Dissertations / Theses on the topic 'Contemporary Jewellery'
To see the other types of publications on this topic, follow the link: Contemporary Jewellery.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 32 dissertations / theses for your research on the topic 'Contemporary Jewellery.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Shaw, Elizabeth. "Recycled Narratives: Contemporary Jewellery - Material Culture - Praxis." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376858.
Full textAbstract:
This exegesis outlines research undertaken in the studio in tandem with the study of theoretical texts along with analysis of work by contemporary artists and metalsmiths. My studio approach is framed within ethical approaches to use of material and sustainable practices in production. The use of non-precious materials in contemporary jewellery is well established as a method to critique preciousness and question value, as is the reuse and repair of component parts of existing jewellery part of a global recycle movement across many disciplines. The work created in this project aims to investigate a wider use of humble materials and broken or discarded consumer objects by investigating the potential for exploiting their symbolic power and functional possibilities through reimagining as well as repurposing as jewellery. In demonstrating that jewellery can offer a critical reflection on contemporary society this project aims to also reinvigorate the important role jewellery has played as a key conveyance at the intersection of materials, the symbolic order and social, economic and environmental values.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
2
Boezaart, Kim. "Contemporary avant-garde jewellery in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.
Full textAbstract:
Thesis (MA)--University of Stellenbosch, 2000.ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion.
AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.
3
Huusko, Källman Rebecka. "Social participation in contemporary art jewellery : An investigation of contemporary art jewellery’s ability to discuss complex questions within western society." Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4666.
Full textAbstract:
On the base of cultural norms, it seems that it is commonly accepted that one animal is considered 'friend', while the other 'food'. Even though people's opinion may differ in regards to the world's largest animal rights organization PETA (People for the Ethical Treatment of Animal) (Kulkarni, 2009), the organization asks a relevant question: “ If your cat tasted like chicken would you eat her?” As I work within the contemporary art jewellery field, it is through the body, jewellery, and the conscious act of wearing it, that I would like to encourage consumers to reflect on their personal meat consumption and to connect the packaged meat to the animal it comes from: what is it that we are eating? Where does it come from? Through this essay and my work/practice, I aim to critically reflect on the different existing values between animals in our society and to inspire more conscious and well informed decisions concerning meat. This essay is a research project prior to my practical exam work at the Jewellery + Corpus Master program at Konstfack and will serve as a basis for my artistic exam work. Against this background, I look at relevant literature and case studies representative of the field of contemporary art jewellery, in order to research/address the following question in this essay: - Is it possible to discuss complex questions within society though the media of contemporary art jewellery? Within the field, opinions differ between art historians as well as makers; it seems that the framework of contemporary art jewellery provides the medium, on one side, with great potential to speak of issues within society, although, on the other side, the same frame work commonly hinders the medium’s ability to reach out to the general public, in order to generate a wider discussion.
4
Baines, Robert, and robert baines@rmit edu au. "The Reconstruction of Historical Jewellery and its Relevance as Contemporary Artefact." RMIT University. Art, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070419.153736.
Full textAbstract:
The dating of ancient jewellery is given by the archaeological context. Technology applied by the ancient goldsmith is traceable through archaeometallurgy. The aim of this research is to analyse historical jewellery and to construct copies based on the known technology of the era. Resultant laboratory constructions with their historical correctness and the new knowledge of jewellery structures will then be available for reworking to convey a contemporary visual relevance and a statement of history. The results of these analyses and reconstructions will form the basis of metalwork objects in which contemporary aesthetics are informed by historical practice. Jewellery offers a view into history, of cultural descriptions of stylistic, chemical and methodological correctness. For diagnostic purposes there is the expectation of an archaeological correctness within the fabric and manufacture of the jewellery object. From the vantage point of a contemporary goldsmith, t his has provided me with an arena for artistic interpretation-for 'play'. Historical jewellery becomes contemporary jewellery forms and the 'play' functions as a stumbling block and an upheaval within orthodox classification of authenticity. There is in this disturbance an intervention with coontemporary ephemeral materials into the jewellery artefact in which I manufacture a semblance of an identified 'correctness'. Jewellery remains in a better state of preservation when hidden or concealed-not exposed. The jewellery object once surfaced, discovered, excavated or plundered or even worn becomes part of our time for reworking. Knowledge and applications of technology become the vehicle for scrutinizing these objects. We live in an era where the ancient and the recent, the authentic and the bogus, have begun to mingle and interbreed in the corridors of hyperspace. Television stages Xena the Warrior Princess encountering the young Buddha in the entourage of King Arthur. Fakes with historical associations can s ometimes be considered authentic as a shroud of 'history' can encompass the object to the satisfaction of the naive connoisseur who wants to believe, wants to believe, wants to believe, wants to believe ... . Jewellery as document is available for interpretation-for'play'. There is potential to return to an imaginary history where ffictional detail has been confused with historic fact and this can be both intentional and unintentional. Jewellery of the past therefore exists in the present and the jewellery artefact becomes available for evaluation and for 'play'. In the analysing and categorizing of type, jewellery as vehicle conveying the past can become a mixture of one's own inventions and cultural inheritance. From the vantage point of a goldsmith, I am considering how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery is a possibility and new input can verify authenticity or engender falsehood throu gh the artistic reinterpretation.
5
Cohn, Susan Art College of Fine Arts UNSW. "Recoding jewellery: identity, body, survival." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43809.
Full textAbstract:
RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, technology and performance; and academic writing across a number of fields. The thesis concludes with a discussion of how these interests came together in a single show, Black Intentions. However, the span of work covered extends through my career in jewellery to provide a basis for future directions.
