her response to Australian iconography. Janine
\nTanzer's dishes and brooches in silver, gold and enamel use
\nnatural forms in an attractive and elegant manner. She
\nreinterprets old forms in a modern context with modern materials.<\/p>\n
Beatrice Schlabowsky creates forms based on circular and
\nrectangular sections. She draws on folklore and modern technology
\nto create architectural forms with a strong presence. A sensitive
\ncombination of materials and subtle surface finishes like pate de
\nverre glass along with gold, monel and stainless steel give her
\nwork a special richness.<\/p>\n
All the artists in this show emphasize simple and elegant
\nform, functionality and fine craftsmanship, while drawing upon
\ntradition or motifs from indigenous flora and fauna. Old
\ntechniques are infused with great technical skill and a strong
\nspirit of renewal, creating forms with richness, humor and
\nstrength.<\/p>",
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"sponsor": "Okusi Associates",
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