6
Haydon, Kirsten, and kirsten haydon@rmit edu a. "Antarctic landscapes in the souvenir and jewellery." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090227.115157.
Full textAbstract:
Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.
7
LE, BA AN. "Evening Flash in the Dusking of the Sun." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20117.
Full text
8
Ward, Vanessa. "An interrogation of the translation of ideas from architecture to jewellery through the design and production of contemporary jewellery." Thesis, Glasgow School of Art, 2005. http://radar.gsa.ac.uk/4937/.
Full textAbstract:
This research interrogates the translation of ideas from architecture to jewellery, through the design and production of contemporary jewellery. Necessarily this interdisciplinary focus has two contexts; contemporary jewellery and the architectural world from which ideas are translated. The practitioner comprises the third element, determining the way in which ideas are interpreted and expressed. The aims of this research are to define and locate architectonic jewellery and through practice to contribute to this field. The Rationale and contextual review (chapter2), locates architectonic jewellery as a sub-genre of contemporary or studio jewellery; positioned as a strand of Modernist jewellery emergent from a Constructivist tradition, parallels are drawn to the American Modernist movement. The identification of three strands (abstract, interpretive and figurative), within architectonic jewellery explore this translation of ideas from one discipline to another. The contextual review was instrumental in the identification of the positioning of the practice-based research. The method decided upon for the design of jewellery was through response to a selected architectural exemplar. The Role of architectural theory (chapter3), details the architectural context and understanding gained of the main exemplar, Therme Vals, Graubunden, Switzerland by architect Peter Zumthor. Associated with the Swiss Essentialists and continuing in a Modernist tradition, the origins and philosophical underpinning of this architecture were established. An investigation into Phenomenology provided a fundamental understanding of architecture, a means to observe and articulate the act of experiencing (in responding to an architectural site) and altered the dimensions of material consideration in the design process. Idea development (chapter4), documents the development of ideas in the self-reflexive practice. The design process is explained in chronological order. The establishment of selection criteria for architecture initiated this iterative development. The three phases of response to the architectural exemplar are discussed, each phase resulting in the analysis of design and the alteration of the selection criteria. Phase one responded to Juha Leiviska’s Myyrmaki Church through secondary sources. Phase two, to the Burrell collection and Phase three to Therme Vals. All three investigations responded purely to the visual language of the architecture. Phase three comprises of two site visits to Therme Vals, the second of which was preceeded by research into the architectural theory and Phenomenology as discussed in Chapter 3. The research process culminated in the design of works in response to the second visit to Therme Vals. This practice-based research positions architectonic jewellery and through the design process establishes a new paradigm that uses phenomenology as an interpretive tool.
9
Sirivesmas, Veerawat. "A new model of instruction and learning in contemporary jewellery education." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423072.
Full text
10
Burger, Idane. "Contemporary jewellery practices and the dialogic interpretation of African material culture." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80080.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: In this thesis I examine the extent to which interpretations of African material culture play a role in the creation and visualisation of an ‘African aesthetic style’ in South African contemporary jewellery practices. My investigation of an ‘African aesthetic style’ in this thesis is informed by the production, display and writings on African cultural objects. I demonstrate contemporary jewellery design to derive from a critical methodology, particularly as it facilitates a renegotiation of the relationship and dialogue between the producer and viewer of contemporary jewellery objects.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die wyse waarop interpretasies van Afrika materiële kultuur 'n rol speel in die skepping en die visualisering van 'n 'Afrika estetiese styl' in Suid- Afrikaanse kontemporêre juwelierspraktyke. My ondersoek van so 'n styl is ingelig deur die produksie en uitstalling van, sowel as diskoerse rondom Afrika kulturele objekte. Ek ondersoek kontemporêre juweliersontwerp as 'n kritiese metodologie, veral ten opsigte van die wyse waarop dit 'n nuwe verhouding tussen die vervaardiger en toeskouer van kontemporêre juweliersobjekte fasiliteer.
11
O'Hana, Sarah. "Laser processing on titanium for contemporary jewellery : a bridge between cultures." Thesis, University of Manchester, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633046.
Full text
12
Groenewald, Joani. "Fragmented mnemonics : an investigation into contemporary jewellery as means of externalizing memory." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96841.
Full textAbstract:
ENGLISH ABSTRACT: This thesis interrogates my own memory in order to illustrate its fragmented and unstable
nature. I revisit a specific childhood memory and attempt to recreate it visually through the
creation of jewellery pieces. However, the unattainability of a consistent memory becomes
increasingly evident in the process of its externalization. My work thus speaks of the
unravelling of memory, as well as the piecing together and imagining of a new memory. This
thesis and my practical work are an exploration of this ambivalent nature of memory. Even
though memory is concerned with the past, it is also about the present as our memories can
also be manipulated by present prejudices.AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek my eie geheue met die doel om die onstabiele en gefragmenteerde aard daarvan uit te wys. Ek verwys na ‘n spesifieke herinnering van my kinderdae en poog om dit visueel uit te beeld deur die maak van juweelstukke. Die onbekombaarheid van ‘n konstante geheue word egter al hoe duideliker wanneer ek my herinneringe visueel probeer uitbeeld. My werk demonstreer die ontrafeling van my herinnering en die konstruksie en verbeelding van ‘n nuwe herinnering. Hierdie tesis en my praktiese werk dui op die ondersoek van die wispilturige aard van die geheue. Hoewel herinneringe en die geheue te make het met die verlede, het dit egter ook te make met die hede, aangesien die hede ons herinneringe van die verlede kan manipuleer om aktuele behoeftes te bevredig.
13
Spranger, Katrin. "The Future of Jewellery : are there Ways and Needs to Accomplish a Change in the Development and Especially the Meaning of Contemporary Jewellery?" Thesis, Konstfack, Ädellab/Metallformgivning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-176.
Full textAbstract:
This essay will deal with ideas for jewellery in the future. One approach to this issue is, to investigate the meaning of materials which might become rare or even deplete in the future. Along with science and science fiction it will focus on established scientific postulated laws of nature, although some elements might still be pure imaginative speculation. The paper will also explore about academic discourse on value with a focus on understanding jewellery material values connected to rarity as well as value of experience and the increasing need for it in society. It will draw a futuristic picture of change, meaning and development in the field of contemporary jewellery and society.
14
Jessop, Michelle. "Contemporary jewellery practice : the role of display in addressing craft values within the creative process." Thesis, University of Brighton, 2013. https://research.brighton.ac.uk/en/studentTheses/2355709b-67cf-4ff1-8cf8-cf00d9ad1dee.
Full textAbstract:
The aim of this research is to investigate the role of display within contemporary jewellery, defining an approach that informs both jewellery practice and critical discourse. Conventional structures such as the display case, plinths, frames and mounts operate as communicative platforms from which jewellery is presented, often negating the interactive nature of an object that is designed to be touched, worn or owned. My practice takes the form both of writing and making to explore presentational methods that promote the emotive qualities presented, produced or prompted by a craft object as a means of engaging the viewer within the gallery space. One area of my investigation involves looking at strategies used by craft makers to communicate their work to a wider audience beyond the gallery space. Developments in digital media and an increasing emphasis on audience participation or collaboration offer interactive potential. These methods present an alternative form of communication compared to the conventional display case that tends to hinder such a socially-led approach to contemporary jewellery. Another significant departure from the taxonomic mode of displaying craft collections is the exploration of bodily processes. This ethos inspires a growing number of contemporary jewellers who seek actively to engage an audience with their work using various strategies. This creative drive demonstrates a move away from the presentation of the craft object as an autonomous artefact towards an approach based on social interaction. The impetus of this study arises from Nicolas Bourriaud's notions concerning relational aesthetics. Bourriaud is known for his analysis of late 20th century artists who investigate ways of engaging the individual within a community-based collective through their work. I will show how collaborative practices and the investigation of 'new formal fields' are informing the crafts today. This paper describes how relational aesthetics informs my own practice by focusing on four areas of enquiry. These consist of: an examination of the relationship between maker, viewer and the craft image; the social relevance of patina in the representation of an exhibition object by the use of macro photography; the recording and presentation of social and bodily elements that relate to the worn object; and the role of display methods as a narrative tool. These areas of investigation are developed in symbiosis with my practice, concluding in an exhibition that is rooted in the theoretical framework of relational aesthetics from which the concept of immersive aesthetics is defined.
15
Cunningham, Jack. "Contemporary European narrative jewellery : the prevalent themes, paradigms and the cognitive interaction between maker, wearer and viewer observed through the process, production and exhibition of narrative jewellery." Thesis, Glasgow School of Art, 2008. http://radar.gsa.ac.uk/4948/.
Full textAbstract:
The focus of this research lies within the field of contemporary studio jewellery, a discipline that has a variety of strands that includes the purely aesthetic, technique led, through concept based to architectonic. A further hybrid of contemporary jewellery is the narrative genre. More specifically this research examines how narrative might be defined and takes a position viewed from a European perspective. Chapter 1, Rationale & Contextual Review, examines contemporary studio jewellery and positions a definition of narrative jewellery within this wider framework. Chapter 2, Defining the Field, identifies global paradigms. The interrogation of the subject examines the correlation between themes and subject matter and the ethnographic factors that influence creative outcomes. The hypothesis proposes that these creative outcomes are universal in their translation whilst reflecting a relationship between environmental influence and ethnographic origin Chapter 3, Narrative Themes, presents an overview of current European makers. Through the author's role as exhibition curator, this chapter identifies prevalent themes and preoccupations selected from the exhibition ‘Maker-Wearer-Viewer’ which surveyed the work of over seventy makers from twenty European countries. Chapter 4, Source, Process & Practice, locates the author’s self-reflective practice within the field by examining the correlation of narrative subject matter, source material and the creative process employed. The importance of source material and its influence on the creative process is examined through reflexive practice. Further research examines the interactive relationship between the maker and wearer, and the response of the viewer. Through practice-based research, the design and making process, the authors’ narrative jewellery is clearly defined within a wider context.
16
Tieu, Bic Design Studies College of Fine Arts UNSW. "Traditional Vietnamese lacquering processes and their applications to contemporary jewellery and small scale body related objects." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43253.
Full textAbstract:
The lustre and luminous qualities inherent in lacquer objects speak of a revered historic technology chronicled by remarkable achievements. Sophisticated lacquer objects from East Asia and Vietnam are products of the integrated histories, technologies, and cultural expressions of these territories. The application of lacquer as a decorative medium originally developed in China. Through exchange and trade, the material was transmitted to neighbouring countries where each region explored the material and developed distinctive styles and techniques. Although lacquer from East Asia and Vietnam share similar material natures, the cultural attributes of lacquer, it's aesthetics, design, form, and symbolism provide for marked distinctions across the zone. Vietnamese lacquer contributes surface techniques and motifs to the lacquer repertoire. The aim of this research is to investigate the materiality and processes of Vietnamese lacquer as a surface ornamentation integral to the design and making of objects. The published material is dominated by descriptions of the aesthetic achievements of lacquer objects with little coverage of the technology, techniques, and practices employed. There is a scarcity of contemporary research on Vietnamese lacquering processes written in the English language. This research was fuelled by a research field trip to Vietnam during 2004 workil,1g with Vietnamese lacquer artists on traditional lacquering techniques. During a residency at Hue the lacquer working processes were observed, documented and techniques sampled. This traineeship incorporated the preparation of traditional tools, of the substrate, and the application of lacquer painting techniques. Preparatory samples and templates were made in Australia for later experimentation in Vietnam. These samples were treated with lacquer and illustrate the possible exploration of Vietnamese lacquering techniques in a contemporary context. The research is a material investigation of traditional Vietnamese lacquering processes applied to jewellery and object making. The studio practice aims to reinterpret the traditional material language of lacquer by allying it with contemporary methods and techniques. This synthesis combining traditional art methods and digital technology is expressed as a series of objects inspired by floral motifs. The seasonal floral images are significant, evoking concepts of creation and renewal. The interpretation of these graphic florals provides a contemporary representation, aesthetic, and cultural reading for the material, maker, and motif.
17
Barratt, Claire. "An investigation into the cultural meanings of contemporary mourning and memento mori jewellery (London 1980-2008)." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/9609/.
Full textAbstract:
This thesis surveys various types of jewellery that reference death which emerged between 1980-2008. It compares them to their historical precedents, particularly mourning and memento mori jewellery, which had fallen out of use by the early twentieth century. The return of this imagery in late twentieth century jewellery might suggest a revival of older, obsolete rituals of death and mourning, and imply changes in popular attitudes towards bereavement and grief, even a new cultural acceptance of death and mortality. However, the contemporary meanings of the new jewellery appeared to be more varied, wide-ranging and ambiguous than those of their historical precedents. The thesis examines some of the changed meanings and altered contexts for the new mourning and memento mori jewellery, by surveying a broad range of jewellery that is normally studied separately within different academic disciplines. It is sourced from the funeral industry, subculture, studio jewellery, pop memorabilia, mass market and avant-garde fashion. In addition, the thesis examines the narratives and meanings that jewellery is imbued with by individuals following bereavement or illness. It addresses questions of how, or whether, items of jewellery differ from other forms of material and visual culture because they are worn objects. Throughout the thesis, jewellery is the key focus and it is analysed using methods from material culture studies, design history and sociology. Together, the breadth of sources and interdisciplinary approach demonstrate that jewellery worn to signify death, memory and mourning is part of a continuum of the wider symbolic and sentimental value of jewellery. The thesis shows a new separation between the functions of mourning and memento mori in jewellery; the absence of an unambiguous, recognisable visual language of death; and a greater, but more private, degree of individualisation of grief in contemporary mourning jewellery than that found in earlier periods.
18
Tian, Bingrui. "An Investigation of the Referential Significance of Tradition in Contemporary Jewellery -- the Case of Han Dynasty Jade." Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/81028.
Full textAbstract:
This study aims to learn from Han Chinese jade traditions, and to design contemporary jade carvings with Chinese traditional characters. This research sets up theoretical support for design principles and rules for contemporary jade carving. Through combination of exegesis and creative production, it proves that cultural refinement of traditional thought plays an active role in the cultural inheritance of contemporary jade design. It reinterprets the traditions and creates opportunities for the rebirth of these traditions.
19
Jakobsson, Karin. "Time and being at Trenerry Reserve." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12722.
Full textAbstract:
Time and Being at Trenerry Reserve, October 2014, Sydney College of the Arts, University of Sydney. The work exhibited is a small installation consisting of a large wall image and an elliptical table containing contemporary jewellery objects designed to invite the viewer to look closely at works that signify sensory experience and to convey knowledge of plants and place. The pieces include seven brooches, a ring and a neckpiece. A number of these are carved from a material I first developed to represent the texture of a plant. These are made from hundreds of layers of coloured tissue paper, the by-product of which is dyed archival glue – a new material. The neckpiece is made from silver and copper wirework. The Research Paper is about ways in which we come to know place. To set structure for the research I adopted the observations of poetry anthologist Brian Elliot, in particular as to how poets come to terms with the Australian landscape. In turn, my investigations at Trenerry Reserve involved the exploration of a coastal wetland, where I recorded the sensory experience of being there and how that landscape has changed over time. An essential part of my research was an investigation of the ecology of the wetland, how people have interacted with it, and in what way they have valued that place and the surrounding environment. By looking largely and closely, I have responded to Trenerry Reserve not only by creating jewellery objects but also by writing about what I have learned in the context of the accounts of others who have come to know places in the landscape more deeply. The works of three established contemporary jewellery artists who have place-related art-practices are also discussed in terms of jewellery communicating moments noticed, the things they are passionate about. Underlying this exploration is the concept of ‘collection’, a theme that resonates with each of the artists, and one that has played a role in my art practice.
20
Legg, Beth. "Materiality of place : an investigation into the makers' approach to material and process as a reflection of place within Northern European contemporary jewellery practice." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7868.
Full textAbstract:
This practice-led research project takes the form of a written thesis, a body of new work and a public exhibition, which are designed to be reciprocally illuminating. Collectively they articulate a response to the central question; „How do contemporary jewellery makers transfer the sensory experience of place into a tangible object?‟ Fundamental to this enquiry is „The Topophilia Project‟ - a creative participatory research method where the resulting artefacts serve both as data and represent data. This project involved a group of 16 contemporary makers creating new work to brief for an exhibition entitled „A Sense of Place; New Jewellery from Northern Lands‟. The exhibition was held in the National Museums of Scotland in Edinburgh from May to September 2012 and formed the primary vehicle with which to both present and explore research into the contemporary jewellery of Northern Europe. The new artifacts and first person accounts produced as a result of this research method enabled an investigation into the maker‟s approach to material and process. These highly valuable resources allowed for a reading and deciphering of the methods used by the artists when gathering information from their surrounding environments. Multifaceted methods of practice are distilled within the project outcomes allowing for a broadened terminology to unfold in reference to these practices. This Northern study, rooted in phenomenological understanding and investigated through the creative process, contributes knowledge to the field from an alternative perspective to the dominant position of Central European jewellery output. As a geographically focused inquiry it also adds a necessary alternative outlook to studies focusing on multi-cultural migration. The resulting body of research outlines an arena of practice and theory in which the work of these makers can be debated, analysed, and criticised within the broader field, contributing to the cross-disciplinary discourse on contemporary theories of place of benefit to those interested in the significance of environmental influence on the creative process.
21
Van, der Merwe Catrina (Nini). "Recollections of home : a study of the use of domestic objects and needlework in contemporary jewellery and my art practice." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80023.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This study is motivated by my own art practice, which exhibits a keen interest in objects and activities historically associated with the domestic, specifically with relation to needlework, in the making or producing of contemporary jewellery. Visual analysis of the work of other contemporary jewellers resulted in my realisation that the use of domestic objects and needlework in contemporary jewellery can refer to the idea of “home” through the use of phenomenological devices such as memory and nostalgia. My own art practice makes specific use of memory and nostalgia, and references trauma as experienced in the home. I investigate these themes specifically as they are depicted in contemporary jewellery. I begin my study by discussing how humans go about forming relationships with the objects with which they surround themselves. I discuss Martin Heidegger’s theory of hermeneutic phenomenology, regarding human interaction with objects and our relationship to them with regard to their specific functionality. I argue that taking the domestic objects out of their context, and in so doing ‘removing’ their functionality, allows the subject (maker, viewer, wearer) to suggest a new ‘background or horizon’ (Thomas 2006: 47) against which the object can now be read and understood. I discuss how jewellery can function as a mnemonic device, and how the domestic objects used in the specific jewellery pieces that I discuss add to this reading, identifying memory and nostalgia as the main devices facilitating a discussion of these themes. From here I work towards a definition of the domestic. By tracing the ways in which the domestic has come to denote a “space” traditionally gendered female, I look at the material culture represented within this “space” and how it relates to women. I draw on Svetlana Boym and Susan Stewart’s thoughts regarding nostalgia and its appearance in contemporary culture. Trauma and how it manifests in individual identities is then discussed with the aid of Michael S. Roth and his discussion surrounding Memory, Trauma, and History (2012). I discuss specific contemporary jewellery projects by Manon van Kouswijk (Lepidoptera Domestica, 2007); Gesine Hackenberg (Ceramic Jewellery, 2006-2011); Esther Knobel (My Grandmother is Knitting too, 2000-2002); and Iris Eichenberg (Heimat,2004). In my final chapter I discuss my own work, and highlight the ways in which I use domestic objects and needlework to reference memory, nostalgia and trauma thematically with relation to my own recollections of home.
AFRIKAANSE OPSOMMING: Hierdie studie is gemotiveer deur my eie kunspraktyk, wat my belangstelling toon in voorwerpe en aktiwiteite wat histories verband hou met die huis, spesifiek met betrekking tot naaldwerk, in die vervaardiging van kontemporêre juweliersware. Visuele analise van die werk van ander kontemporêre juweliers het gelei tot die besef dat die gebruik van huishoudelike voorwerpe en naaldwerk in kontemporêre juweliersware kan verwys na die idee van "huis" deur die gebruik van fenomenologiese idees soos herinneringe en nostalgie. My kunspraktyk maak spesifiek gebruik van herinneringe en nostalgie, en verwys na trauma soos in die huis ervaar. Ek ondersoek hierdie temas spesifiek soos hulle uitgebeeld word in kontemporêre juweliersware. Ek begin my studie deur die wyses te bespreek waarop mense te werk gaan in die vorming van verhoudings met die voorwerpe waarmee hulle hulself omring. Ek verwys na Martin Heidegger se teorie van hermeneutiese fenomenologie, ten opsigte van menslike interaksie met voorwerpe en die verhouding wat met hulle gevorm word met betrekking tot hul spesifieke funksies. Ek argumenteer dat deur die huishoudelike voorwerpe uit hulle oorspronklike konteks te neem, en sodoende hul funksie te ‘verwyder’, kan die subjek (maker, kyker, draer) 'n nuwe “agtergrond of horison" (Thomas 2006: 47) voor stel waarteen die voorwerp gelees en verstaan kan word. Ek bespreek hoe juweliersware kan funksioneer as 'n mnemoniese toestel, en hoe die huishoudelike voorwerpe wat gebruik word in die spesifieke juweliersware wat ek in hierdie studie bespreek kan toevoeg tot hierdie bespreking, deur die identifisering van herinneringe en nostalgie as die hoof toestelle. Van hier het ek gewerk aan 'n definisie van wat die huishoudelike behels. Deur ondersoek in te stel na die manier waarop die huishoudelike as 'n tradisioneel vroulike "ruimte" geïdentifiseer is, kyk ek na die materiële kultuur verteenwoordig binne hierdie "ruimte" en hoe dit verband hou met vroue. Ek verwys na Svetlana Boym en Susan Stewart se idees rakende nostalgie en die voorkoms daarvan in hedendaagse kultuur. Trauma en die maniere waarop dit in individuele identiteite manifesteer word vervolgens bespreek met die hulp van Michael S. Roth en sy bespreking van “Memory, Trauma, and History” (2012). Ek analiseer spesifieke kontemporêre juwelierswareprojekte deur Manon van Kouswijk (Lepidoptera Domestica, 2007), Gesine Hackenberg (Ceramic Jewellery, 2006-2011), Ester Knobel (My Grandmother is Knitting too, 2000-2002), en Iris Eichenberg (Heimat, 2004). In my laaste hoofstuk bespreek ek my eie werk, en verwys veral die maniere waarop ek huishoudelike voorwerpe en naaldwerk gebruik om tematies na geheue, nostalgie en trauma met betrekking tot my eie herinneringe van die huis te verwys.
22
Parmar, Bharti. "A grammar of sentiment : thinking about sentimental jewellery : towards making new art about love and loss." Thesis, University of Wolverhampton, 2009. http://hdl.handle.net/2436/94259.
Full textAbstract:
This practice-led research project explores English and French sentimental jewellery of the Victorian period. ‘Sentimental jewellery’ or ‘message jewellery’ denotes jewellery created to function as a tangible expression of feeling between donor and recipient, mediated through complex narratives relating to its exchange. These artefacts codify emotion through use of complex visual languages, employing the symbolic and coded use of gems, human hair, emblems, words and wordplay. The research has expanded to encompass memorial garments known as ‘widows weeds’. The aims of the research have been threefold: firstly, to add to understanding and interpretation of aspects of Victorian sentimental jewellery and associated craft practices; secondly, to explore the metaphors and narratives inherent within them; thirdly, to test the visual and technical possibilities of knowledge thus gained to address human feeling through art. Outcomes take the form of a body of new artwork and a written thesis, which are designed to be mutually informing. Together, they articulate my response to the project’s central question: can consideration of the ‘grammar of sentiment’ at work in Victorian sentimental jewellery yield new possibilities, through fine art practice, for communicating love and loss in the 21st century? The four artworks that are a main output of the research take the forms of: REGARD:LOVEME, an artist’s book exploring gem codes and wordplay; Plocacosmos, a set of hairworking trials; The Cyanotypes, which reflect upon the materiality and aesthetic of the amatory locket; and Widows Weeds, a large format photographic installation, which considers the materiality and lineage of mourning cloth. Collectively, they explore the typology of the sentimental artefact through development of text/image vocabularies that are conceived as providing a ‘grammar of sentiment’ through which to articulate aspects of human feeling. It is this exploration that constitutes my main contribution to knowledge.
23
Nel, Nanette Marguerite. "The handbag as social idiom and carrier of meaning : inner self projected as outer person." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1719.
Full textAbstract:
Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009.The purpose of the thesis is to contextualise my art works in theoretical terms. As counterpart to my art practice and consistent with its subject matter, the thesis deals with the handbag as subject and investigates the formation of an idiomatic, metaphorical or symbolic visual language that emerges in my handbag Collections. The thesis traces how such language pertains to social, cultural and personal history as sources of its conception to also serve as foundation for the conception of my art works. Its central questions are formulated around ‘how’, thus investigating the formative, the developmental and the process. Its thinking is relativist, embracing the belief that no option is absolute, but rather as susceptible to change as it is open to interpretation. As events of change and change inducing events, developmental processes are posed in a framework of generative structuralism that comprises the internalisation of externalities and the externalisation of internalities. As such it structures an attempt to define the genesis of my aesthetic idiolect in and from a cultural context. The thesis therefore posits its secondary aims as investigative rather than determinist of how social and cultural context informs my art-making processes and how generation and development occur in my art-making processes in order to determine how these factors contribute to a personal voice becoming evident in my work. My art practice and art works serve as primary sources of information and the thesis partially serves as a process of textual re-articulation of my own art-making practices to reveal the relationships between habitus as generative structure, enaction of identity and aesthetic idiolect.
24
Darries, Mouroodah Sulayman. "Surfacing fat : adiposity as adornment." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85811.
Full textAbstract:
Thesis (MA)-- Stellenbosch University, 2013.ENGLISH ABSTRACT: This thesis provides a critical discussion of, and motivation for, my jewellery practice, in which fat from the human body is transformed into adornment. Drawing on Julia Kristeva’s theory of ‘abjection’, this research scrutinises the grotesque status of body substances in the modern media, with the intention of changing viewer reactions to these substances from repulsion to aesthetic enjoyment. I consider the influence of popular culture, where idealised bodies are promoted as ‘better’ than non-normative body types, and then consider how (or whether) the abject remainders of the ‘ideal body’ can successfully be refigured as adornment. In order to situate my practical Masters work in the wider field of contemporary avant-garde jewellery practice, I study the work of select jewellers, who also refer to, or use, body substances in critical ways in their work. Through this, I hope to scrutinise both normative notions of the body and of jewellery as adornment.
AFRIKAANSE OPSOMMING: Hierdie tesis dien as ’n kritiese bespreking van en motivering vir my praktiese juwelierswareontwerp, waarin vet afkomstig van die menslike liggaam verander word in versiering. Die navorsing gebruik Julia Kristeva se teorie van ‘abjection’ om die groteske status wat liggaamstowwe in die moderne media het, uit te pluis, met die doel om die toeskouer se reaksie op hierdie stowwe van afkeer in estetiese genot te verander. Ek oorweeg die invloed van populêre kultuur waarbinne geïdealiseerde liggame as ‘beter’ as nie-normatiewe liggaamstipes aangebied word. Ek kyk verder na hoe (en of) die vernederende (‘abject’) oorblyfsels van die ‘ideale liggaam’ suksesvol as versiering omvorm kan word. Om my praktiese werk vir die Meestersgraad binne die wyer veld van kontemporêre avant-garde juwelierswarepraktyk te vestig, ondersoek ek ook werk van sekere juweliers wat ook liggaamstowwe in hulle werk gebruik, of daarna verwys. Hierdeur hoop ek om die normatiewe idees van beide die liggaam en juweliersware as versiering uit te pluis.
25
Stefansdotter, Åkermo Rakel Amanda. "It's in the genes." Thesis, Konstfack, Ädellab, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6355.
Full textAbstract:
Through collecting, gathering and transformation I look at themateriality in bodies of human and animal. The asymmetricalrelation rules we have created to approve our behaviour oftoday. I write this paper with the contradicting approach ofbeing scientific yet sentimental to the meanings of physicalmatter.
26
Chiou, Wei-Ling, and 邱韋菱. "Relationship Effect - Contemporary Jewellery Creative." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/bz3ka4.
Full textAbstract:
碩士華梵大學
工業設計學系碩士班
102
There exist countless relationships between human beings. Every relationship’s development, process, and effect vary. This creativity series reflects the creator’s observation of the many relationships. When bonding with people, every motion, every thought, and every reaction, will influence the outcome of the relationship. Between every relationship, any tiny fluctuation could cause tremendous changes and giving birth to “Relationship Effects”. The creator uses contemporary jewellery techniques to explain her concepts, with the combination of diverse materials, tape and silver, to symbolize the complex emotions that exist between relationships with the tape by wrapping the tape in layers to produce the elements of self creation. Combined with silver to product various ornaments and through the fusion of different materials allowing metal work creations to be much more interesting and with many appearances. This creates work with great individuality. This paper uses the method of recording to document the process of creating, literature research, material experimentation, creation process, and concept details to see the changes that occurred to oneself during the process along with the growth and achievements that comes with it.
27
Althagafi, Khadeeja. "The art of Saudi traditional jewellery: Rejuvenation for a contemporary world." Phd thesis, 2018. http://hdl.handle.net/1885/146280.
Full textAbstract:
This practice-led study investigates a new approach to
the design and making of traditional jewellery in Saudi
Arabia. Jewellery is very much part of Saudi culture. This
research has been prompted by my personal observations that as
Saudi culture modernizes traditional jewellery is disappearing
and being replaced by jewellery of Western fashion, especially by
the younger generations. It is evident that the jewellery worn
by Saudi women nowadays falls into one of two categories;
traditional or modern. My work demonstrates that Saudi women can
have the opportunity to wear jewellery related to their
culture while still addressing the desire to move into a
modern world. My approach was based on a study of traditional
Saudi jewellery styles and techniques. I then experimented
with creating new designs that better reflected modern jewellery
aesthetics/forms but retained their cultural connections. As
part of my study, I investigated two forms that are not found
in traditional jewellery in Saudi Arabia, the brooch and
convertible or multipurpose jewellery that can be converted
into a range of forms. I believe this is one way to break away
from conventional traditional forms of jewellery making and widen
the concept of wearable art. It is a way to show Saudi women
that contemporary jewellery does not have to be
‘Western’ but can retain traditional elements and be
distinctive, and which can be adapted to both traditional and
contemporary forms of dress. Once this new approach finds its
place in Saudi Arabia, it is hoped that it will become
recognisable world-wide as a contemporary form of jewellery
that connects with the present and also retains a resonance with
its Saudi origins.
28
Kao, Chia Liang. "An exploration of the concept of public and private in the context of contemporary jewellery." Master's thesis, 2016. http://hdl.handle.net/1885/131340.
Full textAbstract:
My research uses contemporary jewellery as a means to
discuss and explore the concept of public and private through the
study of varied theoretical and material approaches, culminating
in a body of work that explores the intimate relationship between
object, maker, wearer and viewer. My research argues that the
concept of public and private depends on an individual’s
intimate experience. Although these concepts are usually
considered to have two opposite meanings, they are in fact
closely related and intertwined in our everyday lives.
29
Lee, Pei-Tzu, and 李珮慈. "Heart , Dwelling -Discover Inner Emotion by Contemporary Jewellery Art Stateman by Pei-Tzu Lee." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ke338j.
Full textAbstract:
碩士國立新竹教育大學
藝術教育與創作碩士班
104
As a way getting to know oneself, to me, creating each piece of work feels like regaining a piece of myself, sometimes it seen so unrecognisable like a piece of puzzle. By constant producing, gradually each piece of work integrated the "me" as myself. Once I was afraid of getting harmed in the relationships. I overreacted, for a while I disconnected from people and let the negative thoughts pile up. I trapped in the quicksand that formed in depression, the more I struggled to escape, the more I sunk down in it. When I felt detested toward my work of creation that I used to enjoy so much, I was in shock. Then I realised if I wanted to keep going forward, it was inevitable the confrontation to my demon: my-imperfect-self and the source of my deepest fear. I pinned down the causes of emotional negativity by recognising them in psychological theories and analysis. More than that, my works coherently recorded my transformation and re-identification. I came through those process to comprehend: the path to true happiness and the peace of mind is not to ignore and escape from one's own demon, but to be fearless and live in the moment. I often don't know how to vocalise my ideas, I choose to express through my works of creation by my bare hands. To creat, is the media of communication between me and the rest of the world. My work combines two series, "Daily Record" represents what I have observed and the emotional feedbacks in day to day life. And the "Inner Observation" recorded my internal progress within this period of creation.
30
Cao, Bifei. "Building Contemporary Personal Narrative through Interpretation of Traditional Chinese Visual Culture." Phd thesis, 2017. http://hdl.handle.net/1885/132691.
Full textAbstract:
This PhD project explores how the negotiation of
different cultures can be reinterpreted in visual form through
jewellery-based object making. Through practice-led research, I
have drawn from my childhood memories of traditional Chinese
visual culture, combining them with images and material relating
to the locations and cultures I have experienced in the present
in order to explore personal identity through the shifting life
experiences I have had in various locations in a multi-cultural
environment. My aim has been to construct an experimental system
of making that would allow me to express cultural identity
through a negotiation of my original culture with other cultures.
The result of my research is a series of jewellery-based and
hollowware-based objects that explore precious metals and other
materials such as plastic and milk powder. This inquiry locates
itself within the field of jewellery and metalsmithing within the
broader sphere of craft, arts and cultures.
31
Fenn, Julia Geraldine. "Chance encounters: The construction of meaning through the process of assemblage in the boxes of Joseph Cornell and contemporary jewellery of Thomas Mann." Thesis, 2006. http://hdl.handle.net/10539/1532.
Full textAbstract:
Student Number : 9406610A -
MA(FA) dissertation -
School of Fine Art -
Faculty of ArtsThis thesis is a study of the box constructions of New York artist Joseph Cornell from the early 1930s to the late 1960s, and the influence of his work on that of contemporary American jeweller Thomas Mann, as well as my own artistic production. The key areas of focus are the process of assemblage and the implications of the box format, with the following themes being explored: miniature space and time; preciousness; fetishism and voyeurism. These are followed through into the section on my own work, where the additional subjects of the history of collecting, automata and the stop-frame animation of filmmaker Jan Švankmajer are discussed. The conclusion that I reach is about the potential power residing in found objects, which form the basis of Cornell’s, Mann’s and my own work.
32
Filipe, Ana Cristina Marques. "Trajetórias da joalharia contemporânea em Portugal : artistas e contextos : 1963-2004." Doctoral thesis, 2018. http://hdl.handle.net/10400.14/28835.
Full textAbstract:
A joalharia contemporânea em Portugal emergiu com visibilidade pública em 1963, sendo
nessa data ainda denominada como ourivesaria moderna. As designações para os novos
trabalhos que surgiam obrigaram à procura e inserção de novas terminologias que
expandiram o significado etimológico do termo joalharia. Para uma definição da joalharia
contemporânea, no capítulo 1, marca o início desta investigação. Centra-se na redefinição
que sofreu e nos novos significados que adquiriu este segmento da joalharia que emergiu
na década de sessenta. Joalharia contemporânea no contexto artístico português, o
capítulo 2, prossegue situando a joalharia contemporânea face aos movimentos artísticos
no período balizado por três exposições, duas individuais e uma coletiva. As primeiras,
datadas de 1963 demarcam a singularidade de dois autores que se afirmaram redefinindo o
termo joalharia, reverberando a época e os contextos artísticos subjacentes, e a terceira, de
2004, mostra o trabalho de um conjunto amplo de artistas de três gerações que tem como
afinidade eletiva diversos tipos de vínculo à escola que motivou múltiplos “pontos de
encontro”, nacionais e internacionais, em torno deste objeto de estudo. Os capítulos 3 e 6
ampliam o seu espectro temporal, de modo a perspetivar os períodos anterior e posterior à
baliza cronológica deste trabalho. Esses dois capítulos – tal como o 4 e o 5 –
pretendem indagar, sistematizar e analisar a documentação reunida no campo da joalharia
contemporânea, estabelecendo um enquadramento das décadas inscritas no período
demarcado. Um tempo que carecia de inventariação e análise de factos, ações, e trajetórias
de artistas que trabalharam no contexto português.
Esta investigação é sustentada com os depoimentos de artistas, especialistas e outros, que
subsidiam a ausência de um corpo bibliográfico de referência sobre a joalharia
contemporânea em Portugal. Esses testemunhos integram esta tese e evidenciam que este
objeto de estudo não se encontra encerrado e, por isso, ainda está a construir a sua história.
A consciência deste processo em construção move o leitor às considerações finais que
diagnosticam e procuram dar resposta à explicação tardia desta pesquisa, bem como ditam
a importância de dar continuidade a este trabalho no próximo futuro. Uma cronologia
gráfica encerra este estudo, elencando diversos eventos e facilitando ao leitor uma leitura
célere e sintética de quarenta anos sobre o tema.Contemporary jewellery (joalharia) in Portugal emerged into the public eye in 1963, though at the time it was still known as modern goldsmithing (ourivesaria). The designations for the novel work then appearing led to the search for and use of new terminologies that broadened the etymological meaning of the term jewellery. For a Definition of Contemporary Jewellery, in chapter 1, marks the start of this investigation, focusing on the respective redefinition and new meanings acquired by this area of jewellery which arose in the 1960s. Contemporary Jewellery in the Portuguese Artistic Context, chapter 2, continues by situating contemporary jewellery vis-à-vis artistic movements in the period framed by three exhibitions – two individual and one collective. The first two, in 1963, highlighted the distinctiveness of two outstanding artists who were redefining the term jewellery, reflecting both the time and its underlying artistic contexts, while the third, in 2004, showcased the work of a large group comprising three generations of artists with a particular focus on different links to the school that led to multiple national and international “meeting points” around this study subject. Chapters 3 and 6 expand their scope to consider the periods before and after the timeframe of this work. Those two chapters, like chapters 4 and 5, aim to investigate, systemise and analyse documentation gathered in the field of contemporary jewellery, providing a background for the decades included in the given period – a time which lacked inventorying and analysis of the facts, actions and careers of artists working in the Portuguese context. This research is supported by statements from jewellery artists, experts and others which compensate for the absence of a bibliographic reference corpus on contemporary jewellery in Portugal. That testimony is included in this thesis, showing that this study subject is not closed and is still building its history. The consequent awareness of this process under construction leads readers to the Final Considerations which diagnose and seek responses to the overdue explanation of this research, as well as stressing the importance of continuing this work in the near future. A graphic chronology closes this study, listing various events and providing readers with a brief and straightforward forty-year overview of the subject matter